The Drum: A Literary Magazine For Your Ears

Episode 5 of Safe & Sound features a magical bird, a hypnotist and two writers with work perfectly suited to our current crisis. Tune in to meet debut novelist Jennifer Rosner and memoirist Sue William Silverman as they read from their new books and discuss creativity, survival and the importance of gallows humor.

Mysterious dreams, red tulips and a suspicious car on a snowy Moscow night—all this can be found in Episode 4 of Safe & Sound. Listen in to meet writers Ann Lewinson and Carrie Callaghan as they introduce their brand-new books.

Liven up your couch-to-kitchen commute with tales of mug shots, animal companions, unexpected heirlooms and facing the worst-case scenario with Emily Dickinson. Tune in to meet memoirist Alia Volz and poet Lesley Wheeler on Episode 3 of Safe & Sound.

No trips to the bookstore this weekend, but you can tune in to Episode 2 of Safe & Sound to discover brand new books by writers Vanessa Hua and Gila Green. Listen in as they share stories about breaking and entering, elephant poaching and baking bread.

Though you may be hunkered down indoors, you can still reach out and connect to fresh voices and new stories. Check out the first episode of our “mini-cast,” Safe & Sound, where you’ll meet memoirist Helen Fremont, poet Jacob Strautmann, a West Virginia mining town and a "lightly used" cat.

Elizabeth Knapp reads her poems "Capital I," "Is That a Gun in Your Pocket" and "Self-Portrait as Kurt Cobain Wrestling with the Angel" and speaks with Poetry Editor Kirun Kapur about topics ranging from American politics to her advice to young poets.

"Yvonne" by Ciera Burch is the 2019 One City One Story all-city read selection for the city of Boston. One City One Story is an annual project of the Boston Book Festival, which prints and distributes 20,000 copies of the selected story for free throughout Greater Boston. Ciera Burch will appear at the Boston Book Festival for town hall discussions on both October 19 and October 20, in Copley Square and Dudley Square. For more information about the Boston Book Festival and One City One Story, please visit bostonbookfest.org. The story is read aloud by Henriette Lazaridis.

Cattle auctions, pastures, and an old horse. These make up the world of Janisse Ray's essay "Cheyenne", about an old horse taken in by Ray's family. Ray's piece explores the nature of love, the connections between love and pity, and the discovery of grace.

The repetitive work of a tree-planting camp, the complexity of the forest, and above all, the sounds of that world--these are the subjects of Geoff Martin's essay "Burning Silence". Tasked with tending a loud generator, Martin contemplates how noise and stillness fuel our creativity.

Maya Detwiller's short story "Toads" explores the pains and rewards of adolescence through a child's habit of collecting toads. A giant supervising and creating miniature worlds, the story's narrator finds herself looking for a place--a place to fit, to belong, to grow in and away from.

Nickole Brown reads her poems "Wild Thing" and "Against Despair: The Kid Goat" and speaks with Poetry Editor Kirun Kapur about topics ranging from her inspiration for her work, to her Kentucky upbringing, to the first poem that resonated with her.

The Great Confusion has occurred, and in its aftermath, Bea is looking for her daughter. Her husband has gone missing, too. Kari Lund-Teigen's "Keep in Touch" vividly evokes a dystopian world, as well as the lengths to which its inhabitants will go to to communicate and connect.

S.D. Jones' short story "The Ideal Reasoner" gives a comic and touching twist to relationship trouble, as a Shelockian AI creates upheaval in a marriage--only to bring about a surprising resolution.

"I don't have much time," says Dickie, the narrator of Bradford Philen's "What's Heavy". Dickie is a high-school kid, but he doesn't have much time--before his father's kidneys give out, before the coming hurricane hits, before Ophelia, the girl he's into, gives up on him. Dickie is under more than specific pressures on this one night when his many burdens weigh on him.

Frankie is a pet rat. And in Kaia Preus' story "Next Life," he is dying. As Zoe tries to soften his last moments, she tries, too, to find balance in her relationships with two men. Tenderness towards Frankie becomes her litmus test, but also the source of some surprising insights.

Three boys make an unpleasant discovery while playing in a local park. Through one boy's narration, Heather Cripps' "Devil's Drop" tells the story of the children's vulnerability and the poignant ways in which they search for reassurance.

What better way to start off 2019 on The Drum than to fill our January issue with poems by January Gill O'Neil. O'Neil speaks with Poetry Editor Kirun Kapur after reading aloud two poems from her new book Rewilding.

When a robber encounters a hungry Golden Retriever while breaking into a house, the encounter evokes a poignant monologue about how to treat a dog and how not to stock a refrigerator. And Andrea Johnston's "Feeding Champion" is about much more than that. It's about the responsibilities we have towards each other, and about how we do what's right even when promises change.

In 1970, the narrator and his several brothers drive off in a Duster to defend their mother's honor. The fact that most of them are high plays some role in the confusion that ensues. Alec Solomita's "Squirrel" is a tale of sibling allegiances and misunderstandings, told with tenderness and wit.

Two men work to remove a heavy cast-iron tub from a bathroom. They are both middle-aged; one is a teacher, a writer. In Guy Thorvaldsen's essay "Horny For Construction," working with your hands is full of lessons--about rewards and process, but also about what Thorvaldsen calls "small disagreements with the universe".

The husband who narrates Amy Lee Lillard's story "Head Like a Hole" watches, puzzled, as a perfectly round hole grows in his backyard. The growing hole, and the wife's ongoing vigil, tell a poignant story of self, integrity, and, ultimately, connection.

What is held, what holds you, in water or in air? Marsha McDonald's story "s w i m" raises and explores these questions through the story of a girl taught to swim by her uncle. Learning much more than that about her body's resilience, the narrator connects her experience to the terrors and enticements of deep water.

A group of high-school boys tests each other and themselves with the game of knuckles. From the pain of knuckles, to the release of getting high, to the sweet pleasure of a Charleston Chew, these boys feel everything, and try to pretend they can choose what they let in. "Hit Me" is a story--beautifully performed by Spatz--about aggression, recklessness, and surprising weakness.

Erin Hoover's poems "What Is The Sisterhood to Me" and "If You Are Confused About Whether a Girl Can Consent" speak to the issues of our current news-cycle and to the timeless issues of power and selfhood. In an accompanying interview with Poetry Editor Kirun Kapur, Hoover talks about her process, her favorite poem, and other aspects of her work.

A tattoo on a woman's body becomes the locus of a complex interaction between power and passivity in Kate Wisel's short story "Happy Hour". Within a relationship marked with bruises and broken bones, the tattoo raises questions of independence and escape.

The Wednesday Fiasco is how Eva Dunsky refers to the sudden end of an adolescent relationship. "But That's Not The Way It Feels" is a wry account of a break-up, tinged with the melancholy wisdom of Jim Croce and youthful perspective.

A swamp is home to an imagined panther named "Fen" in Kate Lassell's eponymous story. Narrated by a precocious kid named Judith, the story follows a father and daughter fighting to preserve a threatened marsh--and working to sustain their small family after a tragic loss.

A thing as ordinary as a mailbox becomes the focus of all of one man's passions in Phil Shreck's eponymous story. Russell tilts not at windmills but at his mailboxes, old and new, and at a deep-seated sense of inadequacy. Shreck reads his darkly funny story aloud in a brilliant performance.

Shane Seely reads his poems "Just Now a Goose" and "Two Stories Up" and speaks with Poetry Editor Kirun Kapur about his process, his first favorite poem, and how he likes to write by "leaning out over his skis".

Every summer since 1900, the National Hobo Convention takes place in Britt, Iowa, a tiny town whose two train lines have made it the center of hobo memory for generations. Virginia Marshall's Dispatch from the Convention captures the voices of hobos gathered to name their king and queen, and speaks of the idea of freedom and the reality of borders as they define the hobo way of life.

Football and a bong are the ostensible subjects of Austin Segrest's two poems "Wingback" and "The Big Bong". Segrest's poetry is both playful and serious here, classically grounded and utterly contemporary. After reading the poems, he speaks with Poetry Editor Kirun Kapur about his sources of ideas, his approach to writing, and his current non-poetry obsession: tennis.

Since February is the shortest month, we think it's the perfect time for the shortest of stories. And so, we bring you that icon of long-ago pop culture, now modified for the post-cassette era: the mixtape. In one track, we've compiled six short pieces from The Drum's archives, from writers Matt Bell, Ron MacLean, Michelle Seaton, Cumi Ikeda, Allison Williams, and Nathan Poole. These are tales of snakes and tidepools, butchers and fish, identity and danger.

Frederick Speers' poems "Deerskull," "Interlude Blues," and "Star Jasmine" are not your usual love poems. Featuring loss, death, and decay, they explore the darker side of love. In his interview with Kirun Kapur, Speers talks about how his work originates, about his relationship with love poetry, and about how his work fits or doesn't into the long tradition of poems about love.

"XOX" begins with a fake-leather belt and concludes with thoughts on the sincerity of greetings and the limits of our reaching out to those in trouble. In both this poem and in "Teach Us to Number Our Days," Leslie Williams works within a surprising complexity to bring musicality and meaning together--topics she discusses in her interview with Poetry Editor Kirun Kapur.

The anger and frustration of girls is at the core of Brandi Reissenweber's short story "Where We Found the Girls". As, one by one, four girls in a community are discovered in strange and mysterious circumstances, the townspeople must confront what they themselves have failed to see and understand.

Mustang Wanted is one of a small group of young men who hang by their bare hands from the tops of skyscrapers. Without ropes. Laura Jones' essay "Death Fears Him" delves into this subculture, exploring the dangerous and fascinating intersection of risk and fame.

A woman, her two sons, her ex, and a deer. Add to this the knife the ex is using to gut the animal and you have a family crisis of compelling drama. Cindy House's "Dear Deer" doesn't skimp on the suspense but finds humor too in this confrontation over much more than one hunted animal.

A young couple, a little girl, and a seaside carnival come together in this short piece by Lisa Piazza. They come together and they come apart, while the mother who narrates the piece ponders the funhouse-mirror quality of the new land she finds herself in after divorce.

Our partners the Boston Book Festival chose Daphne Kalotay’s “Relativity” as the selection for the 2017 One City One Story project. The story appeared in print--for the first time--in free booklets available throughout Boston. But you can listen to Daphne read it aloud herself here--and only here--on The Drum.

How fearless can you be? How fearless can you afford to be? In the "Parking Garage Late at Night" of Val Maloof's flash fiction, one woman's fear and imagination twine together as she faces danger. Maloof explores how the story the woman tells herself and the stories she's been told all her life--by her mother, by society--combine to save or abandon her.

In Josh Sheridan's complicated story "Faith," a woman negotiates the hypocrisy and exploitation of a small religious group. Whether you see the group as a cult or a religion, and whether you see the woman as a heretic or a believer will depend on your own ideas about faith. But Sheridan renders vividly the tense and passionate world in which his unnamed character wields the power of surrender and control.

A Nigerian woman's domination by her new husband forms the narrative of Hannah Onoguwe's "The Housewife" as, step by step, Aramide faces more and more restrictions--on what she can wear, whom she can visit, and finally where she can go. But confined to her house, visited only by the generator repairman, and allowed out only to have her fidelity tested by priests, Aramide discovers ways to subvert her husband's authority. Onoguwe's story brings surprise and delight in its lively telling.

There is a woman raking lizards down from a tree. There is a family to care for. There are errands to run. Our narrator wages war against the lizards who return each day, undefeated, but she fights other things, too, in a much more complicated battle.

The narrator of Jo-Ann Bekker's "Riptide" insists we can believe her. 'Believe me when I tell you,' she says, many times. The story asks us whether we can trust this tale of infidelity, and whether even the woman telling us the story is certain of anything beyond the strong pull of desire.

Alysia Abbott's essay tells the story of romantic risk--the risk of letting someone go in the hope and belief not only that it's the right thing to do, but also that it may be the only way to hold on. A Cat Power song, a striped shirt, and a Ukrainian restaurant all play a role in this tale of love.

"Five Wishes" unfolds in as many episodes, each one telling a linked variation on a tale of a boy, his mother and father, a stream, a shovel, and a piece of purple quartz. Taken together, these episodes are like facets on a stone, revealing new insights on this little family while at the same time allowing us to see the heart of the story.

In her essay "In Texas," Christi Craig recalls her teenaged self facing a dilemma of faith and family. Should she admit to her grandmother that she cannot speak in tongues, or should she pretend she can so as not to reveal her distance from the religion that has always bound them together? Looking back, Craig examines the connections that have endured.

A train makes the perfect setting for this story about a woman in limbo--between jobs, between countries and cultures, between homes. Aine Greaney's "The Man on the Train" turns a conversation with a stranger into a study of belonging, as Lorna, Irish and recently arrived from her home in England, travels into Boston from her sister's suburban home.

Mark Vanhoenacker reads excerpts from his recent book SKYFARING. In a seamless fusion of history, politics, geography, meteorology, family, and physics, the book asks us to reimagine what we--as pilots and as passengers--are actually doing when we enter the world between departure and discovery. www.skyfaring.com

In this subtle and tense story, James English sets us down among the complicated relationships within a family and a neighborhood and lets us watch a betrayal unfold. It's a variation of the tale of a stranger coming to town--only the stranger is already there, and the town is someone's family.

Tess Taylor reads four poems and speaks with Poetry Editor Kirun Kapur about how her poems originate and about her new collection Work and Days. Tendinitis, farm work, Hesiod, and hearing music in a phrase--all these and more topics come up in conversation.