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elegy in a death rattle
Henry Goldkamp lives in New Orleans, where they co-run The Splice Poetry Series, act as intermedia editor for Tilted House, and teach writing at Louisiana State University. Recent work appears in Indiana Review, Accelerants, Volt, Triquarterly, Bat City Review (winner of the 2022 Hybrid Prize), Afternoon Visitor, Tyger Quarterly, Figure 1, DIAGRAM, and Landfill. More at henrygoldkamp.com. // IG: @poetrysystem
Harpur Palate Ecotopia
Contributors: Josie Levin | Henry Goldkamp | Sheree La Puma | Jen Karetnick | Jeffrey Greene| Austin Lubetkin| Ana Prundaru | J\u27Atelier
Ode to a Giant Squid
Jeffrey Greene has published five poetry collections, a memoir, four nature books, and a book of mixed genre writing. The NEA, the Connecticut Commission on the Arts, and Rinehart Fund have supported his work, and he received the Morse Prize, the Jarrell Award, and the “Discovery”/ The Nation Award. https://jeffrey-greene.co
Harpur Palate Volume 22, Issue 1
Cyrus Carlson | Anisha Bhaduri | Chelsea Catherine | Tommy Dean | Michael Garcia Bertrand | Alia Halstead | J.T. Townley | Donovan McAbee | Clara Bosek-Schroeder | Michael Colbert | Eli Coyle | Rachel Furey | Steve Mitchell | Peter E. Murphy | Violet Piper | Lauren Rhoades | Robert Carney | Samuel Amadon | Sascha Cohen | grace (ge) gilbert | Marina Greenfeld | Hailey Gross | BEE LB | Leigh Lucas | John Muellner | Greg Nicholl | Kayleigh Norgord | Michael Quattrone | Jessica Anne RObinson | Sara Sturek | Maria Zoccol
The Weight Pulling Everything Down
Tommy Dean is the author of two flash fiction chapbooks, Special Like the People on TV (Redbird Chapbooks, 2014) and Covenants (ELJ Editions, 2021), and a full flash collection, Hollows (Alternating Current Press 2022). He lives in Indiana, where he currently is the Editor at Fractured Lit and Uncharted Magazine. A recipient of the 2019 Lascaux Prize in Short Fiction, his writing can be found in Best Microfiction 2019 and 2020, Best Small Fiction 2019 and 2022, Monkeybicycle, and numerous litmags. Find him at tommydeanwriter.com and on Twitter @TommyDeanWriter
Hot Vax Summer
Michael Colbert is a queer writer based in Maine, where he’s at work on a novel. He is the founding editor of The Rejoinder and is a prose editor with No Contact. He holds an MFA from UNC Wilmington, and his writing appears or is forthcoming in Esquire, One Story, The Florida Review, and The New York Times, among others
FUN WHILE IT LAST--
Sara Sturek is a Goldwater Writing Workshop Fellow at New York University, where she is pursuing an MFA in poetry. She received a B.A in Creative Writing and a B.A in Communication from the University of Southern California. Sara is also the recipient of the 2022 Gene and Etta Silverman Award. She now lives in New York City, where she is working on her first collection
Whispers: Cognitive Process in Inter-semiotic Translation
The research uses Whispers, a graduate student theater project as the case study to analyze the cognitive process of inter-semiotic translation from different media/semiotic pairs. The study adopts the Interpretive Theory of Translation proposed by Danica Seleskovitch and Marianne Lederer as a point of reference to examine artists\u27 thought processes when translating across sign systems. Spontaneous reflection of the artists, retrospective interviews, and written statements of the artists used during the performance have been collected along with copies of the source and target media. The paper begins with an introduction to the Whispers and the Interpretive Model proposed by Seleskovitch and Lederer, then proceeds with six section analysis, discussing Sylvia Skok’s paintings as the source media, Neva Derewelzky’s translation from painting to music composition, Marielle Zuccolo’s translation from poetry to American Sign Language, the cast’s collective translation from paintings to poetry, René Neville’s translation from painting and poetry to choreography, and the dancers’ translation of their names into choreography. The study concludes with a discussion session, summarizing the inquiry, reviewing the strength and limitations of the project, and proposing directions for further investigation
Tides of Public Archaeology: Reseeding the Banke, 1985–2006
In the late 20th century, archaeological botanical and ethnobotanical studies supported Strawbery Banke Museum’s interpretations of reconstructed landscapes. Curatorial and archaeological research expanded the comparative study collections of ceramics, glass, and personal-adornment artifacts, and encouraged decorative- arts scholars and archaeologists to use the collections for their research, publication, and programming. Field schools, study groups, and rotating archaeological exhibits were created annually to communicate current research. Internships, summer camps, and school programs introduced the public to archaeology and the diverse history of members of the waterfront community. With the commitment of the curators and the museum director, the program was staffed with archaeologists, interns, and community volunteers. The program adapted to its current role as a 21st-century historic-sites museum as institutional goals change
Commentary on the History of Public Archaeology at Strawbery Banke, Portsmouth, New Hampshire
This commentary reflects on the ways Strawbery Banke Museum archaeology was affected by, and in turn, influenced the field of historical archaeology. It can be argued that in the late 1960s urban historical archaeology got its start in Portsmouth, New Hampshire. The stories and narrative histories told in these articles are essential to the success of the Strawbery Banke archaeology program, as they reach to the heart of the importance the Portsmouth community attaches to this place. The process of community building has always been at work in Portsmouth and has been what makes Strawbery Banke the museum that it is today. The story of public archaeology and its development at Strawbery Banke discussed in these articles has been a key part of its institutional history