The Threepenny Review

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The Threepenny ReviewThe Threepenny Review

The Threepenny Review Spring 2019

The Threepenny Review is a well-regarded quarterly of the arts and society which has been published since 1980. Every issue contains excellent essays, stories, poems, and memoirs, plus beautiful black-and-white photographs. Its regular writers include six Nobel Prizewinners and four U.S. Poet Laureates; recent issues featured writing by Wendell Berry, Geoff Dyer, Louise Glück, Greil Marcus, Javier Marías, Adam Phillips, and Kay Ryan.

Country:
United States
Language:
English
Publisher:
The Threepenny Review
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4 Issues

IN THIS ISSUE

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contributors

Tariq al Haydar’s work has appeared or is forthcoming in Beloit Fiction Journal, Crab Orchard Review, North American Review, and elsewhere. Marc Berley, whose fiction has appeared in The Iowa Review, Shenandoah, and Southwest Review, is the founding editor of LitMag. Jesús Carrasco received the European Prize for Literature in 2016; his debut novel, Out in the Open, has been translated into twenty-five languages. Margaret Jull Costa, his translator, has a forthcoming translation of Ana Luisa’s poetry collection What’s in a Name due out soon from New Directions. Abhrajyoti Chakraborty has also written for The Nation, The Guardian, and the TLS. He lives in New Delhi. Will Cordeiro has work appearing in Best New Poets, Poetry Northwest, Sycamore Review, Zone 3, and other journals. He lives in Flagstaff, Arizona. Sarah Deming’s novel Gravity, about a female…

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table talk

I AM SITTING on a bench in Viktoria-Luise Platz in Berlin, during the hot summer of 2018. The immigrant family next to me in the Platz appear to be on the move. They have several huge, battered suitcases on wheels, along with a shopping cart full of miscellaneous belongings, backpacks, and smaller handbags. Everything looks scuffed. And they look tired. It’s a little uncomfortable to see that, in this heat, they’re wearing jackets—a sign perhaps that they’re living outdoors, as even on hot days Berlin cools down at night. I can’t make out where they’re from; they’re not speaking Arabic or what sounds like a language from the region. Could they be Roma? The husband, unshaven and courtly, is holding two large glass beer mugs in one hand and carefully…

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thanks to our donors

The Threepenny Review is supported by Hunter College, the Bernard Osher Foundation, the Campizondo Foundation, the Rosenthal Family Foundation, the Seattle Foundation, and the George Lichter Family Fund. Our writer payments are underwritten by our Writers’ Circle, which includes Robert Bauer, Richard V. Clayton, Susan Knapp, Eunice & Jay Panetta, Robert Redford, Neal Rosenthal & Kerry Madigan, Alice Sebold, and Pablo Woodward. The other generous individuals who in 2018 helped keep the magazine going are listed on pages 30 and 31 of this issue. Heartfelt thanks to all!…

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a note on the artworks

Over the course of his five-decades-long career, Richard Misrach has made visible the tension between his photography’s documentary ethos and his commitment to exposing the medium’s strategies. The images featured in this issue of Threepenny—all, in a sense, portraits, though their subjects include stone monuments and desert plants—make us uncannily aware of how we are looking at the faces of human life and environments, even as they also elucidate real suffering and resilience. Born in Los Angeles in 1949, Misrach moved north in 1967 to attend the University of California, Berkeley. There he completed his first major project, Telegraph 3 A.M. (1974), a series of black-and-white portraits of young people living on the streets. Although by the late Seventies Misrach had distanced himself from such intimate attention to human subjects, turning…

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my mother used to say

] my mother used to say in her youth if you had dark curlsand bound them in back with a purpletie, this was considered to be the very greatest of all adornments butfor girls with hair that’s yellowerthan a torch it is better to wear a wreath entwined with flowers interwovenin their first bloom. And recentlythere were hairbands that came from Sardis [ artfully embroidered work ] Ionian city[ ] But for you, dear Kleïs, I haveno artful hair tie and nowhereto get one: the Mytilénean [ ][ ][ ] these reminders of the exileof the children of Kléanaxa horrible waste, a ruin […

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photo credits

The fourteen images in this issue are all copyrighted by Richard Misrach. The night desert pictures appear here courtesy the artist and Fraenkel Gallery, San Francisco; Pace-McGill Gallery, New York; and Marc Selwyn Fine Arts, Los Angeles. The Telegraph 3 a.m. images are courtesy the artist and the Museum of Modern Art, New York. Below are captions for each photo, listed by page. Front Cover: People’s Park (from Telegraph 3 a.m.), ca. 1972–74. 3: Three Girls (from Telegraph 3 a.m.), ca. 1972–74. 7: Graffiti (from Telegraph 3 a.m.), ca. 1972–74. 8: Dakini and Friend (from Telegraph 3 a.m.), ca. 1972–74. 13: Stonehenge, 1976. 14: Nixon Kills (from Telegraph 3 a.m.), ca. 1972–74. 16: Lake Havasu, 1976. 17: Ocotillo, Organ Pipes National Monument, 1976. 19: Self-Portrait, White Sand, New Mexico, 1977. 22: Alan (from Telegraph 3 a.m.), ca. 1972–74. 23: Hawk and…

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