Contributors

Craig Padawer [ + ][ – ]
Ron Padgett [ + ][ – ]
Danielle Pafunda [ + ][ – ]
Yarrow Paisley [ + ][ – ]
Anabella Paiz [ + ][ – ]
Michael Palmer [ + ][ – ]
Eric Pankey [ + ][ – ]
Daniele Pantano [ + ][ – ]
Alexandros Papadiamantis [ + ][ – ]
Fani Papageorgiou [ + ][ – ]
Carlos Pardo [ + ][ – ]
Paul Park [ + ][ – ]
Shana ParkeHarrison [ + ][ – ]
Robert ParkeHarrison [ + ][ – ]
Aimee Parkison [ + ][ – ]
Cecily Parks [ + ][ – ]
Suzan-Lori Parks [ + ][ – ]
John Parras [ + ][ – ]
Aleksei Parshchikov [ + ][ – ]
Harry Partch [ + ][ – ]
Rose Passalacqua [ + ][ – ]
Miriam Patchen [ + ][ – ]
Lisa Pater Faranda (ed.) [ + ][ – ]
Richard F. Patterson [ + ][ – ]
H. M. Patterson [ + ][ – ]
Tom Patterson [ + ][ – ]
Octavio Paz [ + ][ – ]
Senel Paz [ + ][ – ]
Michael Pearce [ + ][ – ]
Alexandria Peary [ + ][ – ]
Dale Peck [ + ][ – ]
Jane Pek [ + ][ – ]
Alyssa Pelish [ + ][ – ]
Maura Pellettieri [ + ][ – ]
Jenny Penberthy [ + ][ – ]
D. A. Pennebaker [ + ][ – ]
Otto Penzler [ + ][ – ]
Simon Perchik [ + ][ – ]
Georges Perec [ + ][ – ]
Benjamin Péret [ + ][ – ]
Jorge Ángel Pérez [ + ][ – ]
Jed Perl [ + ][ – ]
Kelsey Peterson [ + ][ – ]
Dale Peterson [ + ][ – ]
Liudmila Petrushevskaya [ + ][ – ]
Richard Pevear [ + ][ – ]
Judy Pfaff [ + ][ – ]
Kevin Phan [ + ][ – ]
Marlene Nourbese Philip [ + ][ – ]
Leila Philip [ + ][ – ]
Jayne Anne Phillips [ + ][ – ]
Roberto Piciotto [ + ][ – ]
Tom Pickard [ + ][ – ]
Greg Pierce [ + ][ – ]
Leighton Pierce [ + ][ – ]
Arturo Uslar Pietri [ + ][ – ]
Burton Pike [ + ][ – ]
Philip Pinch [ + ][ – ]
Deborah Pintonelli [ + ][ – ]
Matthew Pitt [ + ][ – ]
Stanley Plumly [ + ][ – ]
John Poch [ + ][ – ]
Mark Poirier [ + ][ – ]
Ashton Politanoff [ + ][ – ]
Robert Polito [ + ][ – ]
Mark Polizzotti [ + ][ – ]
Gerald Pollinger [ + ][ – ]
Bernard Pomerance [ + ][ – ]
Pedro Ponce [ + ][ – ]
Sally Pont [ + ][ – ]
Joshua Pool [ + ][ – ]
Daniel Poppick [ + ][ – ]
Jose Guadalupe Posada [ + ][ – ]
Kristin Posehn [ + ][ – ]
Steven Potter [ + ][ – ]
Omar Pound [ + ][ – ]
B. W. Powe [ + ][ – ]
Jim Powell [ + ][ – ]
Lawrence Clark Powell [ + ][ – ]
Padgett Powell [ + ][ – ]
Richard Powers [ + ][ – ]
Antonia Pozzi [ + ][ – ]
Lowry Pressly [ + ][ – ]
Kristin Prevallet [ + ][ – ]
Ken Prior [ + ][ – ]
Melissa Pritchard [ + ][ – ]
George Prochnik [ + ][ – ]
Minna Proctor [ + ][ – ]
Patricio Pron [ + ][ – ]
Francine Prose [ + ][ – ]
Alyssa Proujansky [ + ][ – ]
Marcel Proust [ + ][ – ]
Megan Pugh [ + ][ – ]
Rosamond Purcell [ + ][ – ]
James Purdy [ + ][ – ]

Connect

e-mail
Submissions

In Print

Vol. 82
Conjunctions:82
Works & Days
Spring 2024
Bradford Morrow

Online

Rendered
by Julia Juster
July 24, 2024
On Valentine’s Day, Milo strings a horse-shaped piñata from the ceiling light in our living room, and I walk by twice before noticing it swaying there. The light is off and the horse is dark, but I am not unobservant. Part of me accepts a horse swinging in my periphery. Milo makes up a real reason for me to go back down the hall and, when I look for the space heater, I find the horse hanging. He dangles from a yellow jump rope, and I am so happy to see him in my house. Milo hands me the stick. “You need,” he says, “to kill a horse.”
 
Into the Arms of the Man on the Moon
by Yannick Murphy
July 17, 2024
There is the man on the moon. Go to him. Get bread from him, drink his water. Take your dog, Blue to him. Take your mother. She is skiing outside around the house. Stop her, tell her that Blue is going also. Take the gander, Henry. He is short in the legs. Leave me Iris. I have seen her eat feed in a pattern.
 
Permanent Collection
by Joe Sacksteder
July 10, 2024
Marcie decided on Vertigo because she’d recently encountered several texts in quick succession that made extensive reference to it: Chris Marker’s time travel film told in still images, La Jetée, Terry Gilliam’s unlikely Hollywood adaptation, 12 Monkeys, and a story by Bennett Sims called “White Dialogues” about an embittered academic seething in an auditorium during a lecture being given by the hot new thing in Hitchcock studies. The coincidence made her feel involved with the film, and vice versa, in a way that evades more specific description.