Wayne Miller

Kevin Prufer

Travis Kurowski

Gutenberg's invention of movable type in the fifteenth century introduced an era of mass communication that permanently altered the structure of society. While publishing has been buffeted by persistent upheaval and transformation ever since, the current combination of technological developments, market pressures, and changing reading habits has led to an unprecedented paradigm shift in the world of books. Bringing together a wide range of perspectives -- industry veterans and provocateurs, writers, editors, and digital mavericks -- this invaluable collection reflects on the current situation of literary publishing, and provides a road map for the shifting geography of its future: How do editors and publishers adapt to this rapidly changing world? How are vibrant public communities in the Digital Age created and engaged? How can an industry traditionally dominated by white men become more diverse and inclusive? Mindful of the stakes of the ongoing transformation,Literary Publishing in the 21st Century goes beyond the usual discussion of 'print vs. digital' to uncover the complex, contradictory, and increasingly vibrant personalities that will define the future of the book.

Literary Publishing in the Twenty-first Century

The Largest Arson Case in the History of the Country

Burn Boston Burn

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 Irish poet Ciaran Carson, five translations folios (from Italian, Spanish, Polish, Chinese, and Japanese), and poetry, fiction, and nonfiction by established and emerging American writers, including Dan Beachy-Quick, Marianne Boruch, Leia Darwish, Steven Espada Dawson, Sean Hill, Jason Koo, Sruthi Narayan, Alan Michael Parker, Dustin Parsons, Emilia Phillips, Rachel Richardson, Stephanie Rogers, Chris Santiago, Matthew Vollmer, and Julian Zabalbeascoa. The cover features work by LA-based artist Panteha Abareshi.

Copper Nickel Issue 33

The Murder of Sheree

A landmark poetry anthology showcases the works of more than 250 poets whose writing had been first published after 1970 and represents every European country, including poems by Portuguese poet Rosa Alcie Branco, Romanian Radu Andriescu, Czech Silva Fisherová, and Russian Irina Ratushinskaya, among others. Original.

New European Poets

Vikki Petraitis

Vic Jeremiah

The Great John Coleman

Stephen Daiter

Kerry Tremain

Wayne F. Miller: Photographs 1942-1958is the visual chronicle of the evolution of Wayne Forest Miller, a largely self-taught photographer who gladly left art school in 1942 to embrace the full spectrum of experience offered by the Second World War. Operating as a combat photographer under his own orders, and answerable only to Captain Edward Steichen, United States Navy, as to the results of his efforts, Lieutenant Miller photographed everything of interest that he encountered, from boredom to horror. Those images document an integral part of the American wartime experience and are secured in the National Archives in Washington D.C. What set Miller’s work apart from many other war photographers was in part a peculiar empathy, whether creating images of our own soldiers or Japanese survivors of the atomic bomb; in his work he strove to “climb inside those people, and look throughtheireyes.” That ethos is present in all of Miller’s subsequent work, from his unique and comprehensive study (supported by the award of two Guggenheim grants) of the citizens of the Bronzeville neighborhood of postwar Chicago to his equally groundbreaking documentation a decade later of the daily life of an American family. This present volume offers some of Miller’s finest imagery from several classic areas of his oeuvre, as well as little-known and heretofore unpublished works. Throughout the book Miller’s own words illuminate the viewing experience with remarks that are by turns amusing, informative, and thought-provoking. Missives and quotations are reproduced from luminaries such as Eleanor Roosevelt, W. Eugene Smith, and the fabled Edward Steichen. Wayne F. Miller: Photographs 1942-1958takes us to the midpoint of the career of one of the country’s most important visual artists and ends with his tremendously successful series that came to be published asThe World is Young. This long overdue volume is an irreplaceable addition to American heritage. Born in Chicago in 1918,Wayne F. Millerstudied photography at the Art Center School of Los Angeles before joining the United States Navy in 1942, where he reached the rank of lieutenant. In the two decades following the war, Miller worked as a freelancer forLife,Fortune,Ladies’ Home Journal,Collier’s, andEbony, received two Guggenheim fellowships, taught photography at the Institute of Design in Chicago, assisted Edward Steichen on the historic MoMA exhibitThe Family of Man, and served as the president ofMagnum Photos, among other achievements. He is the author ofThe World Is Young(Simon & Schuster, 1958) andChicago's South Side, 1946-1948 (University of California Press, 2000). He lives with his wife Joan in California.

Photographs 1942-1958

In the early 1980s, Boston was set ablaze with nightly multiple-alarm fires. Over a two-year period, 264 buildings were torched, intentionally set on fire, resulting in millions of dollars in damages and hundreds of injuries. This is the astounding true story of the deep conspiracy of 9 men, including 3 Boston cops and a Boston firefighter, determined to wreak havoc on the city and of the relentless investigators who uncovered what was termed "the largest arson case in the history of the country".Told by the ATF Special Agent who lived this investigation for three years, Wayne Miller, Burn Boston Burn is a tale of domestic terrorism and internal corruption. The book details the series of crimes that shook the Boston area, by interweaving the activities of the arsonists with those of the investigators, the firefighters and the citizens of the area.

Including a Flash Fiction Feature with work by Joseph Aguilar, Stephanie Dickinson, Ed Falco, Robert Long Foreman, Wendy Oleson, Pedro Ponce, Alicita Rodríguez, Matthew Salesses, & others; translations folios with work by Italian poet Lorenzo Carlucci, Brazilian poet Denise Emmer, & Russian poet Tatiana Shcherbina; fiction by Bradley Bazzle, Erin Kate Ryan, & T. D. Storm; essays by Aimée Baker, Dan Beachy-Quick & S. Farrell Smith; & poetry by Kaveh Akbar, Kevin Craft, Ashley Keyser, David Dodd Lee, Ed Bok Lee, Esther Lin, James Davis May, Jenny Molberg, John A. Nieves, J. Allyn Rosser, Yerra Sugarman, Pimone Triplett, &c. Cover image by Eleanor King.

Copper Nickel

Copper Nickel Issue 22 will feature 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 will also include 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 will include 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.

Issue 28 of Copper Nickel includes: Fiction by Preeta Samarasan, whose debut novel Evening Is the Whole Day was translated into 15 languages; Asako Serizawa, who has received a Pushcart Prize and two O. Henry Prizes; Scottish fiction writer Kirsty Logan; and NEA Fellow Sarah Strickley. Nonfiction by Guggenheim and NEA fellow Paisley Rekdal; novelist Sheena McAuliffe; and poets Rebecca Lehman and Celia Bland. Poetry by MacArthur "Genius" and National Book Award finalist Edward Hirsch; regular NPR reviewer Tess Taylor; Cave Canem Poetry Prize winner Gary Jackson; Guggenheim fellow Geoffrey Brock; co-founder of VIDA Ann Townsend; Stegner fellow Brian Tierney; NEA fellows Sandra Beasley and Michael Bazzett; Yale Younger winner Sean Singer; Best American Poetry contributor Andrew Feld; author of four poetry collections Heather Christle and author of three collections Catherine Pierce; and numerous emerging poets, such as Dominica Phetteplace, Mejdulene B. Shomali, and Samuel Cheney. Translation Folios featuring work by Israeli poet and editor of the newspaper Haaretz Eli Eliahu, translated by Marcela Sulak; Younger French poet Muriel Pic, writing about the massive, ruined Nazi vacation structure Rügen, and translated by Samuel Martin; contemporary German poet Ute Von Funcke, translated by Stuart Friebert; and ancient Roman poet Martial in new, highly contemporary translations by Tyler Goldman. The cover features work by New York-based artist Xaviera Simmons, whose work has been shown at the MoMA and MoMA PS1 (NYC); the Museum of Contemporary Art, Chicago; the Contemporary Arts Museum, Houston; the Walker Art Center (Minneapolis); the Pérez Art Museum Miami, the Institute of Contemporary Art, Boston; and the Radcliffe Institute for Advanced Study at Harvard, among other venues.

Copper Nickel (28)

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 byBest American Essays andPushcart 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.

Copper Nickel (29)

Adam Green

Black Chicagoans were at the centre of a national movement in the 1940s and '50s, when African Americans across the country first started to see themselves as part of a single culture. Green argues that this period engendered a unique cultural and commercial consciousness, fostering ideas of racial identity that remain influential.

Culture, Community, and Black Chicago, 1940-1955

Selling the Race

A boy asks his father what it means to die; a poet wonders whether we can truly know another’s thoughts; a man tries to understand how extreme violence and grace can occupy the same space. These are the questions Wayne Miller tackles in We the Jury: the hard ones, the impossible ones. From an academic dinner party disturbing in its crassness and disaffection to a family struggling to communicate gently the permanence of death, Miller situates these poems—taut and spare, yet rich in their images and full of unexpected turns—in dilemma. He faces moments of profound discomfort, grief, and even joy with a philosopher’s curiosity, a father’s compassion, and an overarching inquiry at the crossroads of ethics and art: what is the poet’s role in making sense of human behavior? A bomb crater–turned–lake “exploding with lilies,” a home lost during the late-aughts housing crash—these images and others, powerful and resonant, attempt to answer that question. Candid and vulnerable, Miller sits with us while we puzzle: we all wish we knew what to tell our children about death. But he also pushes past this and other uncertainties, vowing—and inviting us—to “expand our relationship / with Death,” and with every challenging, uncomfortable subject we meet. In the face of questions that seem impossible to answer, We the Jury offers not a shrug, but curiosity, transparency, an opening of the arms.

Poems

We the Jury

A William Carlos William Award Finalist for 2012 A Kansas City Star Top Book of 2012 A Library Journal Top Winter Poetry Pick A series of semi-mythologized, symbolic narratives interspersed with dramatic monologues, the poems collected in The City, Our City showcase the voice of a young poet striking out, dramatically, emphatically, to stake his claim on “the City.” It is an unnamed, crowded place where the human questions and observations found in almost any city—past, present, and future—ring out with urgency. These poems—in turn elegiac, celebratory, haunting, grave, and joyful—give hum to our modern experience, to those caught up in the City’s immensity, and announce the arrival of a major new contemporary poet.

Wayne Miller

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