Another Summer, Another Day of Sun



Rhiannon Schaub

Ah, summer. A season that inspires an increase in sunbathing and ambitious writing projects– let’s be honest, how many of our early-June selves made a (laughably) stoic promise in the mirror to finish that stunning debut novel or poetry collection? Unfortunately, the warm, warm sunshine makes us so… sleepy. Perhaps a nap in the gloriously golden outdoors might help our case of writer’s block? Personally speaking, this blog post is my first feat of writing since the thirty-five page research paper marathon I trudged through during college finals week.

Well, enough of that, because speaking of personal matters, I should introduce myself! I’m the new summer intern at CALYX, and even though I’ve only been here in Corvallis for two weeks, I’ve already begun to make myself a nest in the towering piles of books and dusty publishing ephemera. In the office, I’ll either be archiving journals (via tapping away on a giant excel spreadsheet), writing blog posts (like this one), or helping to plan an upcoming CALYX publication!

To share a bit about myself: I’m an English Literature major at Scripps College for Women, a lush oasis in the desert terrain of California and probably the most overtly feminist campus you will set foot on– at orientation, our dorm walls were laden with hand-painted “smash the patriarchy” signs. Needless to say, with the feminist focus of CALYX, the press has turned out to feel like a home away from home. And with that, I look forward to spending the next two months here!

Until next time, enjoy this wonderful summer sun!

– Rhiannon Schaub, Intern




Barbara Baldwin, In Memoriam


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On May 5, 2017, Barbara Baldwin—poet and founding editor of CALYX—passed away.

I didn’t have the privilege of knowing Barbara long enough, although I’d been hearing about her for years as a pillar of the Corvallis community. She was a patient at my father’s optometry clinic, and he would often come home and ask me if I knew her. “That’s the sharpest woman I’ve ever met,” was the running phrase I came to associate with Barbara.

I came to CALYX in 2013, long after the original founders had moved on, pursued other work, or retired. As a third-wave feminist, I was hungry to learn more about the incredible tenacity, nerve, and creative force required to make CALYX not only a reality but a lasting presence in the literary world.

Barbara was my window into that history. Although she was already ill, she responded to my inquiries for information with both depthless grace and keen insight. For our Summer/Fall 2016 issue, Vol. 29:2, she wrote a captivating essay on her own journey as a poet and the struggles that CALYX faced in its early years (including running production out of her own home and receiving condescending dismissals from major bookstores). I was also introduced to her stunning collection of poetry from the last forty years.

Barbara’s poetry made me realize why CALYX started as a “Pacific Northwest” journal. The northwest—with its brilliant greens and its heavy, dismal greys—saturates her work. Meaning is found (or simply pursued) in nature, which itself is tangled up in memory and spirituality. From the moment I read lines like “This emptiness we mend and mend / is wind that blows / between the legs of the stars” and “God / like a fat white cloud / waddling in and out,” I was hooked (“Huérfano”). I knew immediately that this was work that had helped establish CALYX’s mission and direction, and that it would be an ideal way for us to restart publishing books.

A collection a Barbara’s work, Harvest, will be released this fall from CALYX Books. It is one of the great disappointments of my career that Barbara will not get to see it in print. However, her eagle eye and exacting sense of meter and tone carried us through the initial stages of pagination and copyediting, and the final product will be better for it.

My father was absolutely right about her.

I didn’t get to spend much time with Barbara in person. It was my tremendous pleasure, instead, to get to know her through her incredible work. As we put together Harvest, I hope that many, many readers will be able to share that pleasure as well.-

– Brenna Crotty, Senior Editor

This Is Not An Ad. I Promise.


Well, 2017 has been a rollercoaster so far. The lows I imagine you can guess (I’m losing sleep over funding but more on that later), and we maybe haven’t been as good as we could have been about sharing the highs, but I have some good news. CALYX Journal has been expanded into over 200 more Barnes and Noble stores!

The good: We were picked up by B&N last year for some stores and we must be selling well enough that they want more. As in tripled their order more. As a sizable retailer they do their research and know what sells and they feel that CALYX Journal is worth it.

The scary: They order, we print. Whether those copies sell or not we pay to print and ship them—800 more of them.

The quandary: We love independents. We are an independent publisher and independent bookstores have kept us alive, they nurture local readers and writers, and are dedicated to their communities. We hold events there, we sell there, and we support them in all the ways that we can.

So. If you have an independent bookstore head in and pick up a copy of CALYX Journal (due out in the next week or two!). Then go to Barnes and Noble and buy another copy. Tell your friends and family to buy one from each. If one of these places doesn’t have us on their shelves share your interest with the staff. Request it online; take to twitter! One way or another, get your copy—you can’t miss it, this issue’s cover is powerhouse:

29-3 Publicity Cover Image

(you can also pre-order from us online at

The most exciting part of this for me is that it is a powerful nod to Brenna and our editors. They put together incredible volume after incredible volume that people actually want to read. So show them your love and get (several) copies!

Thank you from the excited and slightly freaked out CALYX office.


“The Groves” by Sandell Morse

Morse,SandellSandell Morse’s work has appeared in Creative Nonfiction, Ploughshares, the New England Review, Fourth Genre and Ascent. She has won second place in the 2015 Tiferet nonfiction contest and has been named a finalist in the Orison Books Anthology 2015, nonfiction contest. “Hiding” is a notable essay of 2013, listed in Best American Essays, 2013. Essays have been nominated for of the Net and for a Pushcart Prize. Current work is in the anthology, A Pink Suitcase, 22 Tales of Women’s Travel.

What piece/ pieces are you working on now?

My current work is a memoir about the last four years of my life, in which I, a woman of a certain age with a patchy relationship to Judaism, travel to France, discover a village’s hidden Jewish history and am propelled on a journey that leads me back to my own faith. Finally, I will become visibly Jewish. Two essays dealing with this material are available on line in ASCENT and

Where is your favorite place to write?

My favorite place to write is the Virginia Center for the Creative Arts in Amherst, Virginia. Away from the dailyness of life, I fall down into my work in the deepest way possible. The VCCA is a rural retreat steeped in quiet. After working all day, I delight in the camaraderie of other writers, artists and composers at dinner. At home, I work in my study, my two standard poodles lying on beds behind my desk.

Who are you currently reading (and/or) which author has inspired your writing the most?

Right now, I’m reading—I should say rereading—The Same Sea by Amos Oz, an Israeli writer. The Same Sea is a novel, I suppose, because it’s fiction and a narrative, but it is also a prose poem—or perhaps, it is composed of many prose poems. The different characters speak for themselves, as does author/narrator who breaks into the text.

I love the way Oz breaks boundaries. This book bears the weight of history and of profound personal loss. Ultimately what counts here is character and Oz’s insights into the people he creates illuminates us all.



Fixing the Phoenix by Rebecca Keller

Rebecca Keller is an artist and writer. She has published in New Fairy Tales, Calyx, Public Historian, “Crossing Lines”(MainStreet Rag Press), Alimentum, Great Lakes Review and other journals. “Excavating History” is her book of art and essays.  Her awards include two Fulbrights, grants from the NEA and the Illinois Arts Council, the Jakobson Award from the Wesleyan Writer’s Conference, a Pushcart nomination, the Betty Gabehart prize, and a finalist for the 2013 Chicago Literary Guild Prose Award. 

What piece/pieces are you working on now?

I am working on several projects, including a group of short stories in which folks in professions and situations one doesn’t usually associate one with poverty are suffering serious money troubles, their (sometimes creative) responses, how this destabilizes their sense of self. I also hope to get back to a book about an elderly woman in an assisted living facility with an unusual situation on her hands.

Where is your favorite place to write?

It depends on the season. I love to write in bed, my legs straight out, leaning into pillows propped against the wall. In nice weather I enjoy writing in my backyard, but am not always productive there.

Who are you currently reading (and/or) which author has inspired your writing the most?

Margaret Atwood, Louise Erdrich and Alice Walker, as clichéd as that list might be. I also have an abiding affection for Collette.

“To My Little Sister, Driving Drunk,” by Caitlin Scarano

This week we are excited to share Caitlin Scarano’s poem “To My Little Sister, Driving Drunk,” which was published in CALYX’s 27:3 issue.

Caitlin Scarano is a poet in the University of Wisconsin-Milwaukee PhD creative writing program. She was a finalist for the 2014 Best of the Net Anthology and the winner of the 2015 Indiana Review Poetry Prize, judged by Eduardo Corral. She has two poetry chapbook. This winter, she will be an artist in residence at the Hinge Arts Residency program in Fergus Falls and the Artsmith’s 2016 Artist Residency on Orcas Island.

What piece/pieces are you working on now?

The other day I was walking home from the university where I take classes and teach, and I passed a house shrouded in yellow police tape. I thought the house had been the scene of a crime. When I looked closer, I realized that the downstairs windows were boarded up with plywood, the upstairs windows were blown out, and the roof had collapsed; the house had recently caught on fire. The blue exterior siding was streaked with ash. This was on a residential street, with other houses and hundred-year-old trees nearby. But somehow the fire, the loss, had been contained within the structure of this home. I only live a few blocks away, but I never would have known about it if I hadn’t passed the house on my walk that day. When I got home, I started a poem about that house and how loss (the initiating spark or match) can begin at the center of a thing and spread, sometimes so quietly. The house was what Richard Hugo would call the triggering or initiating subject of the poem. As I wrote it, the poem transformed into a reflection on the recent end of a four-year relationship I was in — the fire was a metaphor for the circumstances (inside and outside of our relationship) that caused its end. I’m interested in how poems transform and reveal themselves through the actual act of writing or composing, how meaning is made in the moment through image and language, especially the strangeness of language.

Where is your favorite place to write?

I try to write several mornings a week (with coffee, of course) at the desk in my studio apartment. It is right below a window that looks out over a busy city street in the east side of Milwaukee, so there is always something to see or hear. 

Who are you currently reading (and/or) which author has inspired your writing the most?

This is my favorite question! For poetry, I just finished Safiya Sinclair’s Catacombs and I’m currently reading Richard Siken’s War of the Foxes. I used to live in Alaska and I’m interested in how humans imagine and understand wilderness and wildlife, so I’m also reading Sherry Simpson’s Dominion of Bears: Living with Wildlife in Alaska.


“From White Space to Black Letter: Taking My Place in the Women’s Torah” by Ada Molinoff

Ada_9460  Lyons 26 Dec 2013 (1)This week we are pleased to have Ada Molinoff reading her short story “From White Space to Black Letter: Taking My Place in the Women’s Torah.”

Ada Molinoff earned her MFA in nonfiction from Pacific University. Her poems have appeared in literary journals, newspapers, and anthologies. This is her first published memoir piece, and it will appear in Calyx’s 40th Anniversary Anthology. A retired clinical psychologist, she writes from Salem, Oregon.

Her favorite place to write is her study, where she feels freed by its hot pink and bright blue hangings, photos and poems tacked to the walls, and piles of papers bordering the floor. The rest of her home is neat, and is decorated in neutral tones with calm art.

Ada currently works on a series of brief memoirs generated by her first trip to Israel in 2014, the pieces aiming to capture setting, relationship, and identity. Periodically, she revises a poem for her first poetry chapbook. She feels blessed to be a member both of a prose- and a poetry-critique group, supportive places she takes her work.

When she’s writing, Ada doesn’t like to read, not wanting to risk an author’s voice quieting her own. Inspiration has come from the memoirs of Judy Blunt and Bernard Cooper, and from the poems of Naomi Shihab Nye, narrators who convey emotions in word-pictures of sensory experience.


“Identity” by Airica Parker


Airica Parker

Today Voices of CALYX is proud to bring you Airica Parker’s poem “Identity,” which appeared in Volume 28:3 of CALYX.

Airica Parker’s work appears most recently in Camas, Driftwood Press, CALYX, The Fiddlehead, and Lalitamba. The Poetry Foundation selected her as a 2011 finalist for a Ruth Lilly Fellowship. An accomplished performer, instructor, and healer, Airica makes her home in Colorado. Learn more at

What are you currently writing?

“Identity” comes from one of the central pieces that I am working on right now, Body Bridge. Body Bridge is a collection of poems that pursues common ground as an expression of compassion and curiosity fueled by my experiences as a healer, traveler, Christian Taoist, and lifelong environmentalist.   

Where is your favorite place to write?

My favorite place to write is realistically at my ergonomic desk and spiritually anywhere quiet and outside, especially if trees are involved.  

Which authors have shaped your writing the most and who are you reading?

It is difficult to short list the poets who inspire me, but Walt Whitman, Adrienne Rich, June Jordan, Joy Harjo, Mark Doty, Pablo Neruda, and Gary Snyder are among the names that come easily to mind. As a reader, I was recently impacted by H is for Hawk, about how a woman’s relationship with a hawk helps her survive enormous grief, and Hunger Mountain is on my nightstand – a must read for anyone who loves meditative language or has interest in Chinese poetry or philosophy. 


“Whitetail” by Abby Minor

Abby Minor head shot

CALYX is happy to showcase Abby Minor’s piece “Whitetail,” which appeared in volume 28:2.

Abby Minor has studied at Smith College, The Penland School of Crafts, and The Pennsylvania State University.  Her book reviews and poems have appeared or are forthcoming in The Georgia ReviewAGNI OnlinePleiades, and The Fourth River, among others.  Also a visual artist, Abby directs Being Heard, a creative writing program for elders in Centre County, Pennsylvania.  Her writing, quilts, and drawings respond to issues of race, region, gender, and reproductive justice. 

What piece/pieces are you working on now?
I’m currently working on a book-length documentary poem about contraception and abortion, although really I want to say that it’s a poem about solitude, language, stigma, class, race, and the profundity of a specifically female and/or feminine relationship to 
void as a place of creative possibility, power, and meaning.  The project responds to stigmatized reproductive experiences across three generations of women in my family, and considers these events in their historical contexts.  As I work on the poem, I’m learning about the (historical and ongoing) testing of contraceptives on marginalized people, about violence against abortion providers, and about histories of sexual education in the U.S.  I’m also experimenting with humor–I think in our poems and in our politics we have to sometimes be funny!  I once heard bell hooks say that the revolution is going to have to include humor.

Where is your favorite place to write?
At my desk, in a house that’s currently semi-heated–so I wrap up in blankets and hope for occasional interruptions from housemates and cats.

Who are you currently reading and/or which author has inspired your writing the most?
This year I’ve been reading Alice Notley, Khadijah Queen, Evie Shockley, and Susan Howe.  Edna St. Vincent Millay and Mary Oliver were the first poets I fell in love with.

“Free Range” by Kathleen Kelly

Happy Friday, CALYX-ers! We are already on to week two of Voices of CALYX, and today I’m excited to presentKathleenKelly Kathleen Kelly’s poem “Free Range,” which was published in Volume 28:1.

A first-generation editor and poet, Kathleen A. Kelly’s poems and essays have been published in North American Review, PoemMemoirStory, Rain Taxi, CALYX, and Nimrod.  She completed Ph.D. coursework in literature at the University of California, Santa Cruz where she studied feminist literary theory and creative writing (literary nonfiction and poetry).  Her writing has been supported by residency fellowships from The Helene Wurlitzer Foundation of New Mexico (Taos) and the Vermont Studio Center.  Married to Iranian Studies historian Afshin Marashi, she divides her time between Norman (OK) and Santa Monica (CA).

What piece/pieces are your working on now? I’m currently working on a book-length poetry manuscript and more specifically, I’m working in various forms such as the triolet, rondeau, and ghazal. I’ve just realized that there seems to be an avian trope occurring in many of my new poems. 

Where is your favorite place to write? Sitting on my patio, the midday sun shaded by russet-leafed crepe myrtle trees. Sounds that are muted within the confines of our house–a Saturday noon whistle and the tremble of the BNSF train–are welcome companions.

Who are you currently reading (and/or) which author has inspired your writing the most? I’m currently reading Mary Ruefle’s lecture collection, Madness, Rack, and Honey, as well as Rabih Alameddine’s novel, An Unnecessary Woman.  At my Aunt Fran’s encouragement (and insistence), I’ve just plucked Salman Rushie’s Midnight’s Children from our bookshelves (my husband’s dog-eared copy). I read Mrs. Dalloway once a year, always in June.