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Table of Contents

  1. A Letter from the Editors
  3. pp. 6-7
  4. DOI: https://doi.org/10.1353/ccr.2017.0037
  5. restricted access
  1. 1493, and: All This Talk of Nations
  2. Patricia Killelea
  3. pp. 8-9
  4. DOI: https://doi.org/10.1353/ccr.2017.0038
  5. restricted access
  1. Selections from Descent
  2. Lauren Russell
  3. pp. 10-21
  4. DOI: https://doi.org/10.1353/ccr.2017.0039
  5. restricted access
  1. Album Quilt #1, and: Emma
  2. Bianca Brandolino
  3. pp. 22-23
  4. DOI: https://doi.org/10.1353/ccr.2017.0040
  5. restricted access
  1. Variant #47
  2. Olvard Smith
  3. pp. 24-29
  4. DOI: https://doi.org/10.1353/ccr.2017.0041
  5. restricted access
  1. Self-Portrait as an Egg-Tempera Illuminated Manuscript from 1352, and: When I Was a Vampire
  2. Aimee Nezhukumatathil
  3. pp. 30-31
  4. DOI: https://doi.org/10.1353/ccr.2017.0042
  5. restricted access
  1. An Incomplete History of Ghosts
  2. Alexandria Delcourt
  3. p. 32
  4. DOI: https://doi.org/10.1353/ccr.2017.0043
  5. restricted access
  1. Fridge, and: Tire
  2. Kayt Erickson
  3. pp. 33-34
  4. DOI: https://doi.org/10.1353/ccr.2017.0044
  5. restricted access
  1. The Lizard
  2. Julia Specht
  3. pp. 35-44
  4. DOI: https://doi.org/10.1353/ccr.2017.0045
  5. restricted access
  1. Mongrel is to Madness like Fire is to _______________, and: The Monster is to Damned as Lariat is to _______________, and: Solve for X
  2. Oliver de la Paz
  3. pp. 45-47
  4. DOI: https://doi.org/10.1353/ccr.2017.0046
  5. restricted access
  1. Theophany
  2. Hannah Kroonblawd
  3. p. 48
  4. DOI: https://doi.org/10.1353/ccr.2017.0047
  5. restricted access
  1. I Run into Donna Reed in Safeway
  2. Jessica Lee
  3. p. 49
  4. DOI: https://doi.org/10.1353/ccr.2017.0048
  5. restricted access
  1. 426 TRY
  2. Halee Kirkwood
  3. p. 50
  4. DOI: https://doi.org/10.1353/ccr.2017.0049
  5. restricted access
  1. Six Cils, and: Mon Oeil
  2. John Chavers
  3. pp. 51-52
  4. DOI: https://doi.org/10.1353/ccr.2017.0050
  5. restricted access
  1. Wind Tongue, and: Poet Drag Kings
  2. Petra Kuppers
  3. pp. 53-60
  4. DOI: https://doi.org/10.1353/ccr.2017.0051
  5. restricted access
  1. The Witness
  2. A. Molotkov
  3. pp. 61-63
  4. DOI: https://doi.org/10.1353/ccr.2017.0052
  5. restricted access
  1. Daylight Owls
  2. Rodney Wilhite
  3. p. 64
  4. DOI: https://doi.org/10.1353/ccr.2017.0053
  5. restricted access
  1. The Woman in the Forest
  2. Brian Schwartz
  3. pp. 65-67
  4. DOI: https://doi.org/10.1353/ccr.2017.0054
  5. restricted access
  1. Before Winter Comes
  2. Jacob Lindberg
  3. p. 68
  4. DOI: https://doi.org/10.1353/ccr.2017.0055
  5. restricted access
  1. Frankie, and: Winter Gold
  2. Mike McArdle
  3. pp. 69-70
  4. DOI: https://doi.org/10.1353/ccr.2017.0056
  5. restricted access
  1. The New Old West
  2. Zach VandeZande
  3. pp. 71-84
  4. DOI: https://doi.org/10.1353/ccr.2017.0057
  5. restricted access
  1. Host 1, and: Host 2
  2. Samuel Arcara
  3. pp. 85-86
  4. DOI: https://doi.org/10.1353/ccr.2017.0058
  5. restricted access
  1. Good History, and: Higher Ups
  2. Jessica Farquhar
  3. pp. 87-88
  4. DOI: https://doi.org/10.1353/ccr.2017.0059
  5. restricted access
  1. Concept A:, and: Instruction B: How to be an artist/wife, and: Tulips for kissing: modern love
  2. Cindy Carlson
  3. pp. 89-91
  4. DOI: https://doi.org/10.1353/ccr.2017.0060
  5. restricted access
  1. MOSAIC: On Graduate Reflection, Body, and Writing
  2. Margaret Rhee
  3. pp. 92-95
  4. DOI: https://doi.org/10.1353/ccr.2017.0061
  5. restricted access
  1. Wild, Cultured, Imitation, and: Origin Story: No Witches, No Woodsmen, and: Origin Story: Garden of the Fugitives, and: Spell to Leave Behind a Life
  2. Jennifer Perrine
  3. pp. 96-99
  4. DOI: https://doi.org/10.1353/ccr.2017.0062
  5. restricted access
  1. Eden Falls in Mid-March, and: Over Coffee in Cañon City
  2. Monica Joy Claesson
  3. pp. 100-101
  4. DOI: https://doi.org/10.1353/ccr.2017.0063
  5. restricted access
  1. Avertissement, and: Wisp, and: V’là qui vaout, and: Prose, and: Averr, and: Embed
  2. Genève Chao
  3. pp. 102-107
  4. DOI: https://doi.org/10.1353/ccr.2017.0064
  5. restricted access
  1. Untitled (1), and: Untitled (3)
  2. Maia Dolphin-Krute
  3. pp. 108-109
  4. DOI: https://doi.org/10.1353/ccr.2017.0065
  5. restricted access
  1. Intervention 1, and: Intervention 2
  2. Alicia Salvadeo
  3. pp. 110-117
  4. DOI: https://doi.org/10.1353/ccr.2017.0066
  5. restricted access
  1. Speak of the Devil
  2. Jonathan Dunn
  3. pp. 118-128
  4. DOI: https://doi.org/10.1353/ccr.2017.0067
  5. restricted access
  1. Pink Peonies, and: Collection
  2. Emily Clement
  3. pp. 129-130
  4. DOI: https://doi.org/10.1353/ccr.2017.0068
  5. restricted access
  1. Unapproachable Evanston
  2. Stephen Benz
  3. pp. 131-137
  4. DOI: https://doi.org/10.1353/ccr.2017.0069
  5. restricted access
  1. Self-Portrait with Goat, and: Self-Portrait as the Other Jon Davis
  2. Jon Davis
  3. pp. 138-139
  4. DOI: https://doi.org/10.1353/ccr.2017.0070
  5. restricted access
  1. When Vesuvius Erupts Again I’ll Cool my Tongue in the Mediterranean (or, I think our bodies are both molten and molting), and: Love poem written for the last swampland (or, global warming makes us fuck desperately)
  2. Kayleb Rae Candrilli
  3. pp. 140-141
  4. DOI: https://doi.org/10.1353/ccr.2017.0071
  5. restricted access
  1. β.V, and: β.IX
  2. Jack Avani
  3. pp. 142-143
  4. DOI: https://doi.org/10.1353/ccr.2017.0072
  5. restricted access
  1. That Much
  2. Marilyn Nelson
  3. p. 144
  4. DOI: https://doi.org/10.1353/ccr.2017.0073
  5. restricted access
  1. Contributor Biographies
  3. pp. 146-151
  4. DOI: https://doi.org/10.1353/ccr.2017.0074
  5. restricted access