{"id":159632,"date":"2022-05-25T12:34:37","date_gmt":"2022-05-25T16:34:37","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=159632"},"modified":"2022-05-25T12:33:43","modified_gmt":"2022-05-25T16:33:43","slug":"announcing-the-winners-of-92ys-2022-discovery-contest","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2022\/05\/25\/announcing-the-winners-of-92ys-2022-discovery-contest\/","title":{"rendered":"Announcing the Winners of 92Y’s 2022 Discovery Contest"},"content":{"rendered":"
\"\"<\/a>

The winners of the 92Y Discovery Contest. From top left, clockwise: Jada Ren\u00e9e Allen, Sasha Burshteyn, April Goldman, Kristina Martino.<\/p><\/div>\n

For close to seven decades, 92Y\u2019s Discovery Poetry Contest has recognized the exceptional work of poets who have not yet published a first book. Many of these writers\u2014John Ashbery, Mark Strand, Lucille Clifton, Ellen Bryant Voigt, Brigit Pegeen Kelly, Mary Jo Bang, Solmaz Sharif, and Diana Khoi Nguyen, among many others\u2014have gone on to become leading voices in their generations.<\/p>\n

This year\u2019s competition received close to a thousand submissions, which were read by the preliminary judges, Sumita Chakraborty and Timothy Donnelly. After much deliberating, the final judges\u2014Victoria Chang, Brian Teare, and Phillip B. Williams\u2014awarded this year\u2019s prizes to Jada Ren\u00e9e Allen, Sasha Burshteyn, April Goldman, and Kristina Martino. The runners-up are Jae Nichelle and Daniel Shonning. The Paris Review Daily<\/em> is pleased to to publish the poems of this year’s winners.<\/p>\n

<\/p>\n

\"\"<\/a><\/p>\n

CHIRAQ<\/strong>
\nby Jada Ren\u00e9e Allen<\/em>……\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0.<\/span>the tenor
\n….. …. …..\u00a0……….. …. …..\u00a0………..<\/span>here is palpable
\n….. …. …..\u00a0…… \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0<\/span>an aerial view
\n….. …. …..\u00a0……\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0.<\/span>leads us to
\n….. …. …..\u00a0……\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0.<\/span>the very dregs
\n….. …. …..\u00a0……\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0.<\/span>of September
\n….. …. …..\u00a0……\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0.<\/span>bullet-tendrils
\n….. …. …..\u00a0……\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0.<\/span>sprout from
\n….. …. …..\u00a0……\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0.<\/span>the mouths
\n….. …. …..\u00a0……\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0.<\/span>of the young
\n….. …. …..\u00a0……\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0.<\/span>dead rebels
\n….. …. …..\u00a0……\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0.<\/span>bloody blocks
\n….. …. …..\u00a0……\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0.<\/span>a red that whips
\n….. …. …..\u00a0……\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0.<\/span>not-here<\/em> whereas
\n….. …. …..\u00a0……\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0.<\/span>the mothers
\n….. …. …..\u00a0……\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0.<\/span>kiss the concrete
\n….. …. …..\u00a0……\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0.<\/span>their darlings
\n….. …. …..\u00a0……\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0.<\/span>go gone at
\n….. …. …..\u00a0……\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0.<\/span>laying down
\n….. …. …..\u00a0……\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0.<\/span>roses with lips
\n….. …. …..\u00a0……\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0.<\/span>blistered by lament
\n….. …. …..\u00a0……\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0.<\/span>cue the ululations
\n….. …. …..\u00a0……\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0.<\/span>the glossolalia
\n….. …. …..\u00a0……\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0.<\/span>of it all\u2014
\n….. …. …..\u00a0……\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 .<\/span>a mother\u2019s grief
\n….. …. …..\u00a0……\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0.<\/span>turned Greek
\n….. …. …..\u00a0……\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0.<\/span>comedy her
\n….. …. …..\u00a0……\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0.<\/span>son\u2019s shield
\n….. …. …..\u00a0……\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0.<\/span>an inoperative
\n….. …. …..\u00a0……\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0.<\/span>star a lyric
\n….. …. …..\u00a0……\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0.<\/span>so un-American
\n….. …. …..\u00a0……\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0.<\/span>it must belong
\n….. …. …..\u00a0……\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0.<\/span>elsewhere<\/p>\n

for & after Spike Lee<\/em><\/p>\n


\nJada Ren\u00e9e Allen is a writer, educator, and conjure woman from Chicago, Illinois. She is a Pushcart Prize nominee and has received fellowships, scholarships, and support from Tin House, the Kenyon Review\u00a0Writers Workshop, the Community of Writers, and VONA, among others. Her work either appears or is forthcoming in the Academy of American Poets\u2019 “Poem-a-Day,”\u00a0<\/em>Hayden\u2019s Ferry Review,\u00a0<\/em>Virginia Quarterly Review, and\u00a0<\/em>Wildness. She is an Arizona Commission on the Arts grant recipient and lives upon U.S.-occupied O\u2019odham Jewed, Akimel O\u2019odham, and Hohokam lands, where she listens.<\/em><\/p>\n

\"\"<\/a><\/p>\n

Western Union
\n<\/strong>by Sasha Burshteyn<\/em>
\n<\/strong><\/p>\n

Early morning light the color of new money.
\nI shop not thinking of my grandmother, her money,
\nher mastery of conversion rates, her gasp at the money
\na skirt (her month of rent) can cost. Some money
\nwe carry close to the body, like skin. No money
\nis ever on the horizon. Our money<\/p>\n

lives outside banks, passes from hand to hand like wind. Whose money?
\nWho doesn\u2019t have a song about money?
\nI would sing about money,
\nif I could sing. I watch the money
\nbut I can never understand it. Money
\nmeans safety, until it doesn\u2019t. Gray money<\/p>\n

cycles through the veins of the world like air. Like money.
\nI can confess I\u2019ve tried to eat some money,
\nlicked those cold coins. The tang of money.
\nWhen I\u2019m not writing, I\u2019m not writing about money.
\nI spend my days scrolling, making someone money
\nout of my attention. Blood money.<\/p>\n

It\u2019s impolite to discuss money.
\nWe topple countries with our, for their, money.
\nWe have the strongest, bravest money.
\nIf sympathy, if steppe, if everything is cut but the money\u2014
\nwhat\u2019s left but money?
\nI run to see the money.<\/p>\n

I exchange this throat for money.
\nI\u2019m at a s\u00e9ance, hungry and out of money.
\nIt\u2019s the way all other countries have prettier money,
\nour ugly national green money,
\nthe landlord eating my money,
\nmy mother\u2019s disappearing money\u2014<\/p>\n

can\u2019t name a day I\u2019m not consumed by money.
\nPhotographing the burned field of money.
\nMy father went to prison for another man, his money.
\nFriendship is the lending of money
\nwith no interest. I know the smell of money,
\nthe summer I was paid only in cash. My money.<\/p>\n

I\u2019m in the house of other people\u2019s money.
\nFrom a little hell I came skipping, coal in one hand, money
\nin the other. I was stupid then. I could braid grass, but not make it money.<\/p>\n


\nSasha Burshteyn\u00a0is a poet. Her work has been supported by\u00a0<\/em>National Geographic, the Watson Foundation, and the Goldwater Fellowship at New York University, and has been nominated for a Pushcart Prize. Her writing has appeared in\u00a0<\/em>Copper Nickel,\u00a0The Common,\u00a0and\u00a0<\/em>Pigeon Pages, among other publications.<\/em><\/p>\n

\"\"<\/a><\/p>\n

[ Vocabulary and Geography ]
\n<\/strong>by April Goldman<\/em><\/p>\n

Let\u2019s not use the word sick<\/em>. Something more like thickety<\/em>. As in, a dense abundance of flowers, elaborately hard to pass through.<\/p>\n

My mind hangs loosely in the trees and in this way resembles a warm wind.
\nNow that I\u2019m on the right drugs, no one can tell I\u2019m sick\u2014especially on the phone.<\/p>\n

I always try to get my body into a poem with little metaphors on suffering: Deer bones drying
\nin a kiln of sweet grass.
\nWater bitter with cedar. The April gnaw of flowers.<\/p>\n

When I talk with healthy people, my mind gathers in the middle like cloth, like something you could crush into a jean pocket.<\/p>\n

When my life is going well, the whole thing passes by me with the pleasant clickety-clack<\/em> of a train.<\/p>\n

People know Charles Darwin sailed across the world, but not that when he got home, he never left
\n…..<\/span>…..<\/span>….<\/span>his house. The lesson I take is that
\nthe past is very little indication of the future.<\/p>\n

It is a blue, sky-crying kind of afternoon, and my little dog sleeps in the V of my thigh.
\n…..<\/span>…..<\/span>….<\/span>Feelings are geographic, which means they are also circumnavigable, with great effort,
\nsteered past.<\/p>\n

If I were the color blue, I\u2019d be a part of every wafting lake, empire butterfly, and cold field of flax. What am I that I weep so easily?
\n…..<\/span>…..<\/span>….<\/span>That I chose this life out of all the lives I could have lived, is not something I believe.<\/p>\n

I\u2019d like to eat whatever it is I came out of.
\n…..<\/span>……<\/span>…<\/span>I have a creek running through me. I have miles of white phlox and ponderosa pine.<\/p>\n

Illness, much like eroticism, is an intrusion of the feeling body onto the attempting to be thinking mind.
\nEvery erotic moment of my life, I am wearing it (sickness).
\nWhat I am most proud of is being this erotic animal.<\/p>\n

 <\/p>\n

April Goldman is a poet living in Lake Tahoe, California. Her interests include ecopoetics and ecofeminism, disability studies and mental illness, nonhuman animal rights, and her dogs, Lloyd and Pinky. She earned an MFA in poetry from the University of Houston and has attended the Bread Loaf, Community of Writers, and Napa Valley Writers conferences.<\/em><\/p>\n

\"\"<\/a><\/p>\n

Gretel, Sans Hansel, as Not a Girl
\n<\/strong>by Kristina Martino<\/em><\/p>\n

As a child, my body brandished a prance.
\nBut now. \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0The phantom\u2019s implanted.<\/p>\n

I lance-walk with de-light in the raucous
\ndice roll of real life wherein I ideate<\/p>\n

on spike-peppery poison\u2014the per-
\nversion of belladonna\u2019s epidermis\u2014<\/p>\n

and impure thoughts about knives.
\nNein<\/em>. I\u2019m not not <\/em>a girl. \u00a0 \u00a0 \u00a0 \u00a0\u00a0Most nights<\/p>\n

I make it home willy-nilly with nary
\na nod to annihilation even when<\/p>\n

the moon flicks a nervous tic light,
\nlavish, lavish, then nix. Nix. \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0<\/em>No,<\/p>\n

finicky<\/em>, vast-lapsed as if \u2026\u00a0as if saying,
\n<\/em>learn to exist <\/em><\/p>\n

in a galaxy on the fritz.\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0<\/em>It\u2019s a lust-
\nsting, this living, rough as tracing the rust<\/p>\n

of your insides. \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0How many times
\n<\/em>have I almost died? <\/em>An animal never asks.<\/p>\n

But I? Eins, zwei<\/em>, drei, vier. <\/em>Veer a fah
\n<\/em>into a vah <\/em>and four <\/em>sounds like fear<\/em>.<\/p>\n

And five? Will it be the de rigueur <\/em>rigor
\nof the river\u2019s imprimatur, id est, <\/em>its sig-<\/p>\n

nature, that which makes the current live-
\nwired with rimple and zest, the rip-rip-rip<\/p>\n

pling push-pull of the impregnable pawing
\nforth of claw-source, overtorque and un-<\/p>\n

dertow, terrifying as the teat\u2019s lascivious
\nlapses into lactation when there is<\/p>\n

no child. Lest I figure like a fatalist,
\nI\u2019ll mention \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0\u00a0Daedalus:<\/p>\n

I only think about death in poems,
\nin the act of \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0 .<\/span>wing-making.<\/p>\n

The aftermath of overawe, baroque as
\nAurora Borealis and the half-century<\/p>\n

rot of broke-down, abandoned cars,
\nglaring with my fire-bearing errancies<\/p>\n

and inner-bedlam over lost breadcrumbs.
\nI killed the witch and now they call me<\/p>\n

one. I make a museum of the witch\u2019s finer
\nthings. The moon\u2019s monolithic slo-mo,<\/p>\n

always molting more of itself, an inter-
\ngalactic galactorrhea. The museum\u2019s<\/p>\n

a mother. Liken my labors to the horse
\ntail\u2019s lazy flays. Always, I oversaw but not<\/p>\n

enough. Even science knows trees can talk,
\nnot just the children of myths. From my<\/p>\n

window, the woods are picturesque,
\nyet petrified. It\u2019s where all the animals die.<\/p>\n

 <\/p>\n

Kristina Martino is a poet and visual artist. Her poems have appeared in “Poem-A-Day,” <\/em>Interim,\u00a0and “Best New Poets 2021.” She holds an MFA from the Iowa Writers’ Workshop, and has received fellowships from the Oak Spring Garden Foundation, the Ellis-Beauregard Foundation, and the Corporation of Yaddo.<\/em><\/p>\n

\"\"<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

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