Nimrod International Journal of Poetry and Prose
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Editor’s Note


Eric Schlich: “Merlin Lives Next Door”

Lisa Nikolidakis: “The Ladies’ Philoptochos Society”

Torrey Crim: “Passage”

Toni de Bonneval: “No One Comes to the Summer House in Winter”

May Lee-Yang: “Envy”

Jacob M. Appel: “The Tinker of Presov”


Liz Ahl: “Beating the Bounds”

Gregory Djanikian: “Homecoming”

Leslie Adrienne Miller: “Parish,” “Funny”

Susan Cohen: “Green Burial,” “Love in a Year of El Niño,” “A Dictionary Names the Wind in the Trees”

Julie Swarstad Johnson: “Greener Than”

Hali F. Sofala: “On Belonging”

Mary Block: “After It Rained”

Lauren Camp: “Under Vigas”

Ken Haas: “The Sound a Key Makes”

Jeanette Clough: “Incognito”

John Walser: “Art Tatum Plays at Ray Heindorf’s House (1995) as I Dice Pepper (2014)”

Simon Perchik: “Untitled”

Chelsea Dingman: “Why I Leave”

Claudia M. Reder: “Stories from Chelm”

Jess Williard: “The Moors Re-Distill Wine for Medical Use”

Alix Anne Shaw: “Darsan (because I am filled with time and endless walking),” “Door defined as a space created by opening a door”

Amy Miller: “My Neighbor’s Wineglass,” “OR-7 Crosses the State Line,Becoming the First Wolf in California Since 1924”

Christina Olson: “Three Valentines from the Sea”

Kristina Marie Darling: “The Sadness of Small Houses”

Sarah Fawn Montgomery: “Colonize”

Bo Schwabacher: “A Lunar Eclipse Activation of Psychic Abilities: How an Adopted Korean Girl’s Birthmother Died,” “An Adopted Korean Girl’s Maternal Love and Asian Dust”

Dominika Wrozynski: “Drinking Becomes Them”
M. E. MacFarland: “A Brief and True Report of the New Found Land of California,” “To Memory”

Wayne Johns: “Lost Illusion,” “Hope,” “The Departure”

Erin Adair-Hodges: “Vow,” “Natural History”

Elizabeth Vignali: “The Rule of Three,” “The Bug Man Says”

James A. H. White: “Plicature”

Elizabeth Aoki: “Shoji Screens”

Mark Burke: “Learning to Listen”

Jeanne Wagner: “Demeter Revised”

Lee Colin Thomas: “Lodging”

Lynn Pedersen: “This Is Not an Elegy for Richard III”

Kathleen Fagley: “The Short Life of the Elect of New England,” “The Descent”

Corinna McClanahan Schroeder: “In a Season of Fever,” “Like a Great Black Mountain”

Matt W. Miller: “Arthur’s”

Cara Chamberlain: “Ice Cave”

John A. Nieves: “Dead Letters”

Frank Dullaghan: “Last Confession”

Christopher Todd Anderson: “For the Unidentified Woman Who Jumped to Her Death from the Top of a Parking Garage in Atlantic City”

Don Judson: “(untitled),” “Ciudad Juarez”

Robin Chapman: “Rock and Deer”

Matthew Brady Klitsch: “Kennel Stress”

Eleanor Goodman: “After You Get Drunk You Tell Me What Happened,” “Liberty Square”

Nina Forsythe: “In the Junkyard of Words,” “Golden Agers”

Emily Mae Stokes: “Love in the Age of a Good Sleep,” “In the Age of Locust Street”

Steve Lautermilch: “The Words That Are the Shoals, the Silence That Is the Sea”

Asnia Asim: “A Refugee Contemplates Foam”

Alan Elyshevitz: “Proof of Residence”

George Witte: “As Is”

Cynthia White: “Higher Power”

Crystal Simone Smith: “Uncloudy Day”

Charles Entrekin: “Grandmother Allison’s Stance”

Tania Pryputniewicz: “Free Box”

Jill Leininger: “Shells on the Floor”

Katie Knoll: “Alice Hoschedé, Monet’s Second Wife, on Camille, His First”

Mitchell Untch: “The Opening”

Megan Merchant: “Paper Mother”

Erik Campbell: “Faith for My Father circa 1980”

Bethany Bowman: “Cardinal Moon,” “Gladys with the Stand-Up Bass”

Angela Narciso Torres: “Where I Come From”

Arielle Hebert : “Verständnis”

Lauren S. Cook: “Taciturn”

Pam Baggett: “First Birthday Alone,” “Days Like These”

Ted Kooser: “On High Ground,” “In Winter, Lying on the Floor”

Emma Bolden : “The world’s most useful metaphors”

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