Confessions of a Star-Struck Memoirist

By Catherine Chambers

As the 2015 Association of Writers & Writing Programs (AWP) Conference draws near, I’ve been reflecting on my experiences since I attended the 2014 conference in Seattle. In the past year, I found, applied to, and was accepted by Goddard College's BFA in Creative Writing program after a two-year break from school to work for a circus troupe in Dallas, Texas. I had my first piece of writing (incidentally, based on an encounter I had during the conference) published in a literary journal, moved to a new state, and chose the career of “writer” for myself.

Previously, writing had been a hobby for me, one that I enjoyed but didn’t feel that I was especially good at. I began to write memoir pieces about my experience in the circus, an abusive relationship, and my childhood, but I didn’t feel “legit” writing about these things. Everyone had these problems, I thought. Nothing made me any more special than the next memoirist who loved her mom and made some bad choices in the love department.

At this point, I would like to take the opportunity to thank Nicole Hardy, author of Confessions of a Latter-day Virgin: A Memoir. She, along with with Suzanne Morrison and Claire Dederer, presented a panel on humor in memoirs by women. It was the first panel I attended at #AWP14, and I was completely taken with all three women, Nicole Hardy especially.  After the panel, I was walking around with my two best friends (Hi Janice! Hi Jenna!) and we stopped at a booth about ten feet from Nicole. My friends urged me to go talk to her, but I was having a hard time with my words. I couldn't believe I could just walk up to her?!

I did eventually get up the courage, and Nicole gave me a hug. I asked her if I could ask for writing advice, and she said that I could ask her anything. My questions were: “What if my story is average compared to someone else’s? What if my experiences aren’t extraordinary?”

Her answer: “It doesn’t matter. All your experiences can be extraordinary. It’s not the quantity of stories you tell; it’s the quality of your storytelling.” From that moment, my perspective of my own writing shifted. I started taking steps to better myself as a storyteller, rather than worrying that my life wasn’t interesting enough to merit the title of “memoirist.” Following that illuminating experience, I found Goddard, I found confidence in my craft, and eventually, I found beauty in everyday experiences.   

I will be live-tweeting my #AWP15 experience as I represent Duende with Managing Editor Amy Sterne, Non-Fiction Editor Jørn Otte, and Faculty Advisor/Editor-in-Chief Wendy Call. Come by the Duende booth and take a selfie with us, talk writing with us, or come by just for a hug. Let's #MeetandTweet

We would especially love a photo-op with any of our contributors! See you in Minneapolis!

Follow @DuendeLiterary for updates from the journal, and @CatChamberz on Twitter and Instagram for Catherine’s live-tweets of #AWP15! #SharetheDuende

The Words Behind the Bars

By Jørn Otte

Last October, I had the unique and wonderful opportunity to hear Mumia Abu-Jamal deliver a prerecorded commencement speech to the fall 2014 graduates of my school, Goddard College. Abu-Jamal is a former journalist and activist, as well as a distinguished writer and Goddard College alum. He is also a member of America’s enormous incarcerated community, serving a life sentence in a prison in Pennsylvania. Feel free to learn more about him by reading his incredible book, Live From Death Row.

The United States of America has a population that accounts for 5% of the total number of people on planet Earth, however, the "Land of the Free" houses 25% of the world’s prison population. This means, that one out of every four incarcerated people, in the world, is housed in a United States jail cell.

While I will not mythologize the role of convict, nor defend any atrocities committed by anyone, it is a certainty that innocent people are incarcerated at an alarming rate in America. Though it can be argued that the vast majority of people who end up in prison do so because they were guilty of committing a crime, that does not mean that the law they broke was a just law, nor does it mean the sentence they received was a fair punishment to fit the crime. The reality is, persons of color are incarcerated at a disproportionate rate in this country. Statistically speaking, if you are a young black male, you have a greater chance of being put in jail than a white person, even if you both commit the same crime.

Real and documented social inequalities are one reason why those in prison deserve a platform to be heard. These people are fathers, mothers, children, friends and loved ones. No matter what put them in the cell they now occupy, they are still human beings. They have lives worth learning about and stories worth hearing.

There are many organizations that exist to help give voice to the millions of people behind bars in America. Perhaps the best known is the PEN Prison Writing Program. “Founded in 1971, the PEN Prison Writing Program believes in the restorative, rehabilitative power of writing and provides hundreds of inmates across the country with skilled writing teachers and audiences for their work. It provides a place for inmates to express themselves freely and encourages the use of the written word as a legitimate form of power.”

Another wonderful organization that uses the power of words to work with at-risk youth is called Pongo. “The Pongo Publishing Teen Writing Project is a volunteer, nonprofit effort with Seattle teens who are in jail, on the streets, or in other ways leading difficult lives. We help these young people express themselves through poetry and other forms of writing.”

There are many other programs across the country and around the world that are striving to allow the written word to be a vehicle through which people behind bars can express themselves, share their stories and heal. We at Duende wish to add our voice to helping the voiceless. We want to share the words behind the bars.

Our online literary journal is committed to giving voice to those stories by presenting a platform where previously or currently incarcerated writers, poets and artists can share their work with the general public. Duende is dedicated to showcasing quality writing from communities underrepresented in the U.S. literary landscape. The journal seeks to be a vehicle through which writers who are or have been incarcerated can share their writing and visual art with a wider audience. Duende seeks poetry, prose, hybrid work, and visual art coming from the minds and hearts of prisoners—current or former, in the U.S. or in other countries.

You are not forgotten and you deserve to be heard. We gladly accept your submissions via postal mail until March 25, 2015. Please send to:

Duende
BFA in Writing Program
Goddard College
123 Pitkin Road
Plainfield, VT  05667

This is our first effort at this endeavor, however it most certainly won’t be our last. Mumia Abu-Jamal was once quoted as saying, “Very few people in prison have voices that go beyond the wall. It's my job to do the work for them because they have no one.” That is Duende’s mission as well. Please feel free to share this call with your local prison writing organization. Thank you.

The Fire Within: Celebrating the Life of Audre Lorde

By Charity Goodrow

On this day in 1932, Audre Lorde was born in Harlem to Caribbean immigrant parents Linda and Frederick Lorde. I often heard this lyrical name, Audre Lorde, in passing during my residencies at Goddard College’s Plainfield, VT campus. Many of my peers seemed deeply moved by her work as a poet, essayist and activist. It felt natural for me to include The Collected Poems of Audre Lorde in my studies since my work focused primarily on feminism and writing from the female experience.  

My goal this semester was to find my feminist voice. I hoped to build up the courage to translate my voice into a collection of personal essays, poetry, and fiction. I believe that certain people (in my case authors) reveal themselves to us during the exact time we are seeking guidance and inspiration. While studying Lorde’s collection of poetry, I developed a deep admiration for her. I quickly realized she possessed a fire within that blazed a trail for women around the world to express themselves. There’s no question, Lorde’s work ignited a fire within me that has illuminated my path as a writer.  

The poem in Lorde’s collection that inspired me most was “A Litany for Survival.”  While fear can be debilitating, this poem reminded me that silence is far more destructive; silence can destroy a person’s soul.  Audre Lorde once said, “I write for those women who do not speak, for those who do not have a voice because they were so terrified, because we are taught to respect fear more than ourselves. We've been taught that silence would save us, but it won't.”  

As an aspiring writer, there have been times when my fear of rejection, judgment or being misunderstood has disrupted my creative process. Sometimes I feel as though I have so much to communicate to the world, but the powerful voice within me comes out as a whisper.  If you’ve ever had a dream where you try to scream and nothing comes out, then I’m sure you can relate to this feeling of being locked in by fear.  What I admire most about Audre Lorde is her ability to embrace fear.  As I read “A Litany for Survival,” first silently then aloud, I began to understand that fear is a basic human emotion that we all experience and if we welcome it as we do joy and happiness, let it pass through us, we can discover its origin, allowing us to move forward and reject the isolation of silence. 

The following lines have since taken up residence in my soul and I am forever grateful for Audre Lorde’s wisdom and honesty:

"when we are loved we are afraid

love will vanish

when we are alone we are afraid

love will never return

and when we speak we are afraid

our words will not be heard

nor welcomed

but when we are silent

we are still afraid"

 
Lorde had an impressive career. She attended Hunter College, where she received her BA in literature and philosophy.  She also received an MLS from Columbia University. She worked as a librarian at Mount Vernon Public Library as well as Town School Library in New York City.  She had two children with Edwin Rollins and after their divorce, met her partner Frances Clayton while working as a writer in residence at Tougaloo College in Mississippi. Lorde was a mother, poet, activist, and feminist who was involved in the civil rights movement as well as the Afro-German movement which inspired the documentary Audre Lorde - The Berlin Years 1984 to 1992. In 1968, Lorde’s first collection of poetry First Cities was published. Some of her most popular work includes Coal (1976), The Black Unicorn (1978), and The Cancer Journals (1980). Audre Lorde was diagnosed with breast cancer in 1978 and liver cancer in 1984. She passed away on November 17, 1992.

Today, we celebrate the life and important work of Audre Lorde. Let us be reminded that we all possess a fire deep within and sometimes all it takes is a little inspiration to ignite it.     

 

 

Life Lessons: Don’t Disqualify Yourself

By Cameron Price

In March I will be graduating from Goddard's BFA in Creative Writing Program. It feels spectacular to thumb through the 88 page manuscript of poetry and critical writing that I labored over and revised more times than I can count. In fact I printed it out just so I could hold it in my hands (I'll reuse and then recycle the paper, don't worry.) I'm very proud of the work that I've done at Goddard and grateful for the invaluable lessons and friendships I've gained.

At this point, many people know I'm pretty much DONE with my undergraduate degree. It’s an amazing feeling, don't get me wrong. I like being congratulated as much as the next guy. However there's that question. You know which one. It's the question that keeps (or did keep) you up at night as a young 20-something on the verge of beginning a new life chapter: "So what's next?" And, of course, this question may keep you up at night regardless of your age. We seem to hear it everywhere when we're about to finish a milestone. What's next, what's next, what's next....

It's an enchanting notion right? Life’s endless possibilities. The sky is the limit. Actually, as we all know, it's much messier than that. In the past when faced with the inevitable unknown, my emotions more closely resemble a tight and vicious knot of nerves and ecstatic excitement than a clichéd white-winged eagle soaring easily up to the lofty heights of aspiration. It's a terrifying question. And often it just feels easier to make something up. We are kind of making it up as we go along anyway.....right? Instead of worrying incessantly about the unknowable future, I've sought ways to approach the end of my degree differently. There must be a better way to look at all of this, I've thought to myself many times.

By far the advice that keeps coming back to comfort me are the words of Chicana author and activist Stephanie Elizondo Griest. She was Goddard's visiting writer last Fall. Griest is a colorful speaker who has lived an even more colorful life. Her stories of beautiful, terrifying, and transformational experiences from living everywhere from Russia, to China, to Cuba enthralled us all. However, one idea stood out to me: Don't be the one to disqualify yourself from an opportunity. Let that be someone else's job. Don't you be the one who tells you you don't have what it takes.

She figured, someone had to win that fellowship, write that book, get that job, receive that grant, tell that story. So why not her? Why not me? Why not you? The trick was not to NOT get rejected. The trick is not to be the one to tell yourself not to bother, that you wouldn't get it anyway. Stephanie Elizondo Griest’s advice: Give it your best shot and don’t get in your own way.

This means a great deal to me as a poet. My poetry easily gets rejected more often than it gets accepted. But I know now that if I had let just one of those rejection letters shut me down and hold me back, I may not have gotten my work accepted at the places I have. A good example of this is when I made an experimental video piece based on a poem I wrote. I wanted to try something different in an unfamiliar medium so I had fun with it and made something I was proud of. A little thought came to me that I should submit it somewhere. It was as simple as Googling "video art submissions" to find an avenue to potentially share my work. One of the first opportunities that came up was for the 6th Cairo Video Festival in Egypt. I browsed their website, marveling at the quality of the work I was seeing. A little thought came again that I should submit my little film to them. I scoffed. Um, helloooo, I shot this 2:45 second video on my iPhone 4. No way. But I did it anyway because there was no submission fee....

I totally forgot about the submission until months later when I received an email from Egypt telling me that my video piece had been selected to be screened in their upcoming festival! I was in shock. How did my iPhone movie make it into this international video festival!? The only thing I did know was that it wouldn't have been accepted at all if I had never submitted it. Though I had my doubts, I didn't disqualify myself from the opportunity. Well, maybe more accurately, I followed my gut before I could talk myself out of it and lo and behold, something great came of it. On November 17, 2014, my film played on loop in a gallery somewhere in Cairo. I've never been to Cairo—I may never go to Cairo, but my iPhone video did!

I am remembering this now as I am about to graduate. I am trying to imprint it in my mind, make it my mantra: I will not be the one to disqualify myself. That's someone else's job. I just have to go for it. And I share that with you now, dear supporters of Duende. May it light your path as it has illumined mine. Remember that you are your best advocate! Don't be the first one to tell you that you, your writing, your craft, your dreams, are not good enough, not attainable, not realistic, not "reasonable." Let that be someone else's job. Your job is just to kick ass and go for it (and of course, to submit your brilliant creative work to Duende Issue 3 starting March 1st…).

 

Striving Towards Empathy: Why Diversity in Lit Matters

By Amy Sterne

A few weeks ago I finished reading The Empathy Exams, a recently released collection of essays by Leslie Jamison.  Like most great books, certain portions of it kept popping into my head long after I had sadly soaked up the last sentence.  In the opening essay that bears the same name as the collection, Jamison recalls her experiences working as a medical actor.  In her position, she acts as a patient and evaluates the level of empathy of the medical students while they pretend to treat her.  While this is simply the premise for Jamison’s deeper exploration into physical and emotional pain and the ways that we share that pain with others, I couldn’t help thinking, would I pass an empathy exam?
    
Scientific studies show that many of the same areas in our brain that are active when we are in pain are also active when someone we care about is in pain. Being empathetic towards those that we love comes naturally to us. We see a close friend or family member emotionally wrecked, or physically suffering, or over-the-moon joyful and we share those feelings.  However, when we witness the suffering of someone that we don’t already love, that we don’t know, that perhaps we feel we don’t even understand, empathy becomes more difficult.  I think as imperfect people, it is normal for us to err on the side of apathy rather than empathy. Apathy is the easier of the two actions, but certainly not the most helpful.
    
I started thinking about how we can fight those apathetic tendencies and engender empathy in ourselves and others, particularly when it is the most difficult. How can we use empathy to grow? I think one of the answers lies in diversity.  When we expose ourselves to unique and interesting voices, we hear people who on the surface seem completely different from us. Sometimes these stories challenge and overcome our prejudices. Sometimes these stories give us a context for someone’s actions that give us a deeper understanding of a whole situation. The more we listen to these stories, the more we understand the individual pain and our shared humanity. Stories connect us, and those connections become the building blocks for empathy. Roslyn Bresnick-Perry, the author of Leaving for America, said, “It’s hard to hate someone whose story you know.”  Sharing stories, telling ours and listening to others, not only creates empathy but also diminishes hate.
    
I like to think that while Duende’s mission statement is to give a voice to underrepresented groups in today’s literary scene, what we are really doing is helping to spread empathy around to those that need it most. This is not to say that certain people deserve more empathy than others, but that the stories that come from groups that are underrepresented in the literary community simply are not seen. Their voices are valuable, they have the ability to bring depth and breadth and texture to our ever-expanding understanding of what it means to be human. Without a platform those voices can only reach so far.
    
I think the other way that we can create empathy is by pushing ourselves in the direction of it. Jamison says it more eloquently than I could near the end of The Empathy Exams, "Empathy [is] a choice we make: to pay attention, to extend ourselves. It's made of exertion, that dowdier cousin of impulse . . .The act of choosing simply means we've committed ourselves to a set of behaviors greater than the sum of our individual inclinations. . .

This confession of effort chafes against the notion that empathy should always rise unbidden, that genuine means the same thing as unwilled, that intentionality is the enemy of love. But I believe in intention and I believe in work. I believe in waking up in the middle of the night and packing our bags and leaving our worst selves for our better ones."
    
Let’s make it our intention to self-evaluate and strive in the direction of empathy instead of apathy. Let’s be grateful for the diverse stories in the world today, learn as much as we can from them, and allow them to move us to celebrate our similarities rather than our differences.
    
    
   

Reinvigorating Your Writing Practice for the New Year

By Catherine Chambers

I don’t know about you, friend, but 2014 was a trial by fire for my loved ones and me. I’m sorry to say that I went weeks without picking up a book, without writing down a single word. However, in the midst of post-holiday wintertime blues, I find there is nothing more comforting than a story, read or told. The question is: why is it so difficult to keep it up during hard times? For creative types (a generally sensitive bunch), the littlest thing can set us off. I once didn’t read an assignment for a week because there was snow outside and my kitchen was dirty. To be honest, this year, my writing suffered, but I’m determined to change that.

Personally, I think people aim too high when it comes to New Year’s resolutions. My motto: Keep it Simple. Setting realistic goals you can accomplish will feel much better than drinking kale juice every day for a month only to go on a donut binge. If I can overcome cleaning a three-day-old crusted-over crock-pot, you can overcome too! We can do it together in three easy steps.     

Step 1: Practice.

From writing, to yoga, to business analysis, everything we do as humans takes practice. Make writing (even if it’s an especially witty grocery list or a diary entry) a part of your life every day. To take an example from Natalie Goldberg’s Writing Down the Bones, sitting down to write your magnum opus after a hiatus is like saying, “I can go for a run today because I stretched last week.” I’ve been particularly bad about this one lately. The stress of moving, finances, the holidays, its all added up. 2015 will be about overcoming my outer problems and easing the pain with writing every day. Granted, sometimes sitting down to write will be a pain, but as one of my fellow editors pointed out, sometimes art is hard.

Step 2: Stop Caring About What Everyone Thinks.

Trust yourself when it comes to your work. Not everything you write is a gem, but what matters is getting it out. If you don’t get your work onto the page, how are you supposed to pick through it to see what can get shined up?

Another of my favorite Goldberg-isms is, “You should listen to what people say. Take in what they say… Then make your own decision. It is your [writing] and your voice.” Personally, I struggle a great deal with putting my writing out in the world whether for peers to read, submitting for publication, or even just letting my partner take a glance at it. It’s like sending my child go off to kindergarten only to worry about bullies taking her lunch money.

People have opinions and they love to share them, but it doesn’t mean you have to listen. The same thing goes for your ego. Don’t listen to that jerk, either. The societal anxieties you picked up as a child, the need to please and be perfect, none of that has a place in your writing practice. Writing is not a good profession for prideful people. Rejection letters paper our inbox, we work mundane jobs to pay the bills, but we press on. Always press on.

Step 3: Be Present.

This is important. Take deep breaths. Go out barefoot in the snow just to see what it feels like. Document every little thing that you see and love and feel. Observe your world as it’s happening to you. Pull an Anne Lamott and carry an index card in your back pocket in case of emergency poetry. Say yes to reinvigorating your writing practice one day at a time. If you skip a day or two, don’t beat yourself up, just get back to it and write. Truth is, in creating you will find your solace.

No Silent Night

By Jørn Earl Otte

The holidays, however you may define them, will soon be upon us, and for too many in America, they will be spending those holidays in the shadows of grief and loss. Where I live, in the heart of Appalachia, while the tree-covered mountains have long since lost the robust colors of autumn, the houses throughout my neighborhood are covered in glittering lights, and as the old song says, “in the air, there’s a feeling of Christmas.”

Like many writers that I respect and admire, for me, there is a feeling in the air that has very little to do with the so-called joy of the season. Depression encroaches upon the heart of the melancholic writer as much as the eggnog, and turkey, and gift-giving seem to do. For those who suffer through this dark time, the anxiety, sadness, and grief they must deal with comes from a variety of places – memories of loved ones who died too soon, struggles with illnesses, divorce, financial difficulty, or a myriad of other issues. I have experienced depression through the holidays for many of those reasons, and in other years I have celebrated, and enjoyed the positive feelings synonymous with this time of year.

This year, however, I am faced with a depression that comes from a different place. It comes from a growing anger, sadness, frustration, and bewilderment I have at the way my country is treating its own citizens of color. As a white male who is perfectly aware that I come from a place of privilege, I feel the need to speak up, and acknowledge that my country is sick, and I am sick with it, and I don’t know the cure.

The written word is what I know, and it is all that I know, and it has brought me comfort before during the darkest times. So what to do? Some of the people who are near and dear to my heart don’t have the same kinds of conversations with their children as I have with mine. I have a 15-year-old daughter and a nearly 10-year-old son. Never once have I had to tell them how to behave if confronted by an armed police officer. But people I love have to coach their children in ways that I can’t imagine, and then they have to pray every single day that their child will make it home alive.  

So again I ask, what to do? At times, I feel helpless, but I also know that I am privileged to have the opportunity to make a choice – I can either speak up, or I can be silent. Thankfully, I am both a writer, and an editor on the staff of a progressive literary magazine so I can speak up in multiple ways.

Writer and blogger Nancy Arroyo Ruffin wrote on her website recently that “Everyone agrees that there is injustice going on, and while some protest or burn down businesses to release their rage— as an artist, as a writer, I do the only thing I know how. I write. I read. I try and educate myself and others and then I write some more. My art is the only weapon I have. My words are how I fight back because in the end my words are all I have.”

I have suffered some of the worst that depression can bring – I have drowned the thoughts in alcohol, I have laughed in the eye of the storm, I have wrestled with the Almighty, and I have stared down the demons who wished me to end it all. In the end, I have found the most solace in the written word – both my own, and the works of others. Ruffin is spot-on. I can only use words to fight this battle. Whether they are the words of others (William Styron’s Darkness Visible, which chronicles his descent into the darkest worlds of depression, helped me come to a greater understanding of my own battle) or my own words, words are all I have.

Being a part of the staff of Duende during this time of year, I have found another weapon in this battle, and that is the wonderful opportunity to read amazing works from writers spanning the globe and representing such beauty and diversity that I can scarcely take it all in. But I will take it in, and then I will share it with the world in the virtual pages of Duende. For I have taken a solemn vow around a table of my peers in a small building in a remote college campus – to help make a literary magazine that reflects “the true beauty and diversity of the U.S. literary ecosystem.”

I am reminded of the words of the German Protestant pastor and anti-Nazi activist Martin Niemöller, who wrote, “In Germany, they came first for the Communists, and I didn’t speak up because I wasn’t a Communist; And then they came for the trade unionists, and I didn’t speak up because I wasn’t a trade unionist; And then they came for the Jews, and I didn’t speak up because I wasn’t a Jew; And then . . . they came for me . . . And by that time there was no one left to speak up.”

So as an editor and writer, I speak. I hope that my words and my choices can make some small millimeter of awareness and change in this violent American landscape. I hope that my fellow privileged white brothers and sisters will take a moment to reflect upon what is happening to our black and brown countrymen, and then, on the Holy Silent Night, lift up a silent prayer to whomever they believe hears such things, and then raise a loud voice to the people in power who can enact meaningful change.

Despite my growing frustration and anger at the country I live in, despite my sadness and fear for my brothers and sisters who have more melanin in their skin than I do, and despite the depression that has constantly and consistently for multiple reasons afflicted me each and every winter – dammit, I still love Christmas. And perhaps what I love about it most of all is the fact that it reminds me, at the most basic level, that we are to love one another. As a father, I love my children and can help them to be better members of society by raising them to love people of all colors, creeds, sexual orientations, religions, and so forth. As a writer, I can speak out about atrocities that are a disease in my country. As an editor, I can make a conscious effort to showcase the talents of people who are otherwise marginalized in the literary landscape. As a human being, I can give hugs, I can share food, and I can shout for joy and shout in protest. What I cannot do, what I must never do, is be silent, no matter how holy the occasion.

Duende Selects 2014 Pushcart Nominees

Wendy Call
BFA Faculty and Literary Journal Advisor

In a year of blood and anguish in Ayotzinapa, Damascus, Ferguson, Gaza, Marysville, and so many other places, what is the point of another tiny, upstart literary journal? I have asked myself that question more than once during the twenty months I’ve worked with Goddard BFA students to create a new, student-edited journal.

Our BFA students have a clear answer: raising voices. The voices of Duende weave a narrative of our world today, in all its heart-breaking splendor. Here are just a few examples from our debut issue:

“She wonders and worries often about our civilization and whether or not we will survive acid rain, the holes in the ozone, the melting polar ice caps and what has happened to all those poor, poor bees. Don’t worry about her….”
    ~ Bianca Spriggs, “Mixed Media in the Age of Anthropocene” (poem)

“Can a sign be plaintive? I think it can. It was the way she tipped the letters for please that did it, each plastic piece perfectly aligned, leaning slightly to the right.”
    ~ Robin Koman, “The Secret Letters” (short story)
 
“This skin is the cry of black wolves,
burned tires and broken beer bottles,
the sea of Moses stripped down the middle,
mocha-skinned mothers lugging bodies”
    ~ Nadia Alexis, “Black Soliloquy” (poem)

“[E]ach loss brings up previous losses, each bout of grief awakens dormant sadness. And I hold my breath; brace myself to absorb the impact because the grief of my children will always be mine.”
    ~ Goddard BFA alumna Seema Reza, “Places Temporarily Submerged” (hybrid prose)

Through the work of these writers, and the thirty-one other writers and visual artists who generously contributed to Duende this fall, our journal lives its mission: “Duende aspires to represent the true beauty and diversity of the U.S. literary ecosystem. A majority of the writers and artists in our journal come from groups that are underrepresented. That is to say, most of the work we publish will be from writers and artists who are queer, of color, differently abled, immigrant, working class, youth, elder, and /or otherwise from communities that are too often overlooked by literary gatekeepers.”

Duende’s student editors are proud to nominate six works of poetry and prose from our debut issue for Pushcart Prizes:

Nadia Alexis’s poem “Black Soliloquy” ~ for its awe-inspiring rawness
Ellen Hagan’s poem “Grits” ~ for our editors’ collective “hell, yes!”
Robin Koman’s short story “The Secret Letters” ~ for its elegant pacing and satisfying resolution
Seema Reza’s hybrid prose piece for “Places Temporarily Submerged” ~ for its strong, evocative metaphors
Bianca Spriggs’s poem “Mixed Media in the Age of Anthropocene” ~ for its emotion and resonant sensory detail
Anastacia Tolbert’s short story “Alice” ~ for a killer opening and stylish friction that stays strong right to the end

Congratulations to these six writers!

We are thankful to all our contributing writers and visual artists for manifesting the spirit of Duende. As we read the more than seven hundred submissions we’ve received for Spring 2015, we’re grateful for the opportunity to connect with socially engaged literature and art from across the country and around the world.