New Plains Review Fall 2011

New Plains Review is published semiannually in the spring and fall by the University of Central Oklahoma and is staffed by faculty and students. We are committed to publishing high quality poetry, fiction and creative non-fiction by established and emerging writers.New Plains Review started in 1986 as a student publication of the Liberal Arts College of Central State University (now the University of Central Oklahoma). They solicited and published manuscripts from students of the humanities.The publishers of the first issue said, "With zeal and reason, we provide an evocative forum wherein issues of concern to all fields of humanities may be discussed."Over the years, New Plains Review has expanded its range to invite writers beyond the university community. We receive hundreds of submissions from all over the country, and the authors we publish range from the well-known to the soon-to-be-discovered.

Flynn Hawkins is a graduate assistant at a prestigious university, on his way to greatness and wisdom. But in the aftermath of 9/11, Flynn leaves his wife and children, resigns his teaching position and heads west, only to get lost in his guilt and in the mountains of Colorado. When he ends up stuck overnight in a snow drift during a blizzard on the Continental Divide, he realizes he needs to remake himself into the kind of man his children need him to be.With wit and insight, David Hicks turns a compassionate but unblinking eye on what it means to be human—to be lost while putting yourself back together again, to be cowardly while being brave, to fail and fail again on the way to something that might be success.

Using the structure of the liturgical calendar and the lives of the saints for inspiration, Kevin Brown explores not only faith, but subjects ranging from love to childhood and from grammar to grace. The saints' backgrounds serve as metaphors for our lives today, as we struggle with our mortality and our morality. In these poems, Brown is able to laugh at himself and his failings while reminding us of our own. He points out where our various approaches to faith make us better people and where we fail to follow what we tell others to do. In these poems, the miraculous becomes ordinary even as ordinary events and people are imbued with the sacred, granting readers hope for themselves and for the world.

When History Is Personal contains the stories of twenty-five moments in Mimi Schwartz’s life, each heightened by its connection to historical, political, and social issues. These essays look both inward and outward so that these individualized tales tell a larger story—of assimilation, the women’s movement, racism, anti-Semitism, end-of-life issues, ethics in writing, digital and corporate challenges, and courtroom justice. A shrewd and discerning storyteller, Schwartz captures history from her vantage as a child of German-Jewish immigrants, a wife of over fifty years, a breast cancer survivor, a working mother, a traveler, a tennis player, a daughter, and a widow. In adding her personal story to the larger narrative of history, culture, and politics, Schwartz invites readers to consider her personal take alongside “official” histories and offers readers fresh assessments of our collective past.

Prairie fires have always been a spectacular and dangerous part of the Great Plains. Nineteenth-century settlers sometimes lost their lives to uncontrolled blazes, and today ranchers such as those in the Flint Hills of Kansas manage the grasslands through controlled burning. Even small fires, overlooked by history, changed lives-destroyed someone's property, threatened someone's safety, or simply made someone's breath catch because of their astounding beauty. Julie Courtwright, who was born and raised in the tallgrass prairie of Butler County, Kansas, knows prairie fires well. In this first comprehensive environmental history of her subject, Courtwright vividly recounts how fire-setting it, fighting it, watching it, fearing it-has bound Plains people to each other and to the prairies themselves for centuries. She traces the history of both natural and intentional fires from Native American practices to the current use of controlled burns as an effective land management tool, along the way sharing the personal accounts of people whose lives have been touched by fire. The book ranges from Texas to the Dakotas and from the 1500s to modern times. It tells how Native Americans learned how to replicate the effects of natural lightning fires, thus maintaining the prairie ecosystem. Native peoples fired the prairie to aid in the hunt, and also as a weapon in war. White settlers learned from them that burns renewed the grasslands for grazing; but as more towns developed, settlers began to suppress fires-now viewed as a threat to their property and safety. Fire suppression had as dramatic an environmental impact as fire application. Suppression allowed the growth of water-wasting trees and caused a thick growth of old grass to build up over time, creating a dangerous environment for accidental fires. Courtwright calls on a wide range of sources: diary entries and oral histories from survivors, colorful newspaper accounts, military weather records, and artifacts of popular culture from Gene Autry stories to country song lyrics to Little House on the Prairie. Through this multiplicity of voices, she shows us how prairie fires have always been a significant part of the Great Plains experience-and how each fire that burned across the prairies over hundreds of years is part of someone's life story. By unfolding these personal narratives while looking at the bigger environmental picture, Courtwright blends poetic prose with careful scholarship to fashion a thoughtful paean to prairie fire. It will enlighten environmental and Western historians and renew a sense of wonder in the people of the Plains.

In Insurgent Aesthetics Ronak K. Kapadia theorizes the world-making power of contemporary art responses to US militarism in the Greater Middle East. He traces how new forms of remote killing, torture, confinement, and surveillance have created a distinctive post-9/11 infrastructure of racialized state violence. Linking these new forms of violence to the history of American imperialism and conquest, Kapadia shows how Arab, Muslim, and South Asian diasporic multimedia artists force a reckoning with the US war on terror's violent destruction and its impacts on immigrant and refugee communities. Drawing on an eclectic range of visual, installation, and performance works, Kapadia reveals queer feminist decolonial critiques of the US security state that visualize subjugated histories of US militarism and make palpable what he terms “the sensorial life of empire.” In this way, these artists forge new aesthetic and social alliances that sustain critical opposition to the global war machine and create alternative ways of knowing and feeling beyond the forever war.