The Georgia Review

Founded at the University of Georgia in 1947 and published there ever since, The Georgia Review has become one of America's most highly regarded journals of arts and letters. Never stuffy and never shallow, The Georgia Review seeks a broad audience of intellectually open and curious readers--and strives to give those readers rich content that invites and sustains repeated attention and consideration. Pulitzer Prize winners and never-before-published writers are equals during the journal's manuscript evaluation process, whose goal is to identify and print stories, poems, and essays that promise to be of lasting merit. The year 2012 marks the sixty-fifth anniversary of The Georgia Review, and Stories Wanting Only to Be Heard will acknowledge that milestone by presenting a selection of the remarkable short fiction published across the decades. The collection includes the work of well-known writers, many of whom were not yet so well known when first selected for publication by The Georgia Review, and also highlights compelling work from writers whose names may not be as familiar but whose stories are equally compelling and memorable. The stories collected here--each one vivid, distinctive, and worthwhile to read--stand as testament to the significance of The Georgia Review's decades of work to identify and promote writing of exceptional quality. Publication of this book was made possible, in part, by the President's Venture Fund through generous gifts of the University of Georgia Partners.

Nonny Frett understands the meaning of the phrase "in between a rock and a hard place" better than any woman alive. She's got two mothers, "one deaf-blind and the other four baby steps from flat crazy." She's got two men: a husband who's easing out the back door; and a best friend, who's laying siege to her heart in her front yard. And she has two families: the Fretts, who stole her and raised her right; and the Crabtrees, who won't forget how they were done wrong. Now, in Between, Georgia, a feud that began the night Nonny was born is escalating and threatening to expose family secrets. Ironically, it might be just what the town needs...if only Nonny weren't stuck in between.

NATIONAL BESTSELLER • In a dazzling work of historical fiction in the vein of Nancy Horan’s Loving Frank, Dawn Tripp brings to life Georgia O’Keeffe, her love affair with photographer Alfred Stieglitz, and her quest to become an independent artist. This is not a love story. If it were, we would have the same story. But he has his, and I have mine. In 1916, Georgia O’Keeffe is a young, unknown art teacher when she travels to New York to meet Stieglitz, the famed photographer and art dealer, who has discovered O’Keeffe’s work and exhibits it in his gallery. Their connection is instantaneous. O’Keeffe is quickly drawn into Stieglitz’s sophisticated world, becoming his mistress, protégé, and muse, as their attraction deepens into an intense and tempestuous relationship and his photographs of her, both clothed and nude, create a sensation. Yet as her own creative force develops, Georgia begins to push back against what critics and others are saying about her and her art. And soon she must make difficult choices to live a life she believes in. A breathtaking work of the imagination, Georgia is the story of a passionate young woman, her search for love and artistic freedom, the sacrifices she will face, and the bold vision that will make her a legend. Praise for Georgia “Complex and original . . . Georgia conveys O’Keeffe’s joys and disappointments, rendering both the woman and the artist with keenness and consideration.”—The New York Times Book Review “As magical and provocative as O’Keeffe’s lush paintings of flowers that upended the art world in the 1920s . . . Tripp inhabits Georgia’s psyche so deeply that the reader can practically feel the paintbrush in hand as she creates her abstract paintings and New Mexico landscapes. . . . Evocative from the first page to the last, Tripp’s Georgia is a romantic yet realistic exploration of the sacrifices one of the foremost artists of the twentieth century made for love.”—USA Today “Sexually charged . . . insightful . . . Dawn Tripp humanizes an artist who is seen in biographies as more icon than woman. Her sensuous novel is as finely rendered as an O’Keeffe painting.”—The Denver Post “A vivid work forged from the actual events of O’Keeffe’s life . . . [Tripp] imbues the novel with a protagonist who forces the reader to consider the breadth of O’Keeffe’s talent, business savvy, courage and wanderlust. . . . [She] is vividly alive as she grapples with success, fame, integrity, love and family.”—Salon

One of “The 17 Best Summer Reads of 2019” by Harper’s Bazaar! Set in the summer of 1968, a provocative and devastating novel of individual lives caught in the grips of violent history—a timely and poignant story that reverberates with the power of Alice Walker’s Meridian and Ntozake Shange’s Betsey Browne. At the end of a sweltering summer shaped by the tragic assassinations of Martin Luther King, Jr., and Bobby Kennedy, race riots, political protests, and the birth of Black power, three coeds from New York City—Zelda Livingston, Veronica Cook, and Daphne Brooks—pack into Veronica’s new Ford Fairlane convertible, bound for Atlanta and their last year at Spelman College. It is the beginning a journey that will change their lives irrevocably. Unlikely friends from vastly different backgrounds, the trio has been inseparable since freshman year. Zelda, serious and unyielding, the heir of rebellious slaves and freedom riders, sees the world in black versus white. Veronica, the privileged daughter of a refined, wealthy family, strongly believes in integration and racial uplift. Daphne lives with a legacy of loss—when she was five years old, her black mother committed suicide and her white father abandoned her. Because they will be going their separate ways after graduation, Zelda, Veronica, and Daphne intend to make lasting memories on this special trip. Though they are young and carefree, they aren’t foolish. Joined by Veronica’s family friend Daniel, they rely on the Motorist Green Book to find racially friendly locations for gas, rest, and food. Still, with the sun on their cheeks, the wind in their hair, and Motown on the radio, the girls revel in their freedom. Yet as the miles fly by, taking them closer to the Mason-Dixon line, tension begins to rise and the conversation turns serious when Daphne shares a horrifying secret about her life. When they hit Washington, D.C., the joyous trip turns dark. In Virginia they barely escape a desperate situation when prison guards mistake Daniel for an escapee. Further south they barely make it through a sundown town. When the car breaks down in Georgia they are caught up in a racially hostile situation that leaves a white person dead and one of the girls holding the gun.

A Los Angeles Times Favorite Book and a Washington Post Best of 2008: “A book worthy of Keats—full of feeling and drama and those fleeting moments we call genius.”—Ted Genoways, Washington Post Book World John Keats’s famous epitaph—”Here lies One Whose Name was writ in Water”—helped cement his reputation as the archetype of the genius cut off before his time. In this close narrative study, Stanley Plumly meditates on the chances for poetic immortality, an idea that finds its purest expression in Keats. Incisive in its observations and beautifully written, Posthumous Keats is an ode to an unsuspecting young poet—a man who, against the odds of his culture and critics, managed to achieve the unthinkable: the elevation of the lyric poem to sublime and tragic status.

Winner of the Singapore Literature Prize (Poetry 2020) What do we expect of an author who is unapologetically female? What do we expect of consuming art in general? Should a work be easy, should a work be safe? Marylyn Tan’s debut volume, GAZE BACK, complicates ideas of femininity, queerness, and the occult. The feminine grotesque subverts the restrictions placed upon the feminine body to be attractive and its subjection to notions of the ideal. The occultic counterpoint to organised religion, then, becomes a way toward techniques of empowering the marginalised. GAZE BACK, ultimately, is an instruction book, a grimoire, a call to insurrection—to wrest power back from the social structures that serve to restrict, control and distribute it amongst those few privileged above the disenfranchised.

Hysterical Water is a collection of fierce, funny, feminist poems, prose poems, and essays with poems woven through them, all connected by threads associated with female “hysteria” and motherhood. Hannah Baker Saltmarsh troubles the historic pseudodiagnostic term hysteria as both a constraining mode used to contain and silence women and as a mode that oddly freed women to behave outside the bounds of social norms. The poems in this collection question the way maternal thinking, sexuality, affect, and creativity have been dismissed as hysterical. Saltmarsh reclaims the word hysteria by arguing that women poets might, in art as in life, celebrate incongruous emotional experiences. Drawing on and reshaping an intriguing array of source materials, Saltmarsh borrows from the language of uncontrollable emotion, excess, cure, remedy, and cult-like obsession to give shape not only to the maternal body but also to a hysterical textual one. She revisits selective silence and selective speech in everyday crises of feelings, engages meaningful “anticommunication” through odd gestures and symbols, and indulges in nonsensical dream-speak, among other tactics, to carve a feminist poetics of madness out of the masculinist discourse that has located in the woman the hysteric.

"A sweet, sexy, honest teen romance that just happens to involve two girls—all the more charming for being so very ordinary.”—Kirkus A Kirkus Best Book of the Year! A Chicago Public Library Best Book of the Year! A Bustle Best Young Adult Book of the Year! 3 starred reviews! Joanna meets the perfect girl for her and must decide whether to break a promise that could change everything for her and her family or lose out on love in this charming young adult romance that’s perfect for fans of Julie Murphy’s Dumplin’ and Becky Albertalli’s Simon vs. the Homo Sapiens Agenda. Joanna Gordon has been out and proud for years, but when her popular radio evangelist father remarries and decides to move all three of them from Atlanta to the more conservative Rome, Georgia, he asks Jo to do the impossible: to lie low for the rest of her senior year. And Jo reluctantly agrees. Although it is (mostly) much easier for Jo to fit in as a straight girl, things get complicated when she meets Mary Carlson, the oh-so-tempting sister of her new friend at school. But Jo couldn’t possibly think of breaking her promise to her dad. Even if she’s starting to fall for the girl. Even if there’s a chance Mary Carlson might be interested in her, too. Right?

Ideas, culture, and capital flow across national borders with unprecedented speed, but we tend not to think of poems as taking part in globalization. Jahan Ramazani shows that poetry has much to contribute to understanding literature in an extra-national frame. Indeed, the globality of poetry, he argues, stands to energize the transnational turn in the humanities. Poetry in a Global Age builds on Ramazani’s award-winning A Transnational Poetics, a book that had a catalytic effect on literary studies. Ramazani broadens his lens to discuss modern and contemporary poems not only in relation to world literature, war, and questions of orientalism but also in light of current debates over ecocriticism, translation studies, tourism, and cultural geography. He offers brilliant readings of postcolonial poets like Agha Shahid Ali, Lorna Goodison, and Daljit Nagra, as well as canonical modernists such as W. B. Yeats, Wallace Stevens, T. S. Eliot, and Marianne Moore. Ramazani shows that even when poetry seems locally rooted, its long memory of forms and words, its connections across centuries, continents, and languages, make it a powerful imaginative resource for a global age. This book makes a strong case for poetry in the future development of world literature and global studies.

"The best book ever written in English about Georgian food and wine" —Saveur Winner Guild of Food Writers Food and Travel Award 2018 Winner Best Food Book of 2017 Gourmand Cookbook Awards Shortlisted for the Art of Eating Book Award Shortlisted for the IACP Culinary Travel Book Award The Atlantic 9 Best Cookbooks of 2017 NPR Best Cookbooks 2017 Nestled between the Caucasus Mountains and the Black Sea, and with a climate similar to the Mediterranean's, Georgia has colorful, delicious food. Vegetables blended with walnuts and vibrant herbs, subtly spiced meat stews and home-baked pies like the irresistible cheese-filled khachapuri are served at generous tables all over the country. Georgia is also one of the world's oldest winemaking areas, with wines traditionally made in qvevri: large clay jars buried in the ground. Award-winning food writer and photographer Capalbo has traveled around Georgia collecting recipes and gathering stories from food and winemakers in this stunning but little-known country. The beautifully illustrated book is both a cookbook and a cultural guide to the personal, artisan-made foods and wines that make Georgia such a special place on the world's gastronomic map.