I’m pretty excited to announce that a rare, time-spanning, wormholing issue of North Dakota Quarterly is back from the printers and heading to your mailbox soon. (If you don’t subscribe, don’t panic. Do nothing for about 4 days and then go and subscribe when we have our new online subscription service set up next week!).
This is a hint… stay tuned.
Here’s my draft of a press release. I’ll post the finalized version over at ndquarterly.org when it’s approved.
It is with great pleasure that we announce the publication of North Dakota Quarterly 80.4-82.4: Welcome to the Wormhole. This combined issue was guest edited by Lucy Ganje, Nuri Oncel, and Eric Wolf and uses the image of the wormhole to celebrate the THEMAS movement. THEMAS is an acronym for Technology, Humanities, Engineering, Mathematics, Arts, and Sciences and it is poised to replace STEM as the shorthand litany of skills necessary to succeed in the 21st century economy and society.
The cover illustrations of a swirling NDQ Wormholes draw the reader into the issue. The poetry of Sarah Eliza Johnson, Anna Leahy, Katharine Coles, and others demonstrates that the ancient traditions of scientific and ethical in verse remain very much alive. Coles’ reflection on the body scientific and Leahy’s embodied reading of her father’s exposure to uranium provides an almost perfect epilogue to Tom Leskiw’s essay on the arts and sciences as twin siblings. Cindy Hunter Morgan’s poetic engagement with the fading Rothko Harvard Murals nudges the reader toward Nathan J. Bols’ essay “Flint Hills Lost” which reflected on the aged, fading grandeur or the Great Plains. The arresting images of Nuri Oncel’s and Betsy Thaden’s “Nano Art” converse with Sarah Eliza Johnson’s “Nanomachine” sequence of poems. There is much more to explore and sample.
The tête-bêche binding of this double issue evokes distorted time-space of the wormhole and the forgotten tradition of binding pairs of science-fiction novels together in the golden age of dimes-store fiction. Kenneth King’s essay reminds us of the potency of the past and future crossroads, Kimberly Miller’s poetry evokes ancient days (“Duria Antiquior”), and Paisley Rekdal’s verse takes us further back to the “Paleo.” In keeping with this recursive attitude, Sharon Carson invokes the almost-lost reviewers art and introduces a group of compelling review essays. There is little doubt that the innovative THEMAS movement finds in venerable genres new paths to the future. We think this captures the spirit of North Dakota Quarterly as well.
Be sure to check out ndquarterly.org for selections in this volume and more!