Contributor Spotlight: Michael Garrigan

Michael Garrigan on “Deer Mountain


We were camped right along the Canadian border of New Hampshire when a wicked lightning storm charged through. We could hear the rolling thunder for a good few hours before we felt any raindrops or saw any lightning. There was this anticipation of something brewing, about to be created as the storm got louder, got closer. At one point, we ran down the dirt road from our camp to the main road where we could see the horizon out past the forest and mountains just to see what we could see and to maybe prove that what we were hearing actually existed.

The storm came and drenched the woods all night. There’s something incredibly intimate and immediate about camping out in the rain in the middle of nowhere. All night we laid there, with our dog at our legs, listening to the torrential rain and thunder. Nothing else existed. The next morning was cloudless, the ground of pine needles was saturated and the creek behind our camp was loud, running high. I sat by its side and watched the caddis flutter off the alder and tap the water, laying their eggs, and slowly “Deer Mountain” wrote itself.

I’m always amazed at how many lives a river has. Just yesterday, it was a creek that I could easily rock jump across. But today after the storms, those rocks are gone under the runoff and it’s a raging stream. However, those rocks still existed and still held power over that water. Yesterday they were creating eddies in the water, today, they are creating rapids. I think that’s one thread I was following as I wrote “Deer Mountain” — what we don’t see, or what we only hear off in the distance, still has incredible power and influence on us.

Award Nominations

It’s that time of year again when we nominate poems and stories for awards!

We love ALL our contributors and wish we could nominate every piece we publish. Here is a list of the nominations for the 2019 Best of the Net and the 2020 Orison Anthology from Split Rock Review!

Congratulations and best of luck to all the nominees!


Heaves — Louella Bryant

No Tongue Can Tell — Brian Czyzyk

Maria Carson to Her Daughter, Rachel, Who Attends the Pennsylvania College for Women, 1925 — Donelle Dreese

The Shew Ash — Isabel Duarte-Gray

After Florence, Roof-top Stigmata — Dina Greenberg

Shithawk Eggs — Sherryl Melnyk

After Daphne Ran Away — Roberta Senechal de la Roche

Dials — Connor Yeck


What’s Left of Us is Shaken — Sarah Carey

Ground Truthing After the Great Fires — Iris Jamahl Dunkle

Mary in the Glass — Arielle Hebert

From Water, Road and Rock — Kelly Lenox

Contributor Spotlight: Jim Johnson

“I Usually Don’t Like Nature Poems”


Another poet once told me.  

And I thought, I usually don’t like selfie poems.

Robert Frost was a good observer, though perhaps not a good woodsman. I apologize for picking on him, but the poem “Two Look At Two” that has had so much popularity has become a formula for the casual stroll into the pastoral, two holding hands seeing another, and, of course, connecting. This has become the clichéd nature poem so many who don’t like nature poems don’t like.  

A nature poet must study their text.  

That by writing about my place, the area that I know, I suppose I am a regional writer and often not considered a part of the larger conversation. Yet I remind you, as I must remind myself, that in order to perceive our world, we need to see first from where we are. This extends to the natural world where if we don’t learn to perceive what is going on soon, there will be no larger conversation.  

Aldo Leopold wrote in the 1930s about the need to see in our own backyards instead of driving all over the continent. The prevailing assumption was that wild places are of no use unless seen by humans; therefore, roads needed to be built. That explosion of roads without an understanding of sustaining ecosystems has not only threatened our wild places but also the existence of our species.

When I began writing, I was fortunate to have attended a writing workshop taught by Sigurd Olson. He had parkinson’s disease then and I don’t remember learning about writing, yet I was inspired and decided I wanted to write about the wild. But I wanted to write poetry. Poetry, I thought, was a way to see, as to perceive, using all of the senses. Poetry I felt was a way in.

I published nine books of poetry. The first books focused on Northern Minnesota history and culture, particularly my Finnish-American experience, and natural history. As we cannot deny the importance of the local, we know we must also respect our plants and animals. We are not the only species and, instead of dominating, we must learn how to coexist. In the same way that we have learned how to make our bodies healthier, we need to extend that awareness to the natural world that we are inseparably connected to. If we stop feeding the land a toxic diet, as well as purging and plundering and destroying habitat, then the planet might have a chance to survive.

But as Leopold wrote, to build a road is so much simpler than thinking of what the country really needs.

In my three recent books—The First Day Of Spring In Northern Minnesota, Yoik, andText for Our Nomadic Future (Red Dragonfly Press)—I tried to write for the plants and animals. Of course I don’t know what plants and animals think. Scientists have discovered, though it takes them so much longer to learn what we poets already know, that trees communicate with their own and other species. If a plant or animal is only a name in a textbook, who will care? So I not only identify plants and animals, I tried to give them a story.  As the Uruguayan Eduardo Galeano wrote, scientists say the world is made up of atoms, but a little bird told me it is made of stories. So I listen to birds.

Although the translation can be difficult. I realized that as ecology has taught us to search animal populations for analogies to our own species, looking from the other way, the stories we tell may not be far from the stories told by plants and animals. This is because poetry is possibility. So I suppose I shouldn’t dismiss Frost but instead take this idea further.

Recently I put together a collection of my poems featuring plants and animals into a manuscript titled Selected Poems: One Morning In June (to be published summer 2019) to focus my concern for the natural world into one volume and, hopefully, reach a larger audience.

So when I go out into the wilds, beyond the end of the road, on a trail or through the brush, I go out into a larger conversation. What Leopold called the chit-chat of the woods that is so difficult to translate.  And isn’t this the larger conversation we now need in this time of climate change, extinction of species, catastrophic weather?  Shouldn’t we go out and engage in that conversation and try to understand?

Contributor Spotlight: Connie Post



Poems come to me at inconvenient times. They arrive as a thought or just an image that occurs to me as I’m driving or merely sitting in the backyard. Something ordinary in my day, may become extraordinary to me. There are moments that congeal into something real and palatable. I used to write a few lines down, keep the paper on my desk, and believe that I could come back to the work at any time, and create the poem that presented itself in my conscious mind. I have made a new commitment in the past five plus years about my creative process and it seems to be working well. Unless there is a family emergency, I drop what I am doing and write the poem. The space that is open inside me, feels like a temporary portal that is open for a finite amount of time for that poem alone. I must walk with it, befriend it, let it tell me its secrets. 

In my writing life in my twenties and thirties, I often had preconceived notions about the poems I wanted to write. I don’t do that any longer. I start with a thought, a phrase, a few words even. I enjoy the journey of seeing where the work takes me. In a workshop with Ellen Bass, I remember her words: “You should know something at the end of the poem that you didn’t know in the beginning.” I try to integrate this concept into all my writing. My most successful poems are those that were “easy birth” poems as I call them. If the poem doesn’t start to come together pretty quickly (within and hour or two) I set it aside for weeks, months, even years. I return to it when the portal is re-opened for that creative work.  

On the poem “Cooling Trend,” the concept of the poem about rearranging all the seasons was due to my fears about climate change. It was because I noticed nothing about the weather seemed predictable anymore. It was winter and it felt like spring. It was fall and still felt like summer. It made me sad and scared me. I wanted to experiment with the idea that everything we know (or think) to be true can be changed and can metamorphosize. The earth changes in ways that represents our own internal story. The earth, like us, responds when violated. I hoped to convey the idea that we can find our way back to ourselves, and maybe we can find ways to heal the earth.