Cathedral: Some Marginalia on Reading

by Paisley Rekdal

“It’s okay to be white,” reads the sign posted in November by the Social Work building on the University of Utah campus where I teach. White poster, fine black letters in Arial font. The sign disappears in a day, though photos are taken, passed via social media. Two posters with the slogan “Stop the Rapes, Stop the Crime, Stop the Murder, Stop the Blacks” are then taped up, each with a web address for the manifesto “Blood and Soil” written by Vanguard America. These, too, are torn down. Someone spray-paints racist epithets on a campus construction site. This is not […]

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The Rough Beast Takes a Painting Class

by Alexandra Teague

The surface of American society is covered with a layer of democratic paint, but from time to time one can see the old aristocratic colours breaking through. —Alexis de Tocqueville, Democracy in America / The teacher says white is not truly a color, / containing as it does, all wavelengths of visible light. / She says the Rough Beast’s claws might be useful later / for scraffito—to scratch back through to what’s beneath: / cyan and magenta; Goldman-Sachs and Donald Trump. / The teacher says Trump is not a color. But everyone knows […]

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In the Spring Issue


In this issue: On Art Nonfiction Sallie Tisdale on touring the antiquities of Rome, Glen David Gold on tracking down a Gorey original, Heather Altfeld on the enduring gaze of John Berger, Paisley Rekdal on erasure and Paul Klee. Fiction Ben Greenman’s “Polyptych” (a divorced man and a painting that must be observed just so), Toni Martin’s “Director’s Cut” (a woman’s life as reconfigured through a foreign filmmaker’s sensibilities), and Peter Orner’s “Pacific” (an elderly couple—a sculptor and a potter—and the very end of things). Poetry Dan Alter, Denver Buston, Troy Jollimore, Rusty Morrison, Mira Rosenthal, and Alexandra Teague. In […]

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