Completing our year of archaeology, SAND 22 feels its way through the junk, keepsakes, and spaces we leave behind. Making sense of the past means both taking it apart and putting it back together. In the prose, poetry, and art of SAND 22, our pasts and presents prove surprisingly malleable.

Clutter dug out of a childhood home is recast into invaluable relics. A photograph’s absence becomes more poignant than its subject. Meanwhile, a scientist and his octopoid muse compose a counterpoint of sensory observations, and, on the outskirts of Berlin, an island brazenly invents its history with an ostentation of peacocks and uncomfortable desires.

To celebrate all of this & more,on Sunday, 28 February 2021 we held a virtual evening of selected performances from the new issue, streamed live via our YouTube channel. You can watch a replay of the event here.

Lineup

The event featured short readings by eight of our SAND 22 contributors as well as appearances by members of the SAND team.

Readers: Claire Dodd, Viva Padilla, Dorsía Smith Silva, Carol Claassen, Tariro Ndoro, Rushika Wick, Erin Honeycutt, and R.M. Fradkin

• Claire Dodd‘s work has been published in The Rumpus and Columbia Journal (online) and awarded an honorable mention in Glimmer Train’s 2019 Short Story Award for New Writers contest. She received a BA in English from the University of Michigan, Ann Arbor. She currently lives in San Francisco with her partner and son.  → Read a story of hers here at the Columbia Journal.
  
• Viva Padilla is a bilingual poet and writer from South Central Los Angeles. She’s the founding editor in chief of Dryland, an independent and grassroots print literary journal. Viva’s work has been featured or is forthcoming in the L.A. Times, The Acentos Review, Cultural Weekly, wearemitú, and Every. Thing. Changes., an art exhibition by the L.A. Forum for Architecture and Urban Design. Viva is a first-generation Chicana. She dedicates her work to the memory of her father and the sacrifice made by both of her parents.
• Dorsia Smith Silva is a Professor of English at the University of Puerto Rico, Río Piedras. Her poetry has been published or is forthcoming in Portland Review, Stoneboat, Storyscape, Pidgeonholes, Eclectica Magazine, and elsewhere. She is also the editor of Latina/Chicana Mothering and the co-editor of six books. She is currently finishing her first poetry book. → Read a poem of hers here at the Superstition Review with audio from the poet.
  
• Carol Claassen‘s prose has been noted in The Best American Essays 2011, nominated for a Pushcart Prize, nominated for Best of the Net, awarded The Forge Flash Nonfiction Competition Prize, and is published or forthcoming in The Pinch, The Normal School, Fourth Genre, The Forge Literary Magazine, Pidgeonholes, and 3Elements Review. She is working on a memoir about her relationship with her father while riding out the pandemic in her mother’s basement in Easton, Pennsylvania.
• Tariro Ndoro is a Zimbabwean writer. Her short fiction has appeared on various literary platforms, including Moving On and Other Zimbabwean Stories (amabooks, 2017), La Shamba, New Contrast, Fireside Fiction, and Hotel Africa: New Short Fiction from Africa (New International- ist Publications, 2020). Her award-winning debut poetry collection, Agringada: Like a gringa, like a foreigner was published in 2019 by ModjajiBooks. Tariro resides in Harare, where she is currently working on a collection of short stories.
• Rushika Wick is a poet with an interest in visual poetry and how social contracts impact the body. She has contributed to various magazines including Ambit, Datableed, and Tentacular as well as anthologies including SMEAR (Andrews McMeel, 2020) and MIR16. Her debut collection is being published by Verve next spring. → Read one of her works of visual poetry here at Tentacular.
  
• Erin Honeycutt writes poetry, exhibition reviews, and a variety of texts in collaboration with artists. She has read text at Kadett (Amsterdam, 2019), IÐNO Theater (Reykjavik, 2019), FotoTallinn (Tallinn, 2019), Dzialdov Gallery (Berlin, 2019), Reykjavik Arts Festival (2018), DA Space (Heraklion, 2018), Beyond Human Impulses (Athens, 2018), and Pólar Festival (Stöðvarfjörður, 2017). She has an MA in Art History from the University of Iceland and one in Religion from the University of Amsterdam, and now lives in Berlin.
• R.M. Fradkin studied writing with Amy Hempel and Bret Johnston at Harvard and has had short fiction published in Cherry Tree, Theaker’s Quarterly, Cleaver Magazine, and Tincture Journal, among others. She is also Affiliate Editor of the Alaska Quarterly Review. She is beginning an MFA at the University of Idaho in the fall.