• Dallas Woodburn

    The Short Way Home: An Interview with Dallas...

    on Jul 19, 18 with No Comments

    Mel Sherrer This month, South 85 Journal sat down with Dallas Woodburn, author of the newly released Woman, Running Late, in a Dress, to discuss the nature of short stories, character relatability, the role of irony, and much more. S85: Firstly, why short stories for this...

  • That Ticking Clock: The Handling of Time in...

    on Jun 28, 18 with No Comments

    Cary Holladay As an element of craft, time is generally regarded as a tool of setting, akin to place. Yet it is multidimensional, a voyage through past and future. Equally mysterious is the present, deemed by T.S. Eliot “the still point of the turning world.” First, a true...

  • Summer Flash Fiction Contest $500 prize

    Summer Flash Fiction Contest

    on Jun 25, 18 with No Comments

    South 85 Journal is relaunching Converse College MFA program’s Julia Peterkin awards, starting with an all-new summer flash fiction contest. Like past awards, the contest will honor Julia Peterkin, an 1896 graduate of Converse College. In 1929, she won the Pulitzer Prize...

  • Photograph by William Crawford

    The Spring / Summer 2018 Issue Is Here!

    on Jun 15, 18 with No Comments

    The Spring / Summer 2018 Issue of South 85 Journal is now available online. Creative Work We are pleased to present work by the following contributors: • Artwork – Roger Camp, Richard Corso, William C. Crawford, Ann Schlotzhauer, Louis Staeble, Mauricio Paz Viola, and...

  • Mindful Writing

    5 Prompts for Mindful Writing

    on May 17, 18 with No Comments

    Diana Raab Mindfulness is about living in a very conscious way so that we can devote full attention to whatever we are doing. Mindful writing is a good way to escape from the chaos of our daily lives, and can also help us uncover our authentic voices and inspire the writer...

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  • Mel Sherrer and Liz Valvano

    Meditations on Togetherness

    on Oct 9, 17 in All Journal Content, Featured Blog Post by with 1 Comment

    Mel Sherrer


    My expectation is to rise
    every morning
    with a Texas dawn ripping my eyes
    open like a sweaty Sunday shirt.

    I expect the complaints of abused bones
    creaking in marriage
    with cartilage
    I expect the ache of every hour ago.

    Expect boredom
    Expect wander-lust
    Expect complacency

    But then –
    The burden of the day unfolds

    There are rings of dried coffee
    in your abandoned mug

    like those of a newly fallen tree

    I know how many sips you took this morning

    how many steps through the door

    before kicking off your shoes

    whether you went for the mail

    or finger-raked your hair

    or if you rushed out –

    forgetful and frantic.

    I know which thing you forgot.

    These are sacred pieces of a story

    I’ve loved in re-telling

    Each time I grow younger.

    Blessed ritual.
    You starting your day, in ways

    I know

    have known.


    How old is the oldest thing we own?
    Is it something we’ve collected
    Something made by our overlaying hands
    an heirloom tucked away, coveted
    knick-knack on a bottom shelf
    something made of clay or glass?
    Is it the memory of a friend – we’ve loved and lost
    – together
    Is it that ancient between us?
    Is it lasting?
    What is our dusty relic
    which calls to us

    Come inside – home.

    Whatever it is – left when you’ve gone
    a scroll, a scar, a microchip, a pile of dust and ash

    leave that to me

    with me

    for me.


    Mel SherrerMel Sherrer completed her MFA at Converse College in Spartanburg, South Carolina. She uses her Southern roots and knowledge of sonic aesthetic to create poems which have personal reverence for place, time, and societal evolution. Mel has been performing poetry for more than ten years. She is currently the Managing Poetry Editor for South 85 Journal, and she regularly interviews writers for our blog. She lives in Las Vegas, Nevada, where she is an avid performer, angler, and Nerf collector.

    Liz Valvano photoLiz Valvano, bassoon, is beginning her Doctorate of Musical Arts in double reed performance at University of Nevada, Las Vegas. She completed her Masters in Music at Texas State University, woodwind performance under the tutelage of Daris Hale and Dr. Ian Davidson May 2017, and her BA in music and chemistry at Hollins University in May 2015, studying under Danny Felty of the Roanoke Symphony Orchestra. Currently, she performs with the UNLV Symphony Orchestra and Honors Graduate Wind Quintet.


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  • Debby DeRosa making an announcement

    South 85 Journal Launches a YouTube Channel

    on Sep 25, 17 in Blog, Featured Blog Post by with No Comments

    Debby DeRosa

    South 85 Journal is launching a YouTube Channel to help us promote contemporary literature.  Starting October 9, we will release one video poetry reading a month.  To get everyone excited (and to test some features), I created this video announcement:


    Now that I have thoroughly embarrassed myself, I’ll return to hiding behind my computer – as long as you will take a moment to make sure you don’t miss any of our readings.  You can subscribe to our YouTube Channel or blog or follow us on Facebook or Twitter.

    Also, don’t forget to submit poetry, creative non-fiction, fiction, and visual art before November 1 to be considered for our next issue, which comes out December 15, 2017.  For more info, visit https://south85.submittable.com/submit.

    I look forward to seeing you online!

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  • Stories from the Times Between: Caitlin Hamilton Summie on Her New Book of Short Stories

    on Sep 22, 17 in Blog, Featured Blog Post by with No Comments

    Mel Sherrer

    Caitlin Hamilton Summie’s short story collection, To Lay to Rest Our Ghosts, was released by Fomite in August. We sat down to talk to her about the writer/promo balance, novels vs. short stories, and the importance of place. Read on!

    S85: How do you navigate being both a writer and a promoter?

    CH: I have to fit my own writing in to my days, as I always have had to do, whether as a student or a publicist. I make time at night, on weekends, on a lunch hour.

    Also, I don’t discuss my writing with my clients, unless they bring it up. Once or twice, I shared an experience I had. But when I’m working, I’m focused on promoting their work, and I keep a division in my mind. That is their time, for their work.

    S85: Given your career as a publicist, how does the commercial or critical success of a particular piece impact your personal opinion of the piece and your writing as whole?

    CH: Every year, there are beautiful books, small press or big house, which never receive the notice they deserve. It has been that way since the beginning of my career, and it will be that way long after I stop working. There are simply too many books. I am heartened by the wonderful critical reception my own writing has received, and I am glad it has received notice, given the tough fight small press titles have to get any attention. I love my book, and I would love it even if no one had noticed it. I’d have been disappointed in the market and book world if there had been no coverage for it, but I would not have been disappointed in my book.

    But having it recognized is wonderful.

    S85: In terms of fiction, what would you say are the fundamental differences between a fiction novel and a short story? What makes a great short story?

    CH: That’s an interesting question for me because so many of my stories involve decades, whole histories, so for me, short stories don’t have to be a slice of life experience. They can be their own whole worlds. In my writing, it really comes down to length (some of my stories are long) and to finishing the rest of the story. For instance, I write some stories that link, so a novel will allow me to finish these characters’ stories. I am in fact one draft in on a novel-in-stories that includes three stories from my collection.

    S85: What encouraged you to delve into writing and compiling your collection of stories To Lay to Rest Our Ghosts; what was the book’s genesis?

    CH: The book began 25 years ago, when I was pursuing my MFA. Eight of the ten stories were written back in 1992-1995, then taken out, dusted off, and submitted with some minor edits. The last two stories were started after the program ended but took a long time to write.

    Fomite editor Marc Estrin asked in 2015 if I had a collection. I told him thank you but no. It was so cool to be asked, but I didn’t think I had anything. But in June 2016, I submitted a story called SONS that was accepted for publication. After that, I thought, “Why not look?” I pulled out my stories, saw I had ten, and contacted Marc. Ten seemed a solid number of stories to have in a book.

    S85: Your stories have a very strong conveyance of location.  Do you have any devices or methods for creating that intense rendering of geography and landscape?

    CH: Well, I guess the answer is no. I think I am just particularly attuned to weather and landscape, to place, so they become part of how I see things.

    S85: Are there books, short story collections in particular, which you are currently reading or have read that inspire you to write?

    CH: No, though there are lots of writers in lots of genres I admire. I write because I feel compelled. That is always the way it has been, from when I was very, very little. My mom tells me that I used to bring her scribbles before I knew how to write letters. I would want her to read my stories. So I have been eager to tell stories since the beginning.

    S85: Would you say your approach to writing is practical or purely artistic? Under which circumstance do you find your writing most fruitful or closest to your personal vision for your work?

    CH: I write when I can, not on a schedule, so I consider myself a Carpe Diem writer. I find a moment or an hour or a few hours, and I go for it. I write whatever I want. Stories, novel, picture book, poems. I recently had a poem published, which was quite exciting. I hadn’t had poetry published since college. But I also give myself time in terms of years. I work, I have kids, I have volunteer responsibilities. It is a delicate balance—pursuing my writing career. I’m not sure when I best achieve my goals, but I believe it is when I trust my instincts and don’t overthink things.

    Thanks, Caitlin!

    About the Author

    Caitlin Hamilton Summie, photo by Colin SummieCaitlin Hamilton Summie earned an MFA with Distinction from Colorado State University, and her short stories have been published in Beloit Fiction Journal, Wisconsin Review, Puerto del Sol, Mud Season Review, and Long Story, Short. She spent many years in Massachusetts, Minnesota, and Colorado before settling with her family in Knoxville, Tennessee. She co-owns the book marketing firm, Caitlin Hamilton Marketing & Publicity, founded in 2003.

    About the Interviewer

    Mel SherrerMel Sherrer is a performance poet and teacher living in San Marcos, Texas. She is the Managing Poetry Editor for South 85 Journal.

    Featured Image Photo:  A crop of the cover of To Lay to Rest Our Ghosts

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  • Converse College Low-Residency MFA

    Converse College Low-Residency MFA Facebook Live Info Session

    on Sep 11, 17 in Blog, Featured Blog Post by with No Comments

    Sarah Gray

    Associate Director of the Converse College Low-Residency MFA in Creative Writing is a title that sounds far grander than the position it actually entails.  The truth is, come residency time my goal is to stay invisible because invisibility means everything is running smoothly.  Sometimes clichés stick for a reason, and in this case it holds true. No news is good news.

    But before we get to the residency and all the work that goes on behind the scenes, we need to answer questions from prospective students.  Lots and lots of questions.  And that’s good.  We always have a smart group of applicants who ask intelligent and necessary questions to make sure that our program is right for them (which, of course, it totally is).

    In the past, we’ve had information sessions on campus for prospective applicants to check out the place, meet some faculty, alumni, current students, and just generally get a feel for the program.  Unfortunately, this limited our info sessions to locals and people within driving distance.  So this year, we’re thinking bigger.  We hope you will join us.

    Saturday, September 16, at 11 am, we will be holding our very first Facebook Live Event.  Part information session, part AMA, this is your chance to hear about the program and ask any questions you may have, no matter how big or small.  Our event will be hosted by me, Sarah Gray (Associate Director and a fiction alumna), Rick Mulkey (Director of the program), and Travis Burnham (fiction alumnus).  So if you’re doing the math, that’s two fiction writers and a poet.  We want to represent everyone that might be watching, so we can answer YA and nonfiction inquiries as well.

    During this session, we also plan to discuss the amazing online literary journal that is affiliated with our program, South 85 Journal.  Prospective students are always asking about writing and publication opportunities within the program, and South 85  is our shining star in that department.  Students who work on the journal learn editing, publishing, and marketing skills.  There are even possibilities for those who have interest/experience in graphic design.  And best of all, Editor-in-Chief Debby DeRosa is a joy to work with and is passionate about the journal and its high standards.

    If you’re still reading, go right now and “Like” our Facebook page.  Once you do, you’ll automatically get notified on your smart device when we go live.  Get your questions ready, and maybe set up a drinking game for every time I say “Um.”  On second thought, don’t do that.  You’ll be too drunk to make it through the session.  Either way, tune in to our Facebook Live on Saturday, September 16, at 11 am.  We can’t wait to meet you.


    Sarah GraySarah Gray graduated from Converse with a BFA in Creative and Professional Writing in 2009 through the Converse II program and stayed around to earn her MFA in Creative Writing (Fiction) at Converse as a member of the program’s very first graduating class in 2011. She founded the MFA program’s literary journal, South 85, directed the Converse Young Writers’ Workshop for two years, and served as an adjunct for three years before stepping into her current position as Associate Director of the MFA in Creative Writing program.

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  • writing tortured nirvana

    A Tortured Nirvana

    on Aug 7, 17 in Blog, Featured Blog Post by with No Comments

    M. M. Adjarian

    People who glamorize the writing life should be hanged, drawn and quartered for their demon-spawned lies. Writing is unsexy dog work, a ceaseless plodding of word after blasted word. And it’s unforgiving. Progress for most comes in stingy half-inches rather than expansive miles. Joyce Carole Oates and Stephen King are among a tiny handful of individuals as famous for their prolific output as they are for the hypergraphia — a kind of verbal OCD —that drives them to the literary excesses behind their fame.

    I’m still quite not sure why I do it; maybe I’m an undiagnosed masochist. Or maybe it has to do with an addiction to the writing process itself. When I try to describe that addiction to friends, they smile, as if to humor an idiot child or a woman too far gone to listen to reason. No person in her right mind would hunker down alone in her apartment to sit in front of a computer for 10 to 12 hours at a stretch; or just to get neck cricks and cause more damage to half-blind eyes that have made a mockery of five different bifocal prescriptions in less than 10 years.

    But what do they know? Sitting in my black IKEA recliner, laptop perched atop my thighs and locked into focus mode, I can stare at the screen and let my gaze turn inward rather than react to the endless stream of fuss and noise around me. My heart rate slows, beating in time to the slow-pulsing cursor on my screen. I go into a kind of trance where the only way I can tell the time of day is by noting the changing pattern of light and shadow outside my window. For a short time, I know a rare commodity: peace.

    Psychologists would characterize this relaxed alertness as the alpha wave state associated with waking dreams and meditation. Synapses fire in the synchronic harmony of identifiable patterns; the alpha state is just one of them. What I actually experience is a corporeal forgetfulness where eating, breathing and even excreting don’t seem to matter. Those body parts engaged in the writing act — eyes, arms, fingers —become appendages of a consciousness seeking expression through the medium of language. I am blissfully, gloriously, canceled out into temporary non-existence.

    The best part of the process is what Robert Olen Butler calls “dream-storming.” That happens at the beginning of almost everything I write, when I just let images, voices and/or memories, however faint or fragmentary, rise up from the primordial stew of my unconscious. Listening to instrumental music like jazz — which I’ve always loved for its improvisational nature — helps. What I eventually manage to set down often make no sense, even to me. But dream-storming is the best way I know to access material that my snippy inner critic might otherwise sniff at because it’s just not good enough…or is just too weird for anyone else to see.

    The hard part is actually trying to make sense of that surrealistic tangle. The first thing I typically do is to take that material and distill it into a brief opening sentence/paragraph that offers insight into a narrator, character or situation associated with whatever it is — an essay or story — that I’ve decided to write. After that, I let my imagination take over and use dream-stormed material to structure the narrative. Because my notes are so fractured, it sometimes it feels like I’m using broken crutches and a lunatic map to hobble along into oblivion. But it’s a method that has yet to fail me.

    Maybe it’s just the need to see something — anything — on paper and realize that all those voices, images and memories in my head don’t necessarily mean I’m crazy. Or as crazy as I thought. When I’m not busy climbing the walls at the start of a project, it’s actually kind of exciting not knowing where I’m going. Ray Bradbury never knew where any of the narratives he started would end up. And he did just fine.

    Of course, when the process of deciphering, reorganizing and revising goes too slowly, I want to rip out my eyeballs by the roots and throw my computer out the window like a titanium Frisbee. Instead I go into my kitchen and bake bread. Pounding dough can be quite therapeutic and far less expensive than paying therapist or making Apple even richer than it already is.

    When I have to leave my trance to take care of the tedious business of living, the mood shifts and not for the better. Like a she-bear roused prematurely from hibernation, I can become sullen and cantankerous. No matter how few kinks I’ve managed to unbend in my writing or how much hair I’ve yanked out in frustration, I have no wish to emerge from my alpha wave cocoon.

    Writing is a tortured nirvana. But it’s one I wouldn’t give up for anything in the world.


    M. M. Adjarian M. M. Adjarian has published her creative work in such magazines as the Baltimore Review, Verdad, South 85 Journal, Eunoia Review, The Missing Slate, Serving House Journal, Crack the Spine, Vine Leaves, and Poetry Quarterly, Grub Street and Pif. When not blogging at her website, austinwritinglife.net, she  engages with Twitterdom under the name @palabrist.

    Featured image photo credit: Photo by Dingzeyu Li on Unsplash

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