Slow Summer Reading: A Review of Relief Journal

Summer went by quickly for me this year.

With a wiggly baby and active preschooler, I spent a lot of time running back and forth from the park to swim class, back home for the baby’s nap, and out again for another fun summer activity from our bucket list.

By day’s end I was tired, but I’d try to squeeze in a few minutes of reading before falling asleep. Reading has been a huge part of summer for me since I was a kid, and I’m continuing that tradition with my own children. We all participated in our library’s summer reading program. While my kids and I tore through almost 100 picture books, it took me all summer to finish my small stack of non-fiction books.

I felt energized by all of this activity, and engaged in my reading, and I also had to consciously create time to slow down– to plan days with nothing on the schedule, put away all screens for a few days here and there, go barefoot in the backyard grass and dirt with my preschooler, and just sit on the back porch with my husband after the kids’ bedtime.

So I was grateful when the most recent issue of Relief Journal landed on my porch, smack in the middle of a heat wave in the middle of July. It had been a while since I’d made the time to sit down with this or any other print journal and just enjoy reading new work from a range of writers. I really loved this issue (spring 2018) and I wanted to share my reflections on some of my favorite pieces.

Susanna Childress’s essay “Age Appropriate” absolutely floored me. I’ve shared it with a number of friends and I continue to think about not just its content, but the way in which Childress weaves together political commentary, personal narrative, and even a bit of nature writing, all with a poet’s ear for rhythm and eye for image.

She writes about the challenge of talking about difficult subjects with her young son. How should she tell him about the loss of babies who would have been his younger siblings? How does she explain police brutality, and the shooting of black parishioners during a bible study, and why his black friend’s mom has to have completely different conversations with her son about playing outside? In some ways, there is no “age appropriate” language for the territories of grief and injustice. Childress does a breathtaking job of taking the reader with her through a maze of questions– her own and her son’s– that ultimately have no easy answer.

I admired the clarity and directness of Chris Anderson’s poems “Transfigurations” and “You Never Know,” which tackle mystery in different but complimentary ways. What really happens to the bread and the wine in communion? How do we comprehend the paradox of Christ? What happens when we die? I liked how conversational these poems were, how apparently simple because of ordinary syntax, ordinary diction. This is the kind of poetry that really get to me, the kind that is able to say something essential yet utterly new, in language that feels as worn and familiar as a kitchen cutting board.

I love Marjorie Stelmach’s work, and her poem “Salt” in this issue is no exception, with its cascade of vivid imagery and precise sound spilling into sudden revelations like, “Somedays, it feels right to be weathered,” and “I know/ I’ve taken safety for granted, as if it were earned.” In “Vinegar,” she writes about Christ’s death on the cross and the mystery of faith as reflections of our own reality– we are spiritual and physical beings, needing both the concrete goodness of earth and confirmation that this isn’t all we are. I love how this poem begins with “If it’s true,” which seems to me is the ongoing dialogue of faith.

Then there’s Laura Arciniega’s strange speculative world in “The Shell,” which made me deeply uncomfortable in a good way. A mother is baking bread for her young son, and later a young couple visits the family, and they walk on the beach. It’s a seemingly simple story. But there is something different about the mother, the bread, the son, and the beach. The father tells the son a story: “Far away, there is a place where the day passes so slowly that a hen knows she’s about to lay an egg before she lays it…” We learn that in this world, a lifetime takes only a few weeks. To me, this story is about the strange weight and flexibility of time, which is so relevant to me in this phase of early motherhood.

There are many, many other poems, essays, stories, and even a comic diary in this issue that challenged me and got me thinking. If you haven’t yet picked up a copy of Relief, this issue would be a wonderful introduction.

Overall, I was left with deep gratitude when I finished this issue. It took some time– a month and a half!– to read and absorb each piece in here. Yes, part of that is because I’m the mother of two small children. And another part is that this is a carefully, lovingly crafted journal, filled with work that does not shy away from the full range of human experience. I read and thoroughly enjoyed each piece in this issue, and that’s something I don’t often experience in a literary journal.

I felt impressed by the work of this work, the generosity of time and effort the writers poured into these essays and poems, so that I as a reader could be changed. I felt impressed by the work of the students at Taylor University who put this journal together under the leadership of editor Dan Bowman, a fellow SPU MFA alum.

It was an encouragement to me as a writer to continue my own work, and a reminder that good writing takes time, in the making and in the receiving. In the end, it is so worth it.