Project MUSE®: Appalachian Journal - Latest Articles
https://muse.jhu.edu/journal/899
Project MUSE®: Latest articles in Appalachian Journal.daily12026-05-16T00:00:00-05:00text/htmlen-USVol. 41 (2013-2014) through current issueLatest Articles: Appalachian JournalTWOProject MUSE®Appalachian Journal2330-22910090-3779Latest articles in Appalachian Journal. Feed provided by Project MUSE®Finding Place in Appalachian Hip-Hop
https://muse.jhu.edu/article/986832
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Musical expression has always been connected to Appalachia and the experience of those living in the region. Extensive time and research has been dedicated to documenting and recording these musical expressions over the last century. Interestingly, however, very little attention is paid to other forms of music such as rock, punk, hardcore, black metal, and hip-hop. Undoubtedly, less attention is paid to these genres due to stereotypical and romantic views of Appalachia as a connection to older and simpler times, hence the focus on bluegrass, country, and ballads. Regardless, artists create new forms of art (even in the romanticized genres), engage in modern technology, and develop their own distinct sounds that
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Project MUSE®https://muse.jhu.edu/2026-05-16T00:00:00-05:00https://muse.jhu.edu/journal/899/image/coversmallFinding Place in Appalachian Hip-Hop2026-04-02text/htmlen-USFinding Place in Appalachian Hip-Hop2026-04-022026TWOProject MUSE®181722026-05-16T00:00:00-05:002026-04-02Abolitionist Praxis in Appalachian Hip-Hop
https://muse.jhu.edu/article/986831
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"Why does everyone talk about Appalachian music in the past tense?"In the press kit for the album, No Options: Hip Hop in Appalachia, Ted Olson describes the moment Chris Strachwitz asked him this question after a conference presentation.1 Strachwitz's question to Olson calls attention to longstanding controlling images about Appalachians. For nearly two hundred years, popular narratives have constructed Appalachians as a people living in the past—"old-fashioned" for those who wanted to project onto us the "simpler" past they longed for, and "regressive" for those who needed to punish people who were resistant to the social and economic upheaval created by the introduction of extractive industry.2 In both these
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Project MUSE®https://muse.jhu.edu/2026-05-16T00:00:00-05:00https://muse.jhu.edu/journal/899/image/coversmallAbolitionist Praxis in Appalachian Hip-Hop2026-04-02text/htmlen-USAbolitionist Praxis in Appalachian Hip-Hop2026-04-022026TWOProject MUSE®193232026-05-16T00:00:00-05:002026-04-02In the Beginning: No Options and the Possible Origin Stories of Appalachian Rap
https://muse.jhu.edu/article/986830
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Since at least the 1980s, many artists and scholars of hip-hop have thought about origin stories—When exactly was the culture born? Where? Who? The rap battle between KRS-One and Boogie Down Productions and MC Shan and The Juice Crew famously put these questions on the table.However, as artists in other cities and regions took up the elements of hip-hop culture and rap music, the questions about origins have also expanded. In the wake of the recent fiftieth anniversary celebrations, we now may ask about rap's "origin stories" in plural. Hip-hop culture and rap music took root in various cities and regions at different times. New York City might have been the first place in the U.S. where the four (or five) elements
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Project MUSE®https://muse.jhu.edu/2026-05-16T00:00:00-05:00https://muse.jhu.edu/journal/899/image/coversmallIn the Beginning: No Options and the Possible Origin Stories of Appalachian Rap2026-04-02text/htmlen-USIn the Beginning: No Options and the Possible Origin Stories of Appalachian Rap2026-04-022026TWOProject MUSE®118132026-05-16T00:00:00-05:002026-04-02How Hip-Hop Brought Self-Pride and Esteem to the Hollers of West Virginia
https://muse.jhu.edu/article/986829
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In the mid-1970s, my cousins from the Bronx in New York, David and Darren, started to spend their summers with me in the hollers of Ansted, West Virginia. It was here that they would teach me about hip-hop culture and the different elements of the art form:We xwould go to the baseball park in Ansted and do freestyle rhymes off the head while one of us did hand drums on the wooden park table under the pavilion.I was already a dancer, being in a locking group a couple of years earlier, and also doing Jackson 5 dance routines in a talent show, so break dancing came naturally to me, but both of my cousins were great breakdancers.My cousin David did graffiti; he had a notebook full of graffiti art that he used to show
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Project MUSE®https://muse.jhu.edu/2026-05-16T00:00:00-05:00https://muse.jhu.edu/journal/899/image/coversmallHow Hip-Hop Brought Self-Pride and Esteem to the Hollers of West Virginia2026-04-02text/htmlen-USHow Hip-Hop Brought Self-Pride and Esteem to the Hollers of West Virginia2026-04-022026TWOProject MUSE®164322026-05-16T00:00:00-05:002026-04-02No Options: Hip-Hop in Appalachia
https://muse.jhu.edu/article/986828
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This article was first published in the album No Options: Hip-Hop in Appalachia, published in 2024 by June Appal Recordings.I was born on August 10, 1973, and was blessed to spend that date in 2023 with my family for a very low-key celebration of my fiftieth birthday. On the following day—and to far more fanfare—hip-hop music's fiftieth was feted worldwide. I've grown with hip-hop culture—break dancing, rapping, DJing, and graffiti art—and its importance in my life can't be overstated. I can trace most of my memories by what songs were hot at the time they were made.The genre was born in the boroughs of New York City but transcended its big city, African-American-centered origins to become a global, cross-cultural
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Project MUSE®https://muse.jhu.edu/2026-05-16T00:00:00-05:00https://muse.jhu.edu/journal/899/image/coversmallNo Options: Hip-Hop in Appalachia2026-04-02text/htmlen-USNo Options: Hip-Hop in Appalachia2026-04-022026TWOProject MUSE®159642026-05-16T00:00:00-05:002026-04-02Confessions of a Great Grandfather: Growing Up to Rap and Hip-Hop
https://muse.jhu.edu/article/986827
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To proclaim that I am honored and over-the-moon thrilled to be a part of the team that produced this compilation—especially the significant role of my son, "JK"—is, to say the least, a renunciation of the position I took when the first strands of hip-hop music blared through our home when my children—now 52, 50, and 43—"introduced" me to it.I didn't like rap music because of the language, the attitudes, the values, and the lifestyles that I—a professor of African American culture—thought hip-hop glorified. The Old School Black South inhabitant I was (and still am, to a large extent) lived in a Black space on which the foundation was fastened to being "a credit to the race," a status to which rappers, as far as I
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Project MUSE®https://muse.jhu.edu/2026-05-16T00:00:00-05:00https://muse.jhu.edu/journal/899/image/coversmallConfessions of a Great Grandfather: Growing Up to Rap and Hip-Hop2026-04-02text/htmlen-USConfessions of a Great Grandfather: Growing Up to Rap and Hip-Hop2026-04-022026TWOProject MUSE®62542026-05-16T00:00:00-05:002026-04-02"Mountaintop Hip-Hop": Appalachian Music in the Present Tense
https://muse.jhu.edu/article/986826
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In May 2014, at the annual Association for Recorded Sound Collections conference (held that year in Chapel Hill, North Carolina), I gave a Power-Point presentation about Appalachian music to an international audience united by a shared love for historical music. During my presentation, I discussed my editing of the Music Section for the Encyclopedia of Appalachia (University of Tennessee Press, 2006) as well as my production and curatorial work on several albums of Appalachian music, including box sets documenting early country music recorded in that region (specifically, the 1927–1928 Bristol sessions and the 1928–1929 Johnson City sessions). The albums I discussed that day showcased such artists as the Carter
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Project MUSE®https://muse.jhu.edu/2026-05-16T00:00:00-05:00https://muse.jhu.edu/journal/899/image/coversmall"Mountaintop Hip-Hop": Appalachian Music in the Present Tense2026-04-02text/htmlen-US"Mountaintop Hip-Hop": Appalachian Music in the Present Tense2026-04-022026TWOProject MUSE®107962026-05-16T00:00:00-05:002026-04-02Introduction to a Roundtable Discussion Prompted by No Options: Hip-Hop in Appalachia
https://muse.jhu.edu/article/986825
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This roundtable discussion, intended to explore hip-hop in Appalachia from a range of perspectives, is a collaborative effort by people from different backgrounds and places, and in this respect the roundtable resembles the project that inspired it—the album No Options: Hip-Hop in Appalachia, released in August 2024 by June Appal Recordings. Featuring nearly two dozen hip-hop artists, that album, because it drew attention to the presence of a strikingly talented but overlooked Appalachian musical community, excited longtime fans of hip-hop as well as others uninitiated to that artform.Endeavoring to document both the making of the album and the response to the project from hip-hop artists as well from the broader
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Project MUSE®https://muse.jhu.edu/2026-05-16T00:00:00-05:00https://muse.jhu.edu/journal/899/image/coversmallIntroduction to a Roundtable Discussion Prompted by No Options: Hip-Hop in Appalachia2026-04-02text/htmlen-USIntroduction to a Roundtable Discussion Prompted by No Options: Hip-Hop in Appalachia2026-04-022026TWOProject MUSE®64942026-05-16T00:00:00-05:002026-04-02Folklore Studies and Twenty-First Century Appalachia: Making Peace with the Undefinability of a Region
https://muse.jhu.edu/article/986820
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During the 2024 Appalachian Studies Association conference at Western Carolina University, a mixture of Ohioan, West Virginian, and North Carolinian musicians circled loosely in a hallway of the student union, struggling to find just one common song for our jam session. I was surprised to learn that even the most beloved old-time songs in my home region, the North Carolina High Country, were unknown to my out-of-state colleagues. Carter Family hits and "Fly Around, My Pretty Little Miss" were met with blank stares or sung in the good-natured mumble of those who don't know the words. Our West Virginians rejoiced when we eventually settled for John Denver's "Take Me Home, Country Roads." That afternoon as I fumbled
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Project MUSE®https://muse.jhu.edu/2026-05-16T00:00:00-05:00https://muse.jhu.edu/journal/899/image/coversmallFolklore Studies and Twenty-First Century Appalachia: Making Peace with the Undefinability of a Region2026-04-02text/htmlen-USFolklore Studies and Twenty-First Century Appalachia: Making Peace with the Undefinability of a Region2026-04-022026TWOProject MUSE®1138492026-05-16T00:00:00-05:002026-04-02Sign of the Times
https://muse.jhu.edu/article/986819
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illustrations by Annie GreenwoodEduardo Medina, in The New York Times:SPRUCE PINE, N.C. The jagged ridges in the green mountains above Spruce Pine look strange at first, as if they were scratched into the surface by giant claws. From afar, visitors sometimes confuse them for snow.In fact, they are mines that hold some of the world's purest quartz, a smoky gray mineral that is essential for manufacturing silicon wafers that eventually become computer chips in smartphones and other high-tech products.No other place on Earth has as much or as mineable pure quartz as Spruce Pine. It's a geological Goldilocks, as raw minerals are in high demand and China is tightening its grip on mineral exports in its trade war with
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Project MUSE®https://muse.jhu.edu/2026-05-16T00:00:00-05:00https://muse.jhu.edu/journal/899/image/coversmallSign of the Times2026-04-02text/htmlen-USSign of the Times2026-04-022026TWOProject MUSE®233932026-05-16T00:00:00-05:002026-04-02Joe Troop, From Bluegrass to Activism and Latingrass
https://muse.jhu.edu/article/986833
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Appalachia has undergone a rapid demographic transformation in recent decades due to the influx of migrants from the Spanish-speaking world. Although some have begun to arrive recently from South America, most come from Mexico, Central America, and the Caribbean.1 As His-panic migrant communities begin to sink roots into the soil of the New South, many replicate the music of their places of origin in their new environments, and inevitably, some make musical accommodations to their new surroundings. As time goes on, interactions between English- and Spanish-speakers are bound to increase, and some of the bearers of the musical traditions of the Appalachian region are likely to be drawn to the musical traditions of
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Project MUSE®https://muse.jhu.edu/2026-05-16T00:00:00-05:00https://muse.jhu.edu/journal/899/image/coversmallJoe Troop, From Bluegrass to Activism and Latingrass2026-04-02text/htmlen-USJoe Troop, From Bluegrass to Activism and Latingrass2026-04-022026TWOProject MUSE®773722026-05-16T00:00:00-05:002026-04-02In the Shadow
https://muse.jhu.edu/article/986834
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In the bicentennial year, in the summer of 1976, ten ambitious young people newly graduated from James Madison University in Harrisonburg, Virginia, leased an old stone lodge on Route 11, Lacey Spring, and created Melrose Caverns Playhouse. Under the leadership of Jeff Dailey and Denise Cooper, the artistic team wrote, choreographed, and designed an original musical, Shenandoah Song, celebrating the history and landscape of the Virginia valley. They also curated an art gallery/Civil War museum and opened up the caverns beneath the lodge for tours.2Historians note that around 300 A.D., Native Americans had explored these caverns and carved two "Indian heads" upon the walls, the earliest evidence of human activity in
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Project MUSE®https://muse.jhu.edu/2026-05-16T00:00:00-05:00https://muse.jhu.edu/journal/899/image/coversmallIn the Shadow2026-04-02text/htmlen-USIn the Shadow2026-04-022026TWOProject MUSE®177382026-05-16T00:00:00-05:002026-04-02Daughters of Muscadine by Monic Ductan (review)
https://muse.jhu.edu/article/986840
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Monic Ductan's Daughters of Muscadine is a luminous debut that reads like a love letter to the complexities of Southern identity and Black womanhood. Ductan's ear for capturing the Southern dialect, not to mention her deep reverence for place and time, allows Ductan to thread together lives shaped by small-town Georgia—grappling with trauma and legacy.Each story in the collection brings the reader closer to what so many writers have tried and failed in their depictions of Black Southern culture. In the story, "Kasha and Ansley," those of us from the South see a familiar storyline—the return of one who left for "greener pastures" and the struggle for those who stayed behind to grapple with their return.Kasha, who
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Project MUSE®https://muse.jhu.edu/2026-05-16T00:00:00-05:00https://muse.jhu.edu/journal/899/image/coversmallDaughters of Muscadine by Monic Ductan (review)2026-04-02text/htmlen-USDaughters of Muscadine by Monic Ductan (review)2026-04-022026TWOProject MUSE®66122026-05-16T00:00:00-05:002026-04-02Reading, Writing, and Queer Survival: Affects, Matterings, and Literacies Across Appalachia by Caleb Pendygraft (review)
https://muse.jhu.edu/article/986841
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Pendygraft is an associate professor of humanities at Massachusetts Maritime Academy. While Reading, Writing, and Queer Survival is his first monograph, Pendygraft's essays have been previously published in the edited collection Bodies of Knowledge; in a special issue of the Journal of Appalachian Studies on speculative fabulation: queering Appalachian futurisms; and in the 2020 edited collection Storytelling in Queer Appalachia: Imagining and Writing the Unspeakable Other, among other venues. In Reading, Writing, and Queer Survival, Pendygraft expands his past work, presenting storytelling, participant-based research, and auto-ethnography to move beyond human-centered theorizations in the field of literacy
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Project MUSE®https://muse.jhu.edu/2026-05-16T00:00:00-05:00https://muse.jhu.edu/journal/899/image/coversmallReading, Writing, and Queer Survival: Affects, Matterings, and Literacies Across Appalachia by Caleb Pendygraft (review)2026-04-02text/htmlen-USReading, Writing, and Queer Survival: Affects, Matterings, and Literacies Across Appalachia by Caleb Pendygraft (review)2026-04-022026TWOProject MUSE®94172026-05-16T00:00:00-05:002026-04-02Cipher: Decoding My Ancestor's Scandalous Secret Diaries by Jeremy B. Jones (review)
https://muse.jhu.edu/article/986842
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Jeremy Jones doesn't shy away from writing about the deep complications of what it means to be a man with a conscience. Moral concern, both in his own life and in the colorful past of his latest subject, William Prestwood, is at the heart of his new nonfiction book Cipher. Telling the story of the broadly adventurous but undistinguished life of his nineteenth-century kinsman, Jones grounds the narrative in his own well-developed sense of right and wrong, attacking all the old devils of American history with exacting intelligence and razor-sharp prose.The story of Prestwood's encoded diaries and their discovery is itself a lesson in how imperfect the record of history can be. Salvaged from a curbside garbage heap
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Project MUSE®https://muse.jhu.edu/2026-05-16T00:00:00-05:00https://muse.jhu.edu/journal/899/image/coversmallCipher: Decoding My Ancestor's Scandalous Secret Diaries by Jeremy B. Jones (review)2026-04-02text/htmlen-USCipher: Decoding My Ancestor's Scandalous Secret Diaries by Jeremy B. Jones (review)2026-04-022026TWOProject MUSE®82322026-05-16T00:00:00-05:002026-04-02Smothermoss by Alisa Alering (review)
https://muse.jhu.edu/article/986843
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In his 1995 book Fiction Writer's Workshop, Josip Novakovich coined the term "topographical writer" and defined it as someone who writes almost exclusively about the places they come from but not explicitly about themselves—topographical as opposed to autobiographical. With her novel Smothermoss, Alisa Alering makes her debut as a highly topographical writer. Smothermoss is told from the perspectives of three protagonists: Sheila and Angie, sisters coming of age in the 1980s, and, looming just as large on the page, the voice of the mountain they call home. Alering writes the natural world with a gorgeous precision—the "decay of leaf and bug rising like steam," (70), and "the distinct smell of fox pee … skunky and
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Project MUSE®https://muse.jhu.edu/2026-05-16T00:00:00-05:00https://muse.jhu.edu/journal/899/image/coversmallSmothermoss by Alisa Alering (review)2026-04-02text/htmlen-USSmothermoss by Alisa Alering (review)2026-04-022026TWOProject MUSE®68412026-05-16T00:00:00-05:002026-04-02Secrets, Sisters, and Grasping the Past in Julie Hensley's Five Oaks by Julie Hensley (review)
https://muse.jhu.edu/article/986844
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Julie Hensley grew up among the central Appalachian Mountains of Big Stone Gap and Elkton, Virginia. She has previously published two collections of poetry, The Language of Horses and Viable, and a novel-in-stories titled Landfall, which was the recipient of the Ohio State University Non/Fiction Prize. Like the family in her new novel Five Oaks, Hensley has also settled in the hills of Kentucky, where she teaches at Eastern Kentucky University's Bluegrass Writers Studio MFA Program. She is the 2025 South Arts Literary Arts Fellow for Kentucky."What I remember now is the way he swam" (5) begins Hensley's novel Five Oaks. The narrator, Sylvie, looks back on her summer in 1988 and remembers how a boy swam across the
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Project MUSE®https://muse.jhu.edu/2026-05-16T00:00:00-05:00https://muse.jhu.edu/journal/899/image/coversmallSecrets, Sisters, and Grasping the Past in Julie Hensley's Five Oaks by Julie Hensley (review)2026-04-02text/htmlen-USSecrets, Sisters, and Grasping the Past in Julie Hensley's Five Oaks by Julie Hensley (review)2026-04-022026TWOProject MUSE®115982026-05-16T00:00:00-05:002026-04-02Mailman: My Wild Ride Delivering the Mail in Appalachia and Finally Finding Home by Stephen Starring Grant (review)
https://muse.jhu.edu/article/986845
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Mailman delivers a good read—it should because Stephen Grant is a graduate of the Iowa Writers' Workshop. This is a well-written memoir of a man born in New Orleans but who grew up in Blacksburg, VA, hunting and fishing with his father, whose West Virginia roots ran deep.The backstory sets the scene for Grant's year working for "Earth's most consumer-centric company" (133). He's fifty, married with two young daughters, has a home in the Blue Ridge Mountains, and is a brand strategist/marketing consultant for major corporations. The pandemic hits, he loses his job, and is diagnosed with cancer. He needs employment, but it has to come with health insurance. The only thing available that fits the bill is work as a
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Project MUSE®https://muse.jhu.edu/2026-05-16T00:00:00-05:00https://muse.jhu.edu/journal/899/image/coversmallMailman: My Wild Ride Delivering the Mail in Appalachia and Finally Finding Home by Stephen Starring Grant (review)2026-04-02text/htmlen-USMailman: My Wild Ride Delivering the Mail in Appalachia and Finally Finding Home by Stephen Starring Grant (review)2026-04-022026TWOProject MUSE®70112026-05-16T00:00:00-05:002026-04-02Where East Meets (Mid)West: Exploring an American Regional Divide ed. by Jon K. Lauck and Gleaves Whitney (review)
https://muse.jhu.edu/article/986846
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What is the boundary between Appalachia and the Mid-west? Is it Ohio's eastern border? Maybe. Where East Meets (Mid)West explores this question as one of three themes threaded throughout fourteen essays by 20 authors. These themes are: (1) locating the Appalachian-Midwestern border, (2) the underrecognized importance of east-west sectionalism in American history, and (3) an emphasis that Ohio still matters to national discussions. All are disputed topics. The need for a book written by scholars representing geography, political science, musicology, and religious, social, and political history is evidence of this. So, where does east meet Midwest?The initial pages set an inviting tone for finding the
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Project MUSE®https://muse.jhu.edu/2026-05-16T00:00:00-05:00https://muse.jhu.edu/journal/899/image/coversmallWhere East Meets (Mid)West: Exploring an American Regional Divide ed. by Jon K. Lauck and Gleaves Whitney (review)2026-04-02text/htmlen-USWhere East Meets (Mid)West: Exploring an American Regional Divide ed. by Jon K. Lauck and Gleaves Whitney (review)2026-04-022026TWOProject MUSE®110832026-05-16T00:00:00-05:002026-04-02Uplands: Selected Stories by Robert Morgan (review)
https://muse.jhu.edu/article/986847
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Uplands: Selected Stories plucks sixteen gems from Robert Morgan's collections published over twenty-odd years. Masterfully curated, the themes running throughout are so expertly interwoven that it's as if the pieces were always meant to rub shoulders.This newly formed collection offers a rich history of the Upland South region of the United States, primarily the western Carolinas and Georgia, Morgan's home turf. Though his attention is on the peopling of that particular stretch, it represents the settlement, from earliest Indigenous groups to present-day immigrants, of the entire country.The beauty of Uplands is the way that various characters and their historical predicaments propel readers effortlessly through
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Project MUSE®https://muse.jhu.edu/2026-05-16T00:00:00-05:00https://muse.jhu.edu/journal/899/image/coversmallUplands: Selected Stories by Robert Morgan (review)2026-04-02text/htmlen-USUplands: Selected Stories by Robert Morgan (review)2026-04-022026TWOProject MUSE®86282026-05-16T00:00:00-05:002026-04-02The Anthology of Black Mountain College Poetry ed. by Blake Hobby et al. (review)
https://muse.jhu.edu/article/986848
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Any anthology that remains "news" beyond the moment of its publication must address the ways its contents reveal something crucial to a nation's identity. The preeminence of poetry from the appearance (primarily as an oral experience) of the Homeric epics is a testament of the power of the poetic as a revelation of the most profound human experience. "Tell me the tale of a man, Muse, who had so many roundabout ways," begins Daniel Mendelsohn's new translation of The Odyssey; an appeal to the primal urge for discovery and adventure (73). A collection like The Anthology of Black Mountain College Poetry is worthy of the comparison that the compilers make for its place among the volumes that define and represent the
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Project MUSE®https://muse.jhu.edu/2026-05-16T00:00:00-05:00https://muse.jhu.edu/journal/899/image/coversmallThe Anthology of Black Mountain College Poetry ed. by Blake Hobby et al. (review)2026-04-02text/htmlen-USThe Anthology of Black Mountain College Poetry ed. by Blake Hobby et al. (review)2026-04-022026TWOProject MUSE®113082026-05-16T00:00:00-05:002026-04-02Chronicle
https://muse.jhu.edu/article/986849
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HELVETIA, W.V. The descendants of the Swiss immigrants who founded this tiny town, population 50, held their 58th "Fasnacht" ("fasting night"), a pre-Lenten celebration that dates back to at least the 16th century and marks the end of winter with feasting on fatty foods and a masquerade. Celebrants wear homemade masks, square dance, and "scare off Old Man Winter," who is burnt in effigy during the final moments of the night.WESTERNPORT, M.D. Hours of heavy rain brought flash flooding to this western Maryland town, forcing the evacuation of an elementary school where water breached the second floor. Allegany Co. spokesperson said responders used rescue boats to evacuate 150 students and 50 adults from the
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Project MUSE®https://muse.jhu.edu/2026-05-16T00:00:00-05:00https://muse.jhu.edu/journal/899/image/coversmallChronicle2026-04-02text/htmlen-USChronicle2026-04-022026TWOProject MUSE®69212026-05-16T00:00:00-05:002026-04-02Appalachia By the Numbers
https://muse.jhu.edu/article/986850
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Project MUSE®https://muse.jhu.edu/2026-05-16T00:00:00-05:00https://muse.jhu.edu/journal/899/image/coversmallAppalachia By the Numbers2026-04-02text/htmlen-USAppalachia By the Numbers2026-04-022026TWOProject MUSE®28282026-05-16T00:00:00-05:002026-04-02Contributor Bios
https://muse.jhu.edu/article/986851
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Roger Bernstein has a Master's from Northwestern focused on Yeats' poems. He took poetry workshops at the Bethesda Writers Center, spending several years immersed in submitting poems, both formal and blank verse. He published the collected poems of Rod Jellema and Moira Egan. He has taught adult students at the University of Maryland, University College in Humanities, and for Shepherd University's Lifelong Learning program for seven years.Wes Blake is the author of Pineville Trace—winner of the Etchings Press Novella Prize, finalist for the Next Generation Indie Book Award for First Novel, Feathered Quill Book Award for Debut Author, and featured on Deep South Magazine's Reading List—from Etchings Press, Univ. of
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Project MUSE®https://muse.jhu.edu/2026-05-16T00:00:00-05:00https://muse.jhu.edu/journal/899/image/coversmallContributor Bios2026-04-02text/htmlen-USContributor Bios2026-04-022026TWOProject MUSE®204702026-05-16T00:00:00-05:002026-04-02