







“To Guard Against Hexes Cast” is a cyanotype printed on Canson watercolor paper and onto Arches Platine paper. The prints are toned with coffee and the image measures 8″ x 18″.








“To Guard Against Hexes Cast” is a cyanotype printed on Canson watercolor paper and onto Arches Platine paper. The prints are toned with coffee and the image measures 8″ x 18″.
Filed under cyanotype, Print Making
I’ve only recently resumed submitting stories for publication, and I am as proud as can be that my short story, “Souvenirs,” has been published in the Fall 2024 Issue of The Summerset Review. The story is about a cab ride not dissimilar to one I took nearly a decade ago, and I was struck by the story the cab driver told me. I spent years considering how I might tell the story, and this was what I came up with.

The Summerset Review is a literary journal released quarterly on the 15th of March, June, September, and December on the Internet, and periodically in print form. Founded in 2002, the journal is exclusively devoted to the review and publication of unsolicited fiction, nonfiction, and poetry.
Staff Bios
Joseph Levens has had fiction and nonfiction appear in The Gettysburg Review, Florida Review (Editors’ Award for Fiction), New Orleans Review, AGNI, Sou’wester, Meridian, Other Voices, The Literary Review, Zone 3, The Good Men Project, and many other places. He lives on Long Island and currently teaches Creative Writing at Stony Brook University. www.josephlevens.com
Erin Murphy is the author or editor of eleven books, including Human Resources (forthcoming from Salmon Poetry of Ireland) and Assisted Living (Brick Road Poetry Prize, 2018), a collection of demi-sonnets, a form she devised. Her most recent co-edited anthology, Bodies of Truth: Personal Narratives on Illness, Disability, and Medicine (University of Nebraska Press, 2019), won the Foreword INDIES Gold Medal Book of the Year Award. Her awards include the Dorothy Sargent Rosenberg Poetry Prize, the Foley Poetry Award, the National Writers’ Union Poetry Award judged by Donald Hall, a Best of the Net award judged by Patricia Smith, and The Normal School Poetry Prize judged by Nick Flynn. She is Professor of English and Creative Writing at Penn State Altoona. www.erin-murphy.com
History of the Journal
The Summerset Review started as an online literary quarterly in 2002, publishing exclusively fiction and nonfiction. With a staff of three volunteers, the magazine faithfully produced its issues on time, reviewing unsolicited submissions year-round, the great majority of which were made electronically and sent through email from hopeful writers ranging from high school students to authors with many published books to their names.
Since 2002, the journal has taken on poetry, book reviews and art essays on occasion, and produced a few print issues collecting a sampling of work that previously appeared online. Remaining ad-free and accessible at zero cost to readers, the publication has released all quarterly issues on time over its twenty-year history. Editorial staff members are proud to say that they respond to all submissions within four months, do not solicit authors, and do not navigate a slush pile.
The Summerset Review has read at The New York Public Library, national conferences, colleges, and other places, including events sponsored by the Council of Literary Magazines and Presses (CLMP), the New York State Council on the Arts (NYSCA), the National Endowment for the Arts (NEA), the National Council of Teachers of English (NCTE), and the Association of Literary Scholars and Critics (ALSC). Print issues of the magazine are frequently donated to book fairs across the country, with all proceeds going to charitable causes in the respective areas.
Work originally published in The Summerset Review has been reprinted in the Pushcart Prize, the Best American series, the PEN America Award series, the Best of the Net anthology, notable collections such as the Iowa Short Fiction Award, and a great many books published by our contributors.
Mission Statement
We think of ourselves as simply people who like to read good contemporary literature, who want to share the best of our experiences with others. The highest form of retribution for our efforts is a lasting impact on a few sensitive readers of our journal—people we don’t know, people we will never meet. We received an email from a reader once, who said a story in our current issue (at the time) changed her life. Assuming this change was for the better, what more could we ask for?
Filed under Literature, Memoir, Short Story
The first thing to mention, before the beauty of it and the effect of it, is that it felt like a rare privilege, something that most would not get to experience or see.
I first saw it when I was rinsing the mop bucket on the back deck. I’d been told the conditions in which the Northern Lights were most likely to appear – cold, clear nights. It’s obviously been getting colder and colder, but clear nights are surprisingly uncommon. They’re not unheard of, but the skies are most often overcast, and the phenomenon seems to occur above the clouds. So when I noticed that the stars were out, I began inspecting the skies. And sure enough, I spotted the first band of green vapors over the shores to the east of us. The bands are ribbon-like, curving across the sky, sometimes seeming to approach or fall further into the distance. The base is the most visible, vibrant part, meaning that it is illuminated most brightly and that light fades upwards from the horizon. I was surprised by how dynamic the northern lights were, like a ribbon moving in a breeze. They brighten and dim from one second to the next. And then, in the most intense moments, there is also a sort of vertical movement, as the light dances and shifts in strands that stand upright, reminiscent of the way that water shimmers. The spectacle might be similar to a thick mist, constantly shifting while illuminated from behind. That said, such a description doesn’t quite capture the effect, as the vapors seemed almost to be illuminated from within. At one point, I could see the vapors rippling from the horizon and passing directly overhead, swirling like a vortex above the boat and rising infinitely upward.
And the affect of this, which I tried to describe to you over the phone, was a kind of melancholy. There was a lugubriousnss to the movement of the light, a meandering, sort of lumbering march across the sky. The dynamism of movement meant that they could appear or disappear from one second to the next, but, when observed, the movement seemed slow. Coupled with that was the fact that the vapors seemed to slowly evaporate skyward in a constantly rising mist, the vertical light rising towards the heavens and vanishing. The green color was simultaneously vibrant and solemn, and seemed barely willing to announce its existence within the mist. And yet, the grandure and majesty of it gave it an eternal quality, as if those bands of light had been engaged in that march long before we arrived and would continue it long after we go.
And of course, the context for this was a freezing night over the Alaskan tundra. I know that those lights are visible in other parts of the state, over other landscapes. But there, in the frozen tundra, over the freezing ocean, in a place that was so inhospitable that it nearly remained frontier but for the intrusion of humans digging away at the frozen land (a local man told me that Christian natives had to bury relatives using jackhammers to unearth the permafrost). It was a lonely place, barely inhabitable by humans, animals, and even plant life. And there’s also something sad about the landscape in that it was a sort of reminder of how much humans have intruded into and exploited the natural world, as if nature had been forced to retreat to this most remote locale, looking back with a sort of mournful melancholy. Completing the ambiance is the shriek of the un-greased belt of the shoreside hopper, which emits a sort of melodic whistle when in operation, a sound like a dozen apparitions whistling in harmony. And so the ghostly lights marching across the sky, already haunting in appearance, haunting in context, come to seem like the final departure of nature, forced to retreat skyward, to some other realm as the humans continue to encroach and intercede. And that is the best way I can describe the melancholy affect of the northern lights.
Filed under Blog Posts, Literature, Memoir
Purchase the digital issue here.

“Fingerprints” appeared in Volume 37, Issue 1 of Existere, published out of Vanier College in Montreal, Quebec. Digital copies can be purchased online. “Fingerprints” is an awesome story, loosely inspired by a dear friend of mine who I love.
From the issue’s description: “Through life’s next adventure, we are faced with withstanding the heavy weight of another’s gaze. In Annie Raab’s “The Artist” and Ben Leib’s “Fingerprints,” we are shown the effects of other people’s opinions and narrow-mindedness in two vastly different ways. With Raab’s piece, we are shown the internal struggle and aftermath of inner turmoil, whereas with Leib’s piece, we watch a woman choke down her pride and principles to survive in her troubled world.

Copies of 37.1 are now available on Kobo!
Existere exists as a venue for emerging and established talent from York University and around the world. We publish poetry, fiction, visual art, interviews, reviews, essays, photographs, art, and much more from established and emerging talents. We also debut new writers, poets, and artists.
Existere publishes biannually. Contributors come from as close as Montreal to as far away as the other side of the planet.

Existere is a nationally-distributed literary magazine. It was founded and first published in 1978 as a student-run journal covering literature and poetry. In 1980, the journal began publishing regular issues. Over nearly three decades, Existere has largely published as a quarterly, but in recent years has published semi-annually. Content, focus, and presentation has varied widely over the years, but has always included poetry and short stories as its core. Photography, reviews, art, essays, and postcard stories, novel chapters, and much more have appeared on our pages. Existere will continue to be a student-run journal and publish fiction, photography, and art, but will also add more non-fiction, reviews, and criticism as we grow.
How do you pronounce Existere? It depends who you ask. Our name comes from Latin and means “to stand out” or “to stand apart.” Therefore is should be pronounced ex-iss-TAIR-AY. However, being that Latin is not in as common usage as it once was, many refer to our name as EX-ISS-STAIR. Either is fine. We’re just happy to have you pick up a copy and enjoy our contributors.
Existere has a listing on Wikipedia (help us with our history), a fan site on Facebook (post your comments, we want to hear from you), and a Twitter account (ExistereJournal).
Filed under Literature, Short Story
You can read the story here.

Blacktop Passages published my short story “Always the Lucky One,” about the narrator’s superstitious descent into lucklessness. Though I was proud to have it published by Blacktop Passages, the publication has since ceased publication.
Founded in early 2013, Blacktop Passages is a literary journal dedicated to the open road. We want to serve as a home for the stories, essays, poems, and images of transition that are often overshadowed by our destinations. We want thoughtful writing, full of feeling, conflict, and desire. If you have a great piece that reflects this ethos, Blacktop Passages would love to have your work in our pages.
Filed under Literature, Memoir, Short Story, Travel
Read the story here.

I was submitting to Emrys for years when they accepted my story, “Aluxes,” to appear in Volume 33. Unfortunately, the publication is currently on indefinite hiatus. They had thrived for nearly 40 years before shuttering.
In the words of Wikipedia, “Alux is the name given to a type of sprite or spirit in the mythological tradition of certain Maya peoples from the Yucatán Peninsula and Guatemala. Tradition holds that aluxo’ob are invisible but able to assume physical form for purposes of communicating with and frightening humans as well as to congregate. They are generally associated with natural features such as forests, caves, stones, and fields but can also be enticed to move somewhere through offerings.” That said, this story has nothing to do with aluxo’ob, aluxes, or any other mythological figure. It’s about two friends who elicit local help to locate a cave in a rural region of the Yucatan Peninsula.

Founded in 1983, Emrys (a Welsh word meaning “Child of Light”) has sponsored music competitions, concerts, art exhibitions, conferences, creative writing awards, poetry workshops, and lectures. The Emrys Journal, our group’s signature literary publication, has appeared annually since 1984. Emrys Press, launched in 1995, primarily publishes poets of outstanding merit. Our Reading Room has brought writers and audiences together since 1990. Our Writing Room has provided professional instruction for writers at all stages of their craft since 2006 and begun in 2011, our Open Mic, which has provided a venue for writers of all skill levels to present their work to an enthusiastic and supportive audience.
Based in Upstate South Carolina, the Emrys Foundation was awarded the Elizabeth O’Neill Verner Governor’s Award for the Arts in 2004 in recognition of outstanding contributions to the arts in South Carolina.
➢ Emrys nurtures creativity among emerging and established writers.
➢ Emrys seeks to expand the impact of the literary arts.
➢ Emrys collaborates across a broad variety of art forms to give voice to the written word.
We invite you to join our award-winning organization.

On the night of April 2, 1981, a special musical performance took place at Furman University. Everyone involved had ties to Greenville: the librettist, Keller Cushing Freeman, the musical composer, Sally Wyche Coenen, and the singers. The event was the premiere performance of an original song cycle called The Death of Arthur: a Requiem for Six Voices. The singers represented important characters in the life of the legendary king of the Round Table.
The Death of Arthur was the first public appearance of Emrys, but it had its real beginning when two friends dreamed, planned, and worked to make some ambitious ideas come to fruition. Who better to tell about this than one of the co-founders, Keller Cushing Freeman:
“It wasn’t quite the first act of Puccini’s La Boheme, where a cluster of young artists and poets shared their dreams and a bottle of vin ordinaire in a Paris garret. But it was close. Our setting was a basement apartment on Constitution Avenue in Washington, D.C. Serving up the cabernet was Dan Coenen, a law clerk for U.S. Supreme Court Justice Blackmun. Tossing the salad was Dan’s wife, Sally Wyche Coenen, a native of Greenville, S.C., currently taking photography courses and continuing her study of piano with Spencer Fellows. Sally also harbored ambitions as a composer, although 1980 was not a year when the world clamored for the music of emerging young composers—male or female. To date Sally had not had even the nibble of a commission.
“I was the fortunate dinner guest that icy winter evening, warmed by more than 20 years of friendship with Sally and the Wyche family. Like Sally, I, too, had a closet stuffed with dreams. Although teaching philosophy was my day job, I wrote poetry on the sly. Recently I’d completed a series of poems based on the legends of King Arthur. The material seemed made for music, so I labeled the poems lyrics and set off to find a composer to collaborate on a song cycle. Sally was my first choice.
“That evening over melting bowls of ice cream we reflected on the obstacles confronting writers, composers, and artists who were in sore need of a place to present their work, an audience to receive the work, and a patron to subsidize the projects. Without realizing it, we had begun to articulate the mission statement for the organization that was to become The Emrys Foundation—to promote excellence in the arts, especially literary, artistic, and musical works of women and minorities.
“Nearly a year later we felt ready to present our first collaboration, a song cycle for piano (later scored for chamber orchestra), narrator and six voices.
“To choose a name for our new partnership we turned to Welsh lore that had inspired our first collaboration. Learning that King Arthur’s sorcerer, Merlin, was actually named Emrys, we agreed that this rather mysterious word had a special ring to it. When we discovered that Emrys was translated Child of Light, we felt certain that this was a name of good omen.”
Filed under Literature, Memoir, Short Story

“The Augury” was published in the 19th issue of Little Patuxent Review and remains available to purchase. I love the piece – it’s brief and was written in transit, and at the present time it reminds me of adventure and unfamiliarity.
Little Patuxent Review is an amazing magazine out of Maryland. It’s a print publication, and a copy of issue 19 costs $12. You can order the issue or subscribe to Little Patuxent Review here.

About Little Patuxent Review:
Little Patuxent Review (LPR) is a journal of literature and the arts, publishing poetry, short fiction, creative nonfiction and artwork. LPR welcomes most US-based contributors and prides itself on supporting both up-and-coming and well-established artists and writers. Please see our submission guidelines for more details.
LPR’s mission is to promote the tradition of literary and visual arts through our:
LPR reflects and draws upon the creativity and diversity of the Mid-Atlantic region and beyond by promoting the literary and visual arts in print and throughout the region’s community and educational venues.
Each subscription to LPR supports the arts in your community. You get two amazing issues per year for only $24. Subscribe today!
Water over stone: Little Patuxent River, Spring 2012 (Photo: Lynn Weber)
LPR was named for Little Patuxent River, one of the three major tributaries of the Patuxent River. Like LPR, the river flows over stones — the Algonquin word “patuxent” means “water flowing over smooth stones” — through Howard County, Maryland, gathering strength as it carries content to the Chesapeake Bay and out toward the larger world.
LPR was founded in 2006 by a group of local writers — Mike Clark, Ann Bracken, Ann Barney, Brendan Donegan — to fill the void left when a periodical of the same title, founded by poets Ralph and Margot Treital, closed a quarter century ago.
They envisioned LPR as a forum for area writers and artists. In doing so, LPR not only provides readers with a diverse array of local offerings, but also attracts contributors of national repute.
LPR has featured poetry from Donald Hall, Poet Laureate of the United States and Michael Glaser, Poet Laureate of Maryland. In addition, from Delmore Schwartz Memorial Award winner Stanley Plumly, the late Lucille Clifton, winner of the 2000 National Book Award for Poetry and recipient of the Robert Frost Medal for Lifetime Achievement from the Poetry Society of America and Joy Harjo, recipient of the Lifetime Achievement Award from the Native Writers’ Circle of the Americas.
There has been fiction from Edith Pearlman, whose collection Binocular Vision: New and Selected Stories won the 2011 National Book Critics Circle Award, Michael Chabon, whose Amazing Adventures of Kavalier & Clay won the 2001 Pulitzer Prize for Fiction, Rafael Alvarez, whose screenwriting contributed to the critically acclaimed television series Homicide: Life in the Streets and The Wire, and Manil Suri, whose The Death of Vishnu became an international bestseller.
There have been myriad early efforts from writers and artists who will look back on Little Patuxent Review as the publication that gave them their start
Filed under Literature, Memoir, Short Story, Travel