‘Exodus’ and ‘Speck’ by Carla Funk are forthcoming in Gloryland by Turnstone Press, 2016.
‘Zereshk Polow’ by Mimi Khalvati is forthcoming in NOSH, a food anthology edited by Cristina Newton.
‘Mitchell / Mingus’ by Hannah Lowe will be published in her second collection, Chan (Bloodaxe, summer 2016).
Kevin MacNeil’s English translation of two autobiographical writings by Akutagawa draws on translations from Japanese into English by Jay Rubin and Cid Corman: (Rashōmon and Seventeen Other Stories, by Ryūnosuke Akutagawa, trans. Jay Rubin. London: Penguin, 2006. Hell Screen, Cogwheels, A Fool’s Life by Ryūnosuke Akutagawa, translated by Takashi Kojima and Cid Corman and Will Petersen, with a foreword by Jorge Luis Borges, an introduction by Kazuya Sakai. Hygiene, CO: Eridanos, c1987
‘Reparation’ by Owain Nicholson is forthcoming in Nightwood Editions in autumn 2016.
‘Feet’ by Maurice Riordan was previously published in Ploughshares (US).
Karen Solie’s three poems are from her forthcoming collection, The Caiplie Caves.
Design and Images
Many thanks to our hugely talented web designer and visual artists who have contributed so much to the online journal project and first issue.
Madeleine Barnes is a poet and visual artist from Pittsburgh, PA. Her poetry and artwork have appeared or are forthcoming in places like Pleiades, Jai-Alai Magazine, Rogue Agent, BOXCAR Poetry Review, The Rattling Wall, Yew Journal, Three Rivers Review, The Rattling Wall, Washington Square Review, Cordella Magazine, and Pittsburgh Poetry Review. Her chapbook, The Mark My Body Draws in Light, was published in 2014, and she received her MFA from New York University. Her images, Entrance and Reverberation, appear in issue one and on the website. Acceleration appears on the website.
For decades Patricia Ramaer’s main medium has been photography. Her work has won her three awards (Black & White Magazine 2015, 2016). These fine art glass-plate portraits allow chance to play and imperfections to seep into the images. Currently an MFA Art & Humanities student at DJCAD, she is rematerialising her art. Stimulated by artist Joseph Beuys, philosopher Roland Barthes and quantum physics, her works are a tribute to the realms of the unseen, memory and time/space/matter. Breaking free from the inherent limitations of photography, Patricia ‘burns’ instead of ‘prints’, and uses wax rather than paper. In essence she creates through the process of destruction. Her image 27 August 1892, 2016, carbon deposit (and burnt paper residue) on beeswax, appears on both the website and in issue one.
Catherine Willett is a Brooklyn based artist, working primarily with ink on paper. From Buffalo, NY, she received her BFA from the University at Buffalo in 2011 with a minor in Art History, and also studied at the Scuola Lorenzo de’Medici in Florence, Italy, in 2009. Catherine explores the nuances of natural forms through her drawings. Repetitive line work is a meditative act for her, and she finds creative release through the investigation of intricate patterns, mineral formations, and flora and fauna, combined with personal reflection and thought sequences. Bits of the past come together to shape a lingering web of the human, animal, dreamlike, and real. Each piece is metaphorical, and is given life through the realization of natural elements paired with memories. These studies form a makeshift perception of nature, place, and the self. Her illustration work has been recognized by The Wall Street Journal, Buffalo Magazine, The Interior Project and Paste Magazine. Willett’s image While You Were Asleep appears on the website and Smoke Signals appears in issue one.
Siobhan Morison is from Scotland but has travelled extensively in Europe and further afield. After a varied career she returned to Dundee attending Duncan of Jordanstone for her BA (Hons) Fine Art, staying on to study MFA Art & Humanities.
Morison’s main medium is stone although drawing also plays an integral part of her art practice. Space, form and movement are very important in her work. The act of making 3D sculpture is not just seeing, it involves space and the body. Morison’s organic looking pieces have a sense that they have been caught at the point just before moving. The image entitled Untitled 4, 2015, pen, appears in the first issue of the Scores.
Copyright / Rights
Rights to the work revert to the author, translator, and visual artist after publication.
Views of contributors are not necessarily those of the Editors.