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Table of Contents

  1. Don’t Leave a Good Time Looking for a Good Time
  2. Michael Bazzett
  3. pp. 1-2
  4. DOI: https://doi.org/10.1353/sew.2024.a919131
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  1. 404
  2. Peter Kispert
  3. pp. 3-17
  4. DOI: https://doi.org/10.1353/sew.2024.a919132
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  1. The Barest Horizon: Jamel Brinkley’s “Bartow Station”
  2. Garth Greenwell
  3. pp. 18-33
  4. DOI: https://doi.org/10.1353/sew.2024.a919133
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  1. Planter Box Conceit, and: Be With
  2. Cate Lycurgus
  3. pp. 34-36
  4. DOI: https://doi.org/10.1353/sew.2024.a919134
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  1. Maroon
  2. Sonia Feigelson
  3. pp. 37-54
  4. DOI: https://doi.org/10.1353/sew.2024.a919135
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  1. Before the DMZ, and: Faint
  2. Cindy Juyoung Ok
  3. pp. 55-56
  4. DOI: https://doi.org/10.1353/sew.2024.a919136
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  1. Galocher
  2. Keith Leonard
  3. pp. 57-58
  4. DOI: https://doi.org/10.1353/sew.2024.a919137
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  1. Anachronisms
  2. Olivia Nathan
  3. pp. 71-91
  4. DOI: https://doi.org/10.1353/sew.2024.a919139
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  1. Gray Morning, and: Wind, and: Against
  2. Michael McGriff
  3. pp. 92-94
  4. DOI: https://doi.org/10.1353/sew.2024.a919140
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  1. First Wife
  2. Madeline Cash
  3. pp. 95-101
  4. DOI: https://doi.org/10.1353/sew.2024.a919141
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  1. Soundings
  2. Rachel Rinehart
  3. pp. 102-103
  4. DOI: https://doi.org/10.1353/sew.2024.a919142
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  1. Good Grief: On The 2023 Booker Prize
  2. Ryan Chapman
  3. pp. 104-127
  4. DOI: https://doi.org/10.1353/sew.2024.a919143
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  1. At Tangled
  2. Rob Colgate
  3. pp. 128-129
  4. DOI: https://doi.org/10.1353/sew.2024.a919144
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  1. Nowhere Spaces
  2. Holly Goddard Jones
  3. pp. 130-155
  4. DOI: https://doi.org/10.1353/sew.2024.a919145
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