Stars on his fingernails, sky in his hair, breath of the sea in his voice.
His father sailed west on an Ottoman clipper, journey of the Magus
from Constantinople. The magician knows the world, feels its blind
dominions held tight in the sleight of his hand. We stumble through
the world like drunk men in a fog, outstretched arms clutching at the
air. Now you see it, now you don't -- then he takes your breath away.
This week we're proud to feature "The Magician" by Alex Grant, which originally appeared in TMR 31:4 (Winter). The poem is excerpted from a chapbook-length series called "The Circus Poems." Alex Grant's full-length manuscript, Fear of Moving Water, a recent finalist for several major poetry prizes, will be released by Wind Publications in late 2009. His first collection, Chains & Mirrors (NCWN/Harperprints) won the 2006 Randall Jarrell Poetry Prize and the 2007 Oscar Arnold Young Award (Best North Carolina poetry collection), and his second collection, The White Book, was released in 2008 by Main Street Rag Publishing. His poems have appeared or are forthcoming in a number of journals and anthologies, including Arts & Letters, Best New Poets 2007, the Connecticut Review, Nimrod and Seattle Review. He lives in Chapel Hill, North Carolina, with his wife, Tristi, his dangling participles and his Celtic fondness for excess. He can be found on the web at: www.redroom.com/author/alex-grant.
Featuring work by Maggie Shipstead, Julyan G. Peard, Tsung-yan Kwong, Richard Bausch, Daniel Anderson, Mark Kraushaar, Andrew D. Cohen ... and an interview with Pattiann Rogers
Also, congratulations to James A. McLaughlin, winner of the 2009 William Peden Prize in Fiction

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I'd never deliberately set out to write poems thematically before, but the idea for the series was one of those ‘of course' moments. Perhaps because of my life-long fascination with the subject and the ready-made archetypal characters, the germination period was much shorter than normal for me. I had already been experimenting with the ‘blocked,' even lineation form as section introductions in a full-length manuscript, and the form provided a framework which seemed to fit well with the notion of archetype-variations on a theme.