Jaime Saenz (1921-1986) is Bolivia’s leading writer of the 20th century. Prolific as poet, novelist, and non-fiction writer, his baroque, propulsive syntax and dedication to themes of death, alcoholism, and otherness make his poetry among the most idiosyncratic in the Spanish-speaking world.
Kit Schluter’s previous and current translation work from the French, Occitan, Portuguese, and Spanish, has focused on works by Amandine André, Anne Kawala, Clamenç Llansana, Marcel Schwob, Jaime Saenz, Alice Sant’Anna, Michel Surya, and others. His personal writings can be found in Boston Review, La vie manifeste, Elective Affinities, and BOMB, as well as in the recently released chapbook, Inclusivity Blueprint. He lives in Providence, Rhode Island, where he runs the monthly house reading series Wild Combination and coedits O’clock Press. Kit was a 2015 recipient of the Discovery/Boston Review award.
Tyler Brewington is an MFA candidate in poetry at Vermont College of Fine Arts. His chapbook Dear Stray Volcano was published by Alice Blue in fall 2013. He is from Boise, Idaho.
Kelly Schirmann is the author of Activity Book (NAP, 2014) & the co-author of Nature Machine (Poor Claudia, 2013). She sings in the band Young Family & runs BLACK CAKE, a web-based audio-chapbook label for contemporary poetry recordings. She lives in Portland, Oregon, & also at kellyschirmann.com.
Sarah Galvin is the author of The Stranger’s “Midnight Haiku” series, which are neither haiku nor at midnight. She has a blog called The Pedestretarian, where she reviews food found on the street. The thing she loves most about reviewing discarded food is receiving text messages that say things like “I hear the bus stop on 3rd and Union is covered with ham.” Sarah is poetry MFA student at University of Washington, and her poems can be found in io, New Ohio Review, The Far Field, Pageboy, Dark Sky, and Ooligan press’s Alive at the Center anthology.
Rich Smith is the author of the chapbook Great Poem of Desire and Other Poems (Poor Claudia 2013). His poems have appeared in Tin House, Guernica, Barrow Street, Pinwheel, and a number of other places. He grew up in Belton, MO and now lives and works in Seattle, WA.
Ashley Toliver was born and raised in California. Her poems have appeared in numerous journals, including Quarterly West, Octopus, Caketrain and Third Coast. She earned her MFA from Brown University, and has received fellowships from the Cave Canem Foundation and the Djerassi Resident Artists Program. She currently lives in Portland, OR.
Gabriel Kruis is a New Mexican poet living & writing in Brooklyn. His work has been published or is forthcoming in Quadrant, the Atlas Review, Everyday Genius, & at Well Greased Press. He is also a founder of Wendy’s Subway & runs the Shitluck Reading series at the Tip Top Bar & Grill.
Lisa Ciccarello is the author of At Night (Black Ocean), as well as several chapbooks, including “Chief!” (InkPress), Worth is the Wrong Word (Black Cake Records) & the forthcoming I only thought of the farm (DoubleCross Press). Her poems have appeared in Tin House, The Academy of American Poets, Denver Quarterly, the PEN Poetry Series, Handsome, Big Lucks, & The Volta, among others.
Emma Trithart is a freelance illustrator living in Los Angeles who eats too much cheese and hoards fancy brush pens. You can find her work at emmatrithart.com
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A note from the collaborators:
“I love working with Emma because we have a great collaborative spirit (we will often throw ideas back & forth when we’re stumped, goading each other into awesome ideas we might not have had alone, & neither one of us gets flustered or upset if the other makes suggestions) & we are clearly very aesthetically aligned. To me, the best part is the sense of discovery I feel when an image is revealed, because often when I see the illustration she comes up with, although it’s not what I would have imagined when I wrote the words, I think ‘Oh, of course! That’s exactly it!’, so there’s always this sense of surprise when we work together that thrills me. There’s also a bewildering amount of squeals, all caps & sparkle eyes that happen, especially considering how dark the work always ends up being. But that’s another thing I really like about working with her — we’re pretty well matched in enthusiasm!”
“After Lisa sent me the text for each source I went to my sketchbook, as I usually do. For some reason even though 90% of my work is digital I find that I get the best composition when drawing with a good ol’ fashioned pencil. It was also important that I really try to visualize how to bring Lisa’s words alive with just a little bit of movement, so drawing quickly in my sketchbook was the best way to do that. After I brought the sketches into my computer I developed a color palette that would unify all the images and set to work! Everything (including the animation) was done in Photoshop at this point! I don’t know a lot about animation, so I did a LOT of internet research – picking apart gifs from different animes (they have the best details!) and seeing how to make something look convincing in very few frames.”
In examining every appearance of Nature, but especially in examining an important and striking one … we should look round through all of nature to see where something similar, something that has affinity to it, appears: for it is only by combining analogies that we gradually arrive at a whole that speaks for itself and requires no further explanation.
—Johann Wolfgang von Goethe, from Zur Farbenlehre
Brandi Katherine Herrera is a Portland, Ore. based poet and multidisciplinary artist, whose work in poetic text, film, and sound has been performed for Poetry Press Week, Pure Surface, Free Verse, and AiPD INK, and featured in The Volta, Octopus Magazine, The Common, Word/For Word, Borderlands Texas Poetry Review, VoiceCatcher, Poems, Places & Soundscapes, and The Oregonian, among others. She is the co-editor of The Lake Rises, a WITNESS POST Series anthology (Stockport Flats, 2013), and holds a Master of Fine Arts in Poetry from Pacific University. She spent the first half of 2015 as an artist-in-residence at Château de Monthelon (Montréal, France), where she completed a book of experimental text + visual translations and poems (Mutterfarbe) using Goethe’s Zur Farbenlehre as a primary source.