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"Béchard's poetic gifts give voice to the outsiders of society, and make them glow with humanity and love." -ELIZABETH MCKENZIE

Copper Nickel is a meeting place for multiple aesthetics, bringing work that engages with our social and historical context to the world with original pieces and dynamic translations. Copper Nickel issue 23 features poetry by two-time Pushcart Prize winner Jennifer Atkinson, Kate Tufts Discovery Award winner Adrian Blevins, National Poetry Series winner Justin Boening, renowned poet and critic Stephen Burt, Ruth Lilly Fellow Chloe Honum, two-time NEA Fellow Christopher Howell, Lambda Literary Award finalist Randall Mann, Stegner Fellow L.S. McKee, and Guggenheim Fellow Eric Pankey, as well as emerging voices such as Belfast, Northern Ireland, based poet Andrew Deloss Eaton and Hong Kong based poet Nicholas Wong; fiction by George Brookings, Dan Mancilla, Evelyn Sommers, and Liz Wyckoff; nonfiction by Bangladeshi-American writer Anuradha Bhowmik and NEA Fellow Traci Brimhall; and translation folios featuring Polish poet, critic, and scholar of Roma culture Jerzy Ficowski (translated by Jennifer Grotz and Piotr Sommer), Bosnian visual and performance artist Šoba (translated by Paula Gordon) who "publishes" his prose on Facebook, and Polish poet Gzegorz Wróblewski (translated by Piotr Gwiazda).The cover of Issue 23 features collage work by Denver-based visual artist Mario Zoots.

Issue 31/2 is a special double issue, featuring nationally renowned American writers and nine translation folios with generous selections of work by internationally known writers from Argentina, French-Speaking Belgium, Germany, Greece, Mexico, Poland, the , South Korea, and the Galician Region of Spain.The issue includes:Poetry by Pulitzer Prize winner Yusef Komunyakaa; National Book Award finalist and Los Angeles Times Book Prize winner Carl Phillips; Guggenheim Fellows Terese Svoboda, David Kirby, and Mark Halliday; two-time Lambda Literary Award winner Maureen Seaton; Rockefeller Foundation Fellow Pablo Medina; Lenore Marshall Prize winner Craig Morgan Teicher; Kresge Arts Foundation and Kundiman Fellow Matthew Olzmann; Ohioana Book Award winner Ruth Awad; Kundiman Prize winner Janine Joseph; Alice Fay Di Castagnola Award winner G. C. Waldrep; Lambda Literary Award finalist Randall Mann; as well as Michael Bazzett, Jehanne Dubrow, Sarah Gridley, Joy Katz, Hailey Leithauser, Claire Wahmanholm, and many others.Fiction by Maxim Loskutoff, an NPR Best Book author and New York Times Editor's Pick; as well as by Cara Blue Adams, Gerri Brightwell, Aidan Forster, Ryan Habermeyer, Nihal Mubarak, and Carolyn Oliver.Nonfiction by PEN Center USA Literary Award and California Book Award winner Victoria Chang, art and literature critic Robert Archambeau (writing on the "spirituality" of Andy Warhol), and relative newcomer Caroline Plasket.Translation Folios with poetry by Filipino poet Mesándel Virtusio Arguelles (translated by Kristine Ong Muslim), Mexican poet Cesar Cañedo (translated by Whitney DeVos), Franco-Belgian poet Guy Goffette (translated by Marilyn Hacker), Greek poet Dimitra Kotoula (translated by Maria Nazos), Polish poet Ewa Lipska (translated by Robin Davidson and Ewa Elzbieta Nowakowska, South Korean poet Moon Bo Young (translated by Hedgie Choi), Galician/Spanish poet Chus Pato (translated by Erín Moure), and Argentinian fiction writer, journalist, and political martyr Rodolfo Walsh (translated by Cindy Schuster).The cover features work by New York-based artist and Gordon Parks Foundation fellow Derrick Adams, whose work has shown nationally and been featured on the television shows Empire and Insecure.

Fifteen-year-old Calli has just about everything she could want in lifetwo loving moms, a good-looking boyfriend, and a best friend who has always been there for support. An only child, Calli is excited when her parents announce that they want to be foster parents. Unfortunately, being a foster sister to Cherish is not at all what Calli expected. First Cherish steals Callis boyfriend, then begins to pit Callis moms against one another, and she even steals Callis iPod. Tired of being pushed around and determined to get even, Calli steals one of Cherishs necklaces. But this plan for revenge goes horribly awry, and Cherish ends up in juvenile detention.Isolating herself from her moms, her boyfriend, and even her best friend, Calli wrestles with her guilt and tries to figure out a way to undo the damage shes caused. When her moms are asked to take on another foster child, Calli sees an opportunity to make amends for her past mistakes.Funny, moving, and emotionally rich, Calli is a portrait of an endearing young woman caught between adolescence and adulthood, striving to do the right thing even when all of her options seem wrong.

Issue 29 includes fiction by Berlin Prize winner and NEA Fellow V.V. Ganeshananthan, as well as relative newcomers Kimberly Garza, Maria Kuznetsova, Sam Simas, and Jennifer Wortman.Nonfiction by Best American Essays and Pushcart Prize: Best of the Small Presses contributor Paul Crenshaw and experimental lyric prose writer Debra Di Blasi.Poetry by Roethke Memorial Prize winner and Guggenheim Fellow David Baker, Anisfield-Wolf Book Award winner Martha Collins, Rome Prize winner Mark Halliday, Kate Tufts Discovery Award winner Janice N. Harrington, Jake Adam York Prize winner Brooke Matson, NEA Fellows Kaveh Bassiri and Matt Morton, Cité Internationale des Arts Fellow Jacques J. Rancourt, Alice Fay Di Castagnola Award winner Natasha Sajé, as well as Jan Beatty, TR Brady, Jenna Le, Samantha Lê, John A. Nieves, Roy White, and many others.Translation Folios featuring short fiction by Galician writer Xavier Queipo, translated by Jacob Rogers; and poetry by Catalan poet Gemma Gorga, translated by Sharon Dolin; Chinese dissident poet Shen Haobo, translated by Liang Yuing; and Slovenian poet AleS steger, translated by Brian Henry.The cover features work by Denver-based artist Michael Gadlin, who was educated at the Pratt Institute in Brooklyn, NY, and whose work has been shown all over Denver, as well as in New York City and France. Gadlin is represented by K Contemporary Gallery in Denver.

Marena struggles to remember what life was like before the Zero Tolerance Party installed listening devices in every home. Before they murdered her mother and put her father under house arrest. A time when difference was celebrated.When the new Minister of Education cracks down in her school, eliminating personal expression and independent thought, Marena decides she has to fight back. Fueled by her memories and animated by her mother’s spirit, Marena forms a resistance group–the White Rose. With little more than words, Marena defies the state officers lurking around every corner, and embarks on a campaign of life-affirming civil disobedience.The Silenced draws on the true story of Sophie Scholl and the White Rose, a movement that courageously resisted the Nazis. In an era when new technologies are accompanied by increasing surveillance, this is a powerfully relevant story of the enormous change that is possible when one person is courageous enough to speak the truth to power.

A thoughtful new collection of poems, one that deconstructs the deceptively simple question of what it means to be gooda good person, a good citizen, a good teacher, a good poet, a good father.With These Trees, Those Leaves, This Flower, That Fruit, Hayan Charara presents readers with a medley of ambitious analyses, written in characteristically wry verse. He takes philosophers to task, jousts with academics, and scrutinizes hollow gestures of empathy, exposing the dangers of thinking ourselves separate / from [our] thoughts and experiences. After all, No work of love / will flourish out of guilt, fear, or hollowness of heart. But how do we act on fullness of heart? How, knowing as we do that genocide is inscribed in our earliest and holiest texts?Thoughtful but never preachy, Charara sits beside us, granting us access to lifes countless unglamorous dilemmas: crushing a spider when we promised we wouldnt, nearing madness from a newborns weeping, resenting our lovers for what happened in a dream. Good poems demand to be written from inside the poet, we are reminded. And that is where we find ourselves here: inside a lively and ethical mind, entertained by Chararas good company even as goodness challenges us to do more.

Sara Eliza Johnson’s much-anticipated second collection traces human emotion and experience across a Gothic landscape of glacial and cosmic scale.With a mind informed by physics, and a heart yearning for sky burial, Vapor’s epic vision swerves from the microscopic to telescopic, evoking an Anthropocene for a body and planet that are continually dying: “So alone / I open like a grave,” Johnson chronicles her love for “all this emptiness, this warp and transparence, the whorl of atoms I brush from your brow,” and considers how “each skull, / like a geode, holds a crystal colony inside.” Almost omnipresently, Vapor stitches stars to microbes, oceans to space, and love to pain, collapsing time and space to converge everything at once. Blood and honey, fire and shadow, even death and mercy are secondary to a profoundly constant flux. Facing sunlight, Johnson wonders what it would mean to “put my mouth to its / mouth, suck the fluid / from its throat, and give / it my breath, my skin, / which was once my / shadow,” while elsewhere the moon “is molten, an ancient red, and at its bottom is an exit wound that opens into another sea, immaculate and blue, that could move a dead planet to bloom.”In Vapor, Sara Eliza Johnson establishes herself as a profound translator of the physical world and the body that moves within it, delivering poems that show us how to die, and live.

¿A profound debut from a writer of great talent.¿¿Adam Johnson

This 21st issue of Copper Nickel features poetry, fiction, and nonfiction, including work by National Book Award and National Book Critics Circle Award finalist James Richardson; Anisfield-Wolf Award recipient Martha Collins; Alice Fay Di Castagnola Award winner Jehanne Dubrow; Guggenheim Fellow Mark Halliday; NEA Fellows David Hernandez, Henry Israeli, and Kevin Prufer; PEN/O. Henry Prize recipient Polly Rosenwaike; James Laughlin Award winner Tony Hoagland; James Merrill Fellow Anna B. Sutton; Lambda Literary Award winner Julie Marie Wade; Lannan Foundation Fellow Ed Skoog; as well as a number of writers at earlier stages in their careers. The issue will also include three “Translation Folios” introducing and contextualizing for an American audience the Chinese poet Yi Lu, the Danish fiction writer Christina Hesselholdt, and three Uruguayan poets: Laura Cesarco Eglin, Circe Maia, and Karen Wild.The cover of Issue 21 features new work by renowned artist, musician, and composer Mark Mothersbaugh.

Copper Nickel is a meeting place for multiple aesthetics, bringing work that engages with our social and historical context to the world with original pieces and dynamic translations.Copper Nickel Issue 22 features three essays on contemporary publishing by Dalkey Archive Press founder John O’Brien, Bookslut founder Jessa Crispin, and Virginia Quarterly Review digital editor and Publishers Weekly columnist Jane Friedman. It also includes poetry, fiction, and nonfiction by Norma Farber First Book Award winner Cathy Linh Che, Alice Fay Di Castagnola winner G. C. Waldrep, Soros Foundation Fellow David Keplinger, California Book Award winner Alexandra Teague, Thom Gunn Award winner Charlie Bondhus, Hopwood fellow Rachel Richardson, and numerous emerging and established writers including Jaswinder Bolina, Elyse Fenton, and Bernard Farai Matambo.Additionally, the issue includes three “Translation Folios” introducing and contextualizing for an American audience work by renowned Turkish poet Haydar Ergülen, Georg Büchner Prize winner Karl Krolow, and Prix Max-Jacob winner Emmanuel Moses in translations by (respectively) Derick Mattern, Stuart Friebert, and National Book Award and Lenore Marshall Prize winner Marilyn Hacker.The cover of Issue 22 features work by Los Angeles-based artist Christina Stormberg.

The first time journalist Jon Lurie meets José Perez, the smart, angry, fifteen-year-old Lakota-Puerto Rican draws blood. Five years later, both men are floundering. Lurie, now in his thirties, is newly divorced, depressed, and self-medicating. José is embedded in a haze of women and street feuds. Both lack a meaningful connection to their cultural roots: Lurie feels an absence of identity as the son of a Holocaust survivor who is reluctant to talk about her experience, and for José, communal history has been obliterated by centuries of oppression.Then Lurie hits upon a plan to save them. After years of admiring the journey described in Eric Arnold Sevareid’s 1935 classic account, Canoeing with the Cree, Lurie invites José to join him in retracing Sevareid’s route and embarking on a mythic two thousand-mile paddle from Breckenridge, Minnesota, to the Hudson Bay.Faced with plagues of mosquitoes, extreme weather, suspicious law enforcement officers, tricky border crossings, and José’s preference for Kanye West over the great outdoors, the journey becomes an odyssey of self-discovery. Acknowledging the erased native histories that Sevareid’s prejudicial account could not perceive, and written in gritty, honest prose, Canoeing with José is a remarkable journey.