Brigitte Stepanov is a writer, translator, and photographer. Broadly, her photos fall into two categories: the environment and the representation of public mourning. Both facets of her work are preoccupied with memory, minute documentation, and the building of a fastidious archive – be it to collect reminders of the smallest of mosses or the finest of brickwork in a commemorative monument. Among other venues, her work has been exhibited at the Granoff Center for the Creative Arts and the Houston Center for Photography. Her upcoming photography exhibit, “Why I’ll Always Dream of Poland,” attempts to bridge the gap between private experiences and public sites of inhuman violence. Brigitte’s upbringing took place in a few different places and she moved to the US to pursue her graduate studies. She holds a PhD from Brown University and is currently a Mellon Postdoctoral Fellow at Grinnell College. She is in the midst of writing a book about contemporary textual and visual representations of war in Algeria, Rwanda, and France.
Last chance to save the Norwalk whales I learn via email—subject line only—then delete from the passenger seat while the toddler stands and drives far too fast for someone who can’t see past the dash. We’re both bored of the living room, of his abandoned baby toys, maybe, too, of each other, but the outside air smells of our futures, incinerating, and the parks are all slung with caution tape, their swings swung round the cross bars out of reach. Instead, I hold the keys in-hand while we drive nowhere into the empty expanse of late morning.
We are out of time / we have all the time.
Panda sock-toes curled to the edge of the captain’s seat, he leans and veers and vroooms while I wonder at the ash of ancient redwood bark, invisible until it settles, offset by the dark hood, the windshield, the tinpot roof overhead. Something you don’t see until it’s there. Neighbors walk by, laugh at my chauffeur who waves merrily. A mayor on small-town parade. He’s forgotten about the horn from last time, blessed be, but not the four-ways—never. Knows a good red triangle to see one. They blink throughout our entire drive, battery leeching its last begotten energy:
Geoff Martin is a CNF contributing editor at Barren Magazine. His place-based and environmental essays have appeared most recently in Boulevard, The Common, Slag Glass City, and Creative Nonfiction and have been nominated for two Pushcart Prizes. Originally from southwestern Ontario, Geoff now lives in San Francisco. He can be found online on Twitter @gmartin9 or at www.geoff-martin.com.
Worked on three daily newspapers in Connecticut, California, and Texas. Two full-length plays, Dragon Lady and Alekhine’s Defense, produced by South Coast Repertory in Costa Mesa, California. Book of poetry, Levering Avenue, published in 1998 by the University of Evansville Press (Indiana). Stories and poems published by various journals and magazines.
So Young Koo is a senior at Seoul Foreign School in Seoul, Korea. She has a profound interest in painting, drawing, architecture, photography and design. Beyond high school, she plans to pursue architecture or design. Her artworks mostly revolve around environmentalism and appreciation of the beauty of nature. She wishes to further explore the compatibility of sustainability and design. Recently, Koo won recognitions in art and design competitions including a gold medalist of 2020 Scholastic Art & Writing Awards in Architecture & Industrial Design, a finalist of 2020 Genius Olympiad in Art, a top 10 winner of 2019 Fall Celebrating Art, and a finalist of 2019 Fall/Winter Spark Student Award.
Adeet Deshmukh is a New York City based photo editor, photographer, and digital designer. His images capture the interplay between light/shadow and emotion/composition—in the streets of Manhattan and Mumbai, in the faces of family and strangers, and in the fields of Iceland and the Midwest. Adeet has had shows in Chicago and New York, and his work has appeared in various newspapers and literary publications. Most recently, his photography was featured in a group show at the CUSP Gallery in Provincetown.
Featuring:
Issue 113, published January 2025, features works of poetry, flash fiction, short nonfiction, and visual art by Linda K. Allison, Swetha Amit, Richard Atwood, Rose Mary Boehm, Daniel Brennan, Maia Brown-Jackson, Hyungjun Chin, Amanda Nicole Corbin, Kaviya Dhir, Jerome Gagnon, Jacqueline Goyette, Julien Griswold, Alexi Grojean, Ken Hines, Minseo Jung, Sastry Karra, Joy Kreves, E.P. Lande, Kristin Lueke, Robert Nisbet, Yeobin Park, Dian Parker, Roopa Menon, Ron Riekki, Esther Sadoff, Chris Scriven, Taegyoung Shon, Mary Thorson, John Walser, Julie Weiss, Stephen Curtis Wilson, and Jean Wolff.
To provide the best experiences, we use technologies like cookies to store and/or access device information. Consenting to these technologies will allow us to process data such as browsing behavior or unique IDs on this site. Not consenting or withdrawing consent may adversely affect certain features and functions (bookstore, announcements, submissions, etc).
Functional
Always active
The technical storage or access is strictly necessary for the legitimate purpose of enabling the use of a specific service explicitly requested by the subscriber or user, or for the sole purpose of carrying out the transmission of a communication over an electronic communications network.
Preferences
The technical storage or access is necessary for the legitimate purpose of storing preferences that are not requested by the subscriber or user.
Statistics
The technical storage or access that is used exclusively for statistical purposes.The technical storage or access that is used exclusively for anonymous statistical purposes. Without a subpoena, voluntary compliance on the part of your Internet Service Provider, or additional records from a third party, information stored or retrieved for this purpose alone cannot usually be used to identify you.
Marketing
The technical storage or access is required to send newsletters, calls for submissions, and for similar publishing purposes.
To provide the best experiences, we use technologies like cookies to store and/or access device information. Consenting to these technologies will allow us to process data such as browsing behavior or unique IDs on this site. Not consenting or withdrawing consent, may adversely affect certain features and functions.
Functional
Always active
The technical storage or access is strictly necessary for the legitimate purpose of enabling the use of a specific service explicitly requested by the subscriber or user, or for the sole purpose of carrying out the transmission of a communication over an electronic communications network.
Preferences
The technical storage or access is necessary for the legitimate purpose of storing preferences that are not requested by the subscriber or user.
Statistics
The technical storage or access that is used exclusively for statistical purposes.The technical storage or access that is used exclusively for anonymous statistical purposes. Without a subpoena, voluntary compliance on the part of your Internet Service Provider, or additional records from a third party, information stored or retrieved for this purpose alone cannot usually be used to identify you.
Marketing
The technical storage or access is required to send newsletters, calls for submissions, and for similar publishing purposes.