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Issue 44 Winter 2020-2021

Issue 43 Summer 2020

Issue 42 Winter 2019

Issue 41 Summer 2019

Kestrel 40 Winter 2018

Issue 39| Summer 2018

Issue 38| Fall 2017

Issue 37| Spring 2017

Issue 36 | Fall 2016

Issue 35 | Spring 2016

Issue 34 | Anniversary Double Issue

Issue 33 | Fall 2014

Issue 32 | Spring 2014

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Issue 30 | Spring 2013

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Issue 28 | Spring 2012

Issue 27 | Fall 2011

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Issue 25 | Fall 2010

Issue 24 | Spring 2010

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Issue 22 | Spring 2009

Issue 21 | Fall 2008

Issue 19 | Spring 2002

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Issue 15 | Spring 2000

Issue 14 | Fall 1999

Issue 13 | Spring 1999

Issue 12 | Fall 1998

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Issue 7 | Spring 1996

Issue 6 | Fall 1995

Issue 5 | Spring 1995

Issue 4 | Fall 1994

Issue 3 | Spring 1994

Issue 2 | Fall 1993

Issue 1 | Spring 1993

Kestrel 44 Celebration

Join contributors from Kestrel 44 for a virtual celebration this Friday and Saturday!

Friday, 4 June, 6:00-8:00 p.m. https://fairmontstate.webex.com/fairmontstate/j.php?MTID=m126ac4c82fb5f8...
Readings and Panel Discussion featuring Cathy Barber, Marisa P. Clark, Cynthia Hogue, Christine Potter, Jason Tandon, and Sara Moore Wagner

Panel Discussion Topic: Last Lines; Moderator: Elizabeth Savage, Poetry Editor, Kestrel

Often, as I read poems offered to Kestrel, I’m fooled by the whims of screen space and page breaks into thinking a poem has ended powerfully when—oh look!—it actually continues for another stanza, page, or pages. Less often, a group of poems will display a writer’s knack for closing lines: such poems can seem ordinary or unfinished until that last line, which sends me to reread and then to see the power threaded discreetly through the poem, bursting forth at the finish.

The same can be said about prose—last lines can expose the brilliance of a piece or throw it into question. I still remember the shocking ending of Mark Helprin’s short story “A Vermont Tale” twenty years after I last read it—the last line is likely the only reason I remember it. Alice Munro has the knack, and O’Connor, but not everyone.

To prepare for this discussion, think about your own last lines—your favorites, the elusive ones, the ones you’ve changed or cut. What status do last lines have in your writing and in others’ writing? Is the importance a constant—crucial in some pieces, trivial in others? Sometimes about sound, other times image or theme? Don’t try to address all these questions: just think over what interests you and come to the conversation ready to discuss what you’ve thought about or realized.

Saturday, 5 June, 2:00-4:00 p.m. https://fairmontstate.webex.com/fairmontstate/j.php?MTID=mc01d10409beaf5...
Readings and Panel Discussion featuring Kevin Boyle, Ray Keifetz, John Moessner, Tina Morris, Marlene Olin, and Bonnie Proudfoot

Panel Discussion Topic: Point of View; Moderator: Suzanne Heagy, Fiction Editor, Kestrel

In the Creative Writer’s Handbook, Jason and Lefcowitz write that, “Point of view is so powerful that it is the linchpin for every other aspect of writing.” The essential point of view question is: Who is going to do the telling? The answer to the question involves characterization, language choices, plotting, and so much more.

To prepare for this discussion, think about how you select a point of view when writing prose or poetry. Have you ever rewritten a piece from a different point of view than your initial approach? Are some POVs simpler or more difficult than others for you, and why? What is the value of expressing the POV of, say, a chair or a bar of lemon soap? Are some POVs off limits? How do you think POV choices influence the reception of your work?

All Kestrel contributors are welcome to join in an Open Mic Reading on Saturday from 6 to 8 p.m. https://fairmontstate.webex.com/fairmontstate/j.php?MTID=m66f09f7d6059be...

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