“Late Bloomer,” 2023. Handwoven cotton, wool, acrylic (21 parts total). 90 x 138.5 inches, Paolo Arao. (Photo: Cary Whittier)
From the Current Issue
We are all experts in risk assessment now
silent glittery bursts peaking / above runway fences and then, / from the air, dotting the darkness
A Poet Asks a Visual Artist: Paolo Arao
I am reminded of the piano every time I sit to weave at my loom. I love the similarities between the piano and the loom. Both devices are creative instruments that rely on the touch of the hand and movement of the body to function. There is a somatic and embodied rhythm in the process of weaving - the repetition is like breathing.
Old Men Playing Golf With Their Wives
Inside Them
Inside Them
Their story: does not have a plot because old men’s lives do not have plots, just one colon after another with frequent asides.
Terms and Conditions of Being Indigenous™
You agree that any deviation from the public’s expectation of “Indian” may result in interrogation, fetishization, erasure, death, or all of the above.
We Built This City: A Broken Hyangga1
it was love for my sons that killed me
About Shenandoah
Reading through the perspective of another person, persona, or character is one of the ways we practice empathy, expand our understanding of the world, and experience new levels of awareness.
Recent Blog posts from the Peak
Kicking and Screaming
Blog Editor Chase Isbell interviews Shenandoah contributor Hannah Grieco about her book First Kicking, Then Not, a collection of short and flash fiction about motherhood and its discontents.
The Poetics of Craquelure: Behind the Poem "青 / Qing Ghazitsu"
Nicole W. Lee introduces her readers to the ghazitsu, an invented form derived from the ghazal, the zuihitsu, and the Chinese language.
Books: The Bronze Arms by Richie Hofmann
Blog Editor Chase Isbell interviews Richie Hofmann about The Bronze Arms, a poetry collection about erotic desire and classical beauty.