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Issue 29 includes fiction by Berlin Prize winner and NEA Fellow V.V. Ganeshananthan, as well as relative newcomers Kimberly Garza, Maria Kuznetsova, Sam Simas, and Jennifer Wortman.Nonfiction by Best American Essays and Pushcart Prize: Best of the Small Presses contributor Paul Crenshaw and experimental lyric prose writer Debra Di Blasi.Poetry by Roethke Memorial Prize winner and Guggenheim Fellow David Baker, Anisfield-Wolf Book Award winner Martha Collins, Rome Prize winner Mark Halliday, Kate Tufts Discovery Award winner Janice N. Harrington, Jake Adam York Prize winner Brooke Matson, NEA Fellows Kaveh Bassiri and Matt Morton, Cité Internationale des Arts Fellow Jacques J. Rancourt, Alice Fay Di Castagnola Award winner Natasha Sajé, as well as Jan Beatty, TR Brady, Jenna Le, Samantha Lê, John A. Nieves, Roy White, and many others.Translation Folios featuring short fiction by Galician writer Xavier Queipo, translated by Jacob Rogers; and poetry by Catalan poet Gemma Gorga, translated by Sharon Dolin; Chinese dissident poet Shen Haobo, translated by Liang Yuing; and Slovenian poet AleS steger, translated by Brian Henry.The cover features work by Denver-based artist Michael Gadlin, who was educated at the Pratt Institute in Brooklyn, NY, and whose work has been shown all over Denver, as well as in New York City and France. Gadlin is represented by K Contemporary Gallery in Denver.

Marena struggles to remember what life was like before the Zero Tolerance Party installed listening devices in every home. Before they murdered her mother and put her father under house arrest. A time when difference was celebrated.When the new Minister of Education cracks down in her school, eliminating personal expression and independent thought, Marena decides she has to fight back. Fueled by her memories and animated by her mother’s spirit, Marena forms a resistance group–the White Rose. With little more than words, Marena defies the state officers lurking around every corner, and embarks on a campaign of life-affirming civil disobedience.The Silenced draws on the true story of Sophie Scholl and the White Rose, a movement that courageously resisted the Nazis. In an era when new technologies are accompanied by increasing surveillance, this is a powerfully relevant story of the enormous change that is possible when one person is courageous enough to speak the truth to power.

Sara Eliza Johnson’s much-anticipated second collection traces human emotion and experience across a Gothic landscape of glacial and cosmic scale.With a mind informed by physics, and a heart yearning for sky burial, Vapor’s epic vision swerves from the microscopic to telescopic, evoking an Anthropocene for a body and planet that are continually dying: “So alone / I open like a grave,” Johnson chronicles her love for “all this emptiness, this warp and transparence, the whorl of atoms I brush from your brow,” and considers how “each skull, / like a geode, holds a crystal colony inside.” Almost omnipresently, Vapor stitches stars to microbes, oceans to space, and love to pain, collapsing time and space to converge everything at once. Blood and honey, fire and shadow, even death and mercy are secondary to a profoundly constant flux. Facing sunlight, Johnson wonders what it would mean to “put my mouth to its / mouth, suck the fluid / from its throat, and give / it my breath, my skin, / which was once my / shadow,” while elsewhere the moon “is molten, an ancient red, and at its bottom is an exit wound that opens into another sea, immaculate and blue, that could move a dead planet to bloom.”In Vapor, Sara Eliza Johnson establishes herself as a profound translator of the physical world and the body that moves within it, delivering poems that show us how to die, and live.

"e;We may not relight the fires that used to burn in our villages, but we can carry the embers from those fires in our hearts and learn to light new fires in a new world."e;Ojibwe tradition calls for fathers to walk their children through the world, sharing the ancient understanding "e;that we are all, animate and inanimate alike, living on the one pure breath with which the Creator gave life to the Universe."e; In this intimate series of letters to the six-year-old son from whom he was estranged, Richard Wagamese fulfills this traditional duty with grace and humility, describing his own path through life-separation from his family as a boy, substance abuse, incarceration, and ultimately the discovery of books and writing-and braiding this extraordinary story with the teachings of his people, in which animals were the teachers of human beings, until greed and a desire to control the more-than-human world led to anger, fear, and, eventually, profound alienation. At once a deeply moving memoir and a fascinating elucidation of a rich indigenous cosmology, For Joshua is an unforgettable journey.

¿A profound debut from a writer of great talent.¿¿Adam Johnson

This 21st issue of Copper Nickel features poetry, fiction, and nonfiction, including work by National Book Award and National Book Critics Circle Award finalist James Richardson; Anisfield-Wolf Award recipient Martha Collins; Alice Fay Di Castagnola Award winner Jehanne Dubrow; Guggenheim Fellow Mark Halliday; NEA Fellows David Hernandez, Henry Israeli, and Kevin Prufer; PEN/O. Henry Prize recipient Polly Rosenwaike; James Laughlin Award winner Tony Hoagland; James Merrill Fellow Anna B. Sutton; Lambda Literary Award winner Julie Marie Wade; Lannan Foundation Fellow Ed Skoog; as well as a number of writers at earlier stages in their careers. The issue will also include three “Translation Folios” introducing and contextualizing for an American audience the Chinese poet Yi Lu, the Danish fiction writer Christina Hesselholdt, and three Uruguayan poets: Laura Cesarco Eglin, Circe Maia, and Karen Wild.The cover of Issue 21 features new work by renowned artist, musician, and composer Mark Mothersbaugh.

Copper Nickel is a meeting place for multiple aesthetics, bringing work that engages with our social and historical context to the world with original pieces and dynamic translations.Copper Nickel Issue 22 features three essays on contemporary publishing by Dalkey Archive Press founder John O’Brien, Bookslut founder Jessa Crispin, and Virginia Quarterly Review digital editor and Publishers Weekly columnist Jane Friedman. It also includes poetry, fiction, and nonfiction by Norma Farber First Book Award winner Cathy Linh Che, Alice Fay Di Castagnola winner G. C. Waldrep, Soros Foundation Fellow David Keplinger, California Book Award winner Alexandra Teague, Thom Gunn Award winner Charlie Bondhus, Hopwood fellow Rachel Richardson, and numerous emerging and established writers including Jaswinder Bolina, Elyse Fenton, and Bernard Farai Matambo.Additionally, the issue includes three “Translation Folios” introducing and contextualizing for an American audience work by renowned Turkish poet Haydar Ergülen, Georg Büchner Prize winner Karl Krolow, and Prix Max-Jacob winner Emmanuel Moses in translations by (respectively) Derick Mattern, Stuart Friebert, and National Book Award and Lenore Marshall Prize winner Marilyn Hacker.The cover of Issue 22 features work by Los Angeles-based artist Christina Stormberg.

Life could toss your sanity about like a glass ball; books were a cushion. How on Earth did non-readers cope when they had nowhere to turn?Nell Stillmans road is not easy. When her boorish husband dies soon after they move to the small town of Harvester, Minnesota, Nell is alone, penniless yet responsible for her beloved baby boy, Hillyard. Not an easy fate in small-town America at the beginning of the twentieth century.In the face of nearly insurmountable odds, Nell finds strength in lasting friendships and in the rich inner life awakened by the novels she loves. She falls in love with John Flynn, a charming congressman who becomes a father figure for Hillyard. She teaches at the local school and volunteers at the public library, where she meets Stella Wheeler and her charismatic daughter Sally. She becomes a friend and confidant to many of the girls in town, including Arlene and Lark Erhardt. And no matter how difficult her day, Nell ends each evening with a beloved book.The triumphant return of a great American storyteller, Good Night, Mr. Wodehouse celebrates the strength and resourcefulness of independent women, the importance of community, and the transformative power of reading.

The first time journalist Jon Lurie meets José Perez, the smart, angry, fifteen-year-old Lakota-Puerto Rican draws blood. Five years later, both men are floundering. Lurie, now in his thirties, is newly divorced, depressed, and self-medicating. José is embedded in a haze of women and street feuds. Both lack a meaningful connection to their cultural roots: Lurie feels an absence of identity as the son of a Holocaust survivor who is reluctant to talk about her experience, and for José, communal history has been obliterated by centuries of oppression.Then Lurie hits upon a plan to save them. After years of admiring the journey described in Eric Arnold Sevareid’s 1935 classic account, Canoeing with the Cree, Lurie invites José to join him in retracing Sevareid’s route and embarking on a mythic two thousand-mile paddle from Breckenridge, Minnesota, to the Hudson Bay.Faced with plagues of mosquitoes, extreme weather, suspicious law enforcement officers, tricky border crossings, and José’s preference for Kanye West over the great outdoors, the journey becomes an odyssey of self-discovery. Acknowledging the erased native histories that Sevareid’s prejudicial account could not perceive, and written in gritty, honest prose, Canoeing with José is a remarkable journey.

When Celia Canby—Kate’s niece, Bess’s mother, and Harriet’s cousin—is killed in a car accident, it’s up to Kate and Harriet to raise Bess. Ten years later, on the day of the accident, the local newspaper in Harvester, MN, dredges up the story of the accident for a careless "Way Back When" piece, subjecting the women to another round of grief. Kate, arthritic and stuck far away from the farm she loves, is concerned about Bess. Headstrong and closed off, Bess yearns to escape Harvester before she "goes bad." But when she begins to trace the same path of mistakes her mother made—a risky relationship with a local married man—everything seems on the verge of falling apart.In a novel that celebrates the power of what a woman can do, What A Woman Must Do asks timeless questions about love and loss: How does our history define us? How can we let go of it? Should we?

The explosive growth of the local food movement is hardly news: Michael Pollans books sell millions and the spread of farm-to-table restaurants is practically viral. But calls for a food revolution come most often from a region where the temperature rarely varies more than a few degrees. In the national conversation about developing a sustainable and equitable food tradition, the huge portion of our population who live where the soil freezes hard for months of the year feel like they're left out in the cold.In Winters Kitchen reveals how a food movement with deep roots in the Heartlandour first food co-ops, most productive farmland, and the most storied agricultural scientists hail from the regionisn't only thriving, it's presenting solutions that could feed a country, rather than just a smattering of neighborhoods and restaurants. Using the story of one thanksgiving meal, Dooley discovers that a locally-sourced winter diet is more than a possibility: it can be delicious.

When acclaimed author Deni Béchard first learned of the last living bonobos—matriarchal great apes that are, alongside the chimpanzee, our closest relatives in the animal kingdom—he was completely astonished. How could the world possibly accept the extinction of this majestic species?Béchard discovered one relatively small NGO, the Bonobo Conservation Initiative (BCI), which has done more to save bonobos than many far larger organizations. Based on the author’s extensive travels in the Congo and Rwanda, this book explores BCI''s success, offering a powerful, truly postcolonial model of conservation. In contrast to other traditional conservation groups Béchard finds, BCI works closely with Congolese communities, addressing the underlying problems of poverty and unemployment, which lead to the hunting of bonobos. By creating jobs and building schools, they gradually change the conditions that lead to the eradication of the bonobos.This struggle is far from easy. Devastated by the worst military conflict since World War II, the Congo and its forests continue to be destroyed by aggressive logging and mining. Béchard''s fascinating and moving account—filled with portraits of the extraordinary individuals and communities who make it all happen offers a rich example of how international conservation must be reinvented before it''s too late.

About Issue 33 After a double issue in fall 2020 and a hiatus in the spring, issue 33 is a larger issue than normal, featuring a symposium on Ciaran Carson, five translations folios, and poetry, fiction, and nonfiction by established and emerging American writers. The issue includes: . A Symposium on Irish Poet Ciaran Carson, with appreciations by National Book Critics Circle Award winner Troy Jollimore, Guggenheim fellows Marianne Boruch and Connie Voisine, Forward Prize winner Stephen Sexton, NPR poetry commentator Tess Taylor, two-time NEA fellow Sandra Alcosser, Camargo Foundation Fellow Don Bogen, and Kavanagh Fellow Paul Perry. . Translation Folios featuring poetry by Italian poet Mariangela Gualtieri (translated by Olivia Sears), Mexican poet Verönica Gonzälez Arredondo (translated by Allison deFreese), and Polish poet Jerzy Jarniewicz (translated by Piotr Florczyk); ghost stories by 18th century Chinese fiction writer Ji Yun (translated by John Yu Branscum and Yi Izzy Yu); and an essay by Japanese postwar writer Endo¯ Shu¯saku (translated by Miho Nonaka). . Poetry by Guggenheim Fellows Dan Beachy-Quick and Marianne Boruch; NEA Fellows Sean Hill, Jason Koo, and Rachel Richardson; Jake Adam York Prize winner John McCarthy; Vassar Miller Prize winner Owen McLeod; Oregon Book Award winner Matthew Minicucci; two-time Lambda Literary Award winner Ellen Samuels; Lindquist & Vennum Prize winner Chris Santiago; Richard Wilbur Award winner Adam Tavel; Leia Darwish; Steven Espada Dawson; Emilia Phillips; Stephanie Rogers; Martha Silano; Roy White; and many others. . Fiction by Francine Ringold Award winner Sruthi Narayan, three-time Pushcart Prize winner Alan Michael Parker, Tyler Barton, Ariel Katz, Grey Wolfe LaJoie, Dan Leach, and Julian Zabalbeascoa. . Nonfiction by NEA Fellow Matthew Vollmer, Danielle Cadena Deulen & Shara Lessley, and Dustin Parsons. . The cover features work by Los Angeles-based artist Panteha Abareshi, whose work was written about in the New York Times in March 2021.

"In this remarkable debut, which marks the beginning of Multiverse-a literary series written and curated by the neurodivergent Hannah Emerson's poems keep, dream, bring, please, grownd, sing, kiss, and listen"--