What the River Saw
Diane Ackerman
Exposure
Elizabeth Robinson
Every Day I Want to Fly My Kite
Peter Gizzi
Palace of Rubble
Kyra Simone
Obituary for Dead Languages
Heather Altfeld
An Interview
Bradford Morrow and Richard Powers
The Open Water
Arthur Sze
Pud Street
Joanna Ruocco
Readymade
Andrew Ervin
Moon Witch, Moon Witch
Julia Elliott
Three Poems
Jessica Reed
The Return
Peter Orner
Bad Northern Women
Erin Singer
You Are Traffic
Daniel Torday
Death Sentences
Toby Olson
Four Boxes of Everything
Mary Jo Bang
Dressed in the Absurd Clothes of the Time: Thoughts on Translation
Troy Jollimore
The Cathedral Is a Mouth
Maya Sonenberg
Quince Suite
Rae Gouirand
You Don’t Have a Father and He Likes Cheese
Mauro Javier Cárdenas
The Dead
Nam Le
Potatoes
Maria Lioutaia
Restoration of the Empress
Byron Landry
Four Poems
Rae Armantrout
Restaurant
Robin Hemley
Kirkbride
Madeline Kearin
Saved for Last
Donald Revell
Diorama:
S. P. Tenhoff
After Three Years, He Said, These Little Trees Will Bear Fruit
Debra Nystrom
Ruins of Nostalgia: Nine Poems
Donna Stonecipher
Blue Cupola
Robert Karron
The Day After the Day After
Andrew Mossin
Firmament
J’Lyn Chapman
Nine Flowers in Three Sanctuaries
Frederic Tuten
William Gaddis and the Thoughts of Others
Marshall Klimasewiski
Cover art by Ivan Bilibin (Askold’s Grave by Vertovsky A.N. scenery design; “Coast of the Dnieper”). © Federal State Budget Institution of Culture, A. A. Bakhrushin State Central Theatre Museum, Moscow.
All things are inherently fragile, no matter how permanent and indestructible they may seem. Being mortal, we can only preserve our health, our very lives, for a circumscribed span of time. But what of our works—our languages, our communities, our arts and sciences, our institutions, our families? And what of our earth, its forests, rivers, mountains, skies, and oceans? How long can they, fragilities themselves if surely longer lived, be preserved?
The writers in Sanctuary: The Preservation Issue come at these and similar questions from a host of perspectives. In one story, a methodical archaeologist and a scavenger of architectural remnants approach the preservation of abandoned asylums using very different methodologies. In another, a starving geobotanist rides out the Siege of Leningrad in the Plant Institute cellar, where 370,000 types of seeds from around the world are stored, refusing to eat any of the rare potato exemplars he himself collected. An essay laments the rapid extinction of dialects—we lose a dozen or two languages a year—as a means of spurring us to find ways to salvage them. A memoir recounts the efforts of a caseworker to help the homeless find sanctuary off the streets. A collage of mostly unpublished letters, diaries, scrapbooks, FBI files, and other documents preserved in the archives of William Gaddis brings the author of The Recognitions to life in a vivid, unique way. Here are meditations on the preservation of friendship and family, of memory and bodies, of literature kept alive through the gift of translation. And here is my interview with novelist Richard Powers, in which we talk about trees and their majestic, magical contribution to preserving life on earth—an essential role that humankind continues to ignore at its own peril.
If the theme of preservation seemed significant last year when we began assembling this issue, it now seems of paramount importance—an imperative that must be embraced far beyond this specimen notebook you hold in your hands.
Managing Editor
Conjunctions | Bard College
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