Meet Our New Intern: Joan Alft

Disclaimer: if at any point this post starts sounding a little too much like it was written by a pretentious middle-aged man, you have permission to steal everything I own. All 106 records, 70 cassettes, 22 VHS tapes, 109 CDs, and 79 DVDs—I mostly collect from various vintage and secondhand stores and, of course, the few local record stores around Knoxville. Just the other day, my 12 year old sister came up to me and asked if I could bring her somewhere to get a record for her friend’s birthday party. She (the friend) had just gotten a record player, and I’m pretty much the only person my sister knows who collects that sort of thing. Of course I took her to Lost and Found and it was a fun trip, but we had limited info on what kind of music her friend listens to and didn’t end up getting anything. Never fear—I made her friend a little zine on how to take care of her records instead, which was an overall much cheaper option and one that allowed my sister to pick out something else for her friend instead.

Still, it made me think about my own philosophy (if you will) about collecting physical media and enjoying art. I excluded books in the little list above because I genuinely have too many to reasonably count, but I promise they are relevant here as well. But back to my records and tapes: yes, I like them because I can hold them in my hands. Yes, I like them for their tangibility (sleeve out of the jacket, record out of the sleeve, record onto the platter). Yes, I like knowing that I truly own these pieces of art and no corporation can censor them or remove my access to them at will.

A white person with wavy dark brown hair sits on an orange chair and smiles in the direction of the camera. Her eyes are closed and she wears a bejeweled blue cowboy hat. She is wearing a striped orange top and is holding a knife and a loaf of chocolate babka.

More than that, though, I love that I can’t skip a song without going through a lot of trouble. If I want to skip ahead while playing a record, I have to lift the needle, move it, and drop it into the precise groove where the next song starts. If I want to skip ahead on a cassette or VHS, I have to push a button and let the tape wind itself up and hope I stop it at just the right moment (which almost never happens). Everything takes effort and none of the effort will every produce perfection.

On one hand, this system has allowed me to develop the tiniest percent more patience, which is always a helpful thing. On the other hand, not being able to skip around on the “highlights” of an album has encouraged me to look at albums in their entirety with a much greater level of respect. Of course, I still listen to music digitally when I want to make a playlist or listen to a specific song—not every album is perfect or anywhere near it, and I don’t have the space or money to own half as many albums as I’d actually listen to. But since I started collecting media that forces me to slow down, I have slowed down.

If an artist puts ten songs on an album in a specific order, that order is intentional. The important part is that intentionality does not equal perfection. In my own writing habits, I try to apply this value to all drafts, but especially earlier ones. And with generative AI as a threat in lots of circles, prioritizing being intentional over being perfect feels like a step in the right direction both creatively and generally. While I’m hoping my sister’s friend gets as much fun out of her new hobby as she possibly can, I’m also hoping that through it, she might value art more intentionally.


A white person with choppy bangs, black hair, and a black top sits at a table and smiles at the camera. She is wearing several necklaces and large dark red glasses. 

Joan Alft (she/any) is an undergraduate student at the University of Tennessee studying publishing and creative writing. Her short story “Pilgrim” is forthcoming in the Phoenix Literary Arts Magazine where she works as an Assistant Prose/Fiction Editor. Gothic themes and relationships, the dichotomy between the familiar and unfamiliar, and confusingly intense devotion in places where it shouldn’t be are a few things she enjoys seeing in others’ art and tries integrating in her own projects. In her free time, Joan collects physical media (records, cassettes, DVDs, CDs, and VHS tapes, oh my!), hangs out at local coffeeshops, and sews on occasion.

The Wardrobe’s Best Dressed: The Mid-Year Best Best Dressed


Merrick’s final selection for the mid-year best of 2026 is from Affidavit by Starr Davis (Hanging Loose Press 2026).

IN OHIO

My mother is asleep by six o’clock every evening
          although on her taxes she still checks single never married.
Most of her relationships have been ten years or more
          She falls asleep with dark cognac warm on her lips.
No man to worry about; no children to listen out for
          She has always worked on assembly.
The same thing every day is a safe life
          Love never guarantees such a luxury.
She opts out; she works to stay safe out the way
          Her work clothes are draped across a chair.
A fresh coffee filter sits readily near the pot
          She takes her coffee black.
Calls me fancy for adding almond milk and sugar to mine—
          All her daughters are grown with homes of their own, she says.
As a proud accomplishment
          None of us were teenage mothers.
We went to school
          Sometimes to church.
Motherhood is a war she won
          We knew how to lock the doors and windows.
We knew how to tell men at the gas station to fuck off
           We knew how to earn a living by eighteen.
We knew why we had to leave by eighteen—
           At some point, they called us lucky.
And maybe I felt lucky for a while
           I made it without a father, I say this to strangers.
As a proud accomplishment
          When my daughter is born, and I am grown enough
To be a mother
           I fall asleep when the city is useless.
When all the bars and clubs close down nearing the witching hours—
           Times I used to sneak back into the house.
Back when I wasn’t grown, and my mother had children
          Wild, loose girls to listen out for.

Daughters she would curse for coming in late
          Daughters she raised to know better.
Daughters she raised to be grown enough



          To tell men at the gas station to fuck off.
Daughters she raised like sons—
          And when I close my eyes, I see the man.
Dark and toxic like the one my mother drinks alone.
          A man who bought me a drink one night.
In exchange for a baby by morning
          I can see him standing in a courtroom of shadows.
Telling a judge I am no mother to his child
          I am a wild, loose girl from Ohio on the run.
With a baby that is his
          I am unwed, alone.
My last year’s taxes I check, single never married
          Emotionally unstable—or does he call me dangerous?
Is there a difference?
          I leave Texas fleetingly like I had been gone
On a bad date     all night

          My mother is asleep when my plane lands.
At the only airport in town—my baby
          is tied to my chest like a pacemaker.
The day before I laid my clothes out
          like the first day of school.
I sit an empty coffee mug by the machine.
          My important documents: the ones that say I am human woman.
Naming the generation that has come from my body and is legally mine
          I worry about the man sleeping next to me.
The child who binds us for the next 18 years to life
          is asleep across the room in her bassinet.
She is soon to become fatherless in hours
          soon to be the daughter my mother taught me to be.
The one I vow to teach to know better
          To tell men at the gas station to fuck off.
Maybe not verbally—but just with her eyes
          That morning, I drink my coffee black.
I am no longer fancy with a baby
           I put on leggings and a t-shirt.
A jacket because I am always in winter
          Someone tells me the best way to leave an abuser—
Is like a burglar, jumping inside a getaway cloud
          The sun is out the day I take off.
Nearing the hour



          My mother probably takes her lunch break.
I run into the hot sun bright like death
          I wake up on the other side of myself.
The girl from Ohio I left behind some time ago
          I call my mother at the airport.
Knowing better than to knock at her door at this hour when
          Only women who aren’t real women are outside.
She does not answer the phone when I call—
          No man to worry about; no child to listen out for.


Starr Davis (she/her) is a poet and essayist whose work has appeared in The Kenyon Review, Academy of American Poet’s Poem-a-Day, and The Rumpus. She was the 2024 Writing Freedom Fellow with Haymarket Books and the Mellon Foundation. 

Merrick Sloane (they/them) is a neuro-Queer 90’s kid and nonbinary poet, editor, and researcher from Oklahoma. They hold an MFA in creative writing from the University of Tennessee, Knoxville and are Associate Poetry Editor of Doubleback Review. A 2026 Best of the Net and 2025 AWP Intro Journal Awards winner, Merrick’s poetry appears in citizen trans* {project}, Seattle Journal for Social Justice, Fruitslice, Puerto del Sol, and elsewhere. When they are not writing or editing, Merrick loves to serve as a pillow for their cat, Kitten, while getting lost in new worlds written by other dreamers. Merrick is deeply committed to helping create a world that liberates us all.

September Poetry Xfit

The Sundress Academy for the Arts is excited to present Poetry Xfit hosted by Alexa White. This generative workshop event will take place on Sunday, September 27th, from 2 to 4 pm EST via Zoom. Join us at the link tiny.utk.edu/poetryxfit.

Poetry Xfit isn’t about throwing tires or heavy ropes, but the idea of confusing our muscles is the same. You will receive ideas, guidelines, and more as part of this generative workshop series in order to complete three poems in two hours. A new set of prompts will be provided after the writers have written collaboratively for thirty minutes. The goal is to create material that can be later modified and transformed into artwork rather than producing flawless final versions. The event is open to prose authors as well!

Alexa White is a mixed-race, neurodivergent writer and graduate of the University of Tennessee, Knoxville, where she earned her BA in Creative Writing and Studio Art. Alexa lives in Knoxville, her semi-hometown, and is the Creative Director and Assistant Editor at Sundress. She takes delight in backroads, quarries, and the last few seconds of sunset and redefines her bedtime nightly.

For Colored Girls: A Celebration of the 50th Anniversary of For Colored Girls Who’ve Considered Suicide / When the Rainbow is Enuf

The Sundress Academy for the Arts is excited to present “For Colored Girls: A Celebration of the 50th Anniversary of For Colored Girls Who’ve Considered Suicide / When the Rainbow is Enuf” a workshop led by Monica Prince, on Wednesday, September 9th from 6:00-7:30 PM EST. This event will be held over Zoom. Participants can register for the event here.

Join us for an online celebration of the 50th Anniversary of the Broadway debut of Ntozake Shange’s seminal work, For Colored Girls Who’ve Considered Suicide / When the Rainbow is Enuff. This showcase of poets who’ve performed Shange’s work and/or been inspired by it, includes choreopoet, director, and educator Monica Prince who will lead the evening. She will be joined by an incredible line-up of poets including Shakeema Smalls, M. Mick Powell, Sullivan Summer, Jasmine Blooms and Rosa Castellano.

The evening will start and end with Shange’s words with the aim of inspiring a new generation to read her work and to give time and space to the sharing of what that work has meant to those present. It will be heart opening.

If you would like to support Sundress, you may make a charitable donation here in lieu of a ticket purchase. Your contribution supports our commitment to offering experiences like this to our community at no cost, improving arts accessibility for all.

This event is made possible in part by a grant from the Tennessee Arts Commission.

The Wardrobe’s Best Dressed: The Mid-Year Best Best Dressed


Merrick’s fourth selection for the mid-year best of 2026 is from local remedies by Chiagoziem Jideofor (Host Publications 2026).

in today’s terms

the war ended
when we had just folded

the impact was leaden
we picked up panic

it then grew to become war
hence the need to tell it in parts

in today’s terms
are dazed and struggling

while the generals patrol the streets
coordinate door-to-door

at home, we stay worrying
why we aren’t yet dazzling,

when a greater force met our bodies
like businesses stockpiling only rebel notes

with the flies circling and buzzing
picked up bulk in adjourning rooms

that happened differently,
and attach local colors

war means people are in no hurry
with replacements

with an air
in the name of civil obedience

the boys asking
so unlike the sun in our flag


Chiagoziem Jideofor (she/her) is Queer and Igbo. Her work has appeared in Poetry, Michigan Quarterly Review, South Carolina Review, berlin lit, The Lincoln Review, Passages North, Commonwealth’s adda, the minnesota review, Shō Poetry Journal, MAYDAY, and elsewhere. She earned an MFA from the University of Alabama and is currently a PhD student at the University of Tennessee, Knoxville.

Merrick Sloane (they/them) is a neuro-Queer 90’s kid and nonbinary poet, editor, and researcher from Oklahoma. They hold an MFA in creative writing from the University of Tennessee, Knoxville and are Associate Poetry Editor of Doubleback Review. A 2026 Best of the Net and 2025 AWP Intro Journal Awards winner, Merrick’s poetry appears in citizen trans* {project}, Seattle Journal for Social Justice, Fruitslice, Puerto del Sol, and elsewhere. When they are not writing or editing, Merrick loves to serve as a pillow for their cat, Kitten, while getting lost in new worlds written by other dreamers. Merrick is deeply committed to helping create a world that liberates us all.

The Wardrobe’s Best Dressed: The Mid-Year Best Best Dressed


Merrick’s next selection for the mid-year best of 2026 is from The Fault by Marcela Sulak (Black Lawrence Press 2024).

WEDDING GIFT

The print that began the ending of my marriage was so
gorgeous, I’d forgotten how gorgeous it was in real life, laid
out on the examination table, as the framer and I took measure
of what lay before us—the paper itself and the textures, alive
and breathing. The whale inside it shook a bit and swished,
but it might have been the waves brushing against a stone, or
it might not have been water at all, just strange birds in the
Negev against a blue and white sky about to blink off without
the fanfare of sunset. Tears burst when my fingertips brushed
it. The framer, also, cleared his throat upon sliding it from
its canister and unfolding it across the table. He touched the
ragged edges and caressed the signature—print 1 of 12, he
whispered. Every time he touched it he asked permission, as
if we were lovers—may I remove it from its box? May I spread
it out? The framer is going to Monte Negro for a week, so
he’ll have it ready on Friday, Sept. 20. Once home, I undress
and wait in bed, the sheets and covers indeterminate colors of
green, for the dream to return to the point it left off, the last
time I touched it. Then I was swimming all night through
the air/sand/water that was the page of the print, and while
nothing in particular happened, it was the nothing particular
that happens when you walk on a strange and beautiful
landscape for the first time. Or the nothing particular that
ends a marriage. Then every leaf and every water drop and
every strange flower is a happening.


Marcela Sulak (she/her) has authored five poetry collections, most recently, The Fault, and the National Jewish Book Awards Finalist, City of Skypapers (Black Lawrence Press, 2021). Her six translations of poetry collections from Czech, French, and Hebrew, have been recognized by PEN and the National Endowment for the Arts. She is managing editor of The Ilanot Review, and she directs the Shaindy Rudoff Graduate Program in Creative Writing. 

Merrick Sloane (they/them) is a neuro-Queer 90’s kid and nonbinary poet, editor, and researcher from Oklahoma. They hold an MFA in creative writing from the University of Tennessee, Knoxville and are Associate Poetry Editor of Doubleback Review. A 2026 Best of the Net and 2025 AWP Intro Journal Awards winner, Merrick’s poetry appears in citizen trans* {project}, Seattle Journal for Social Justice, Fruitslice, Puerto del Sol, and elsewhere. When they are not writing or editing, Merrick loves to serve as a pillow for their cat, Kitten, while getting lost in new worlds written by other dreamers. Merrick is deeply committed to helping create a world that liberates us all.

The Wardrobe’s Best Dressed: The Mid-Year Best Best Dressed


Merrick’s second selection for the mid-year best of 2026 is from Wolves in Shells by Kimberly Ann Priest (The University of Nebraska Press 2025).

Protections

Against the whir of my treadmill
     a shot rings out

and a wolf is gunned down—O-Six,
     they named her,

numinous alpha female
     of Yellowstone National Park

because she survived
     solo.

Even the commentator says
     this was unusual

and dangerous; yet she was beloved
     for acuity

and beauty, face like an owl mask against
     snow white.

I listen as the hunter celebrates
     his kill, the documentary

rolling. My treadmill
     rolling.

They had lifted the ban on hunting
     wolves that year—

endangered status just long enough
     for a female

to become her own pack, survive, surpass
     the males of her kind.


Kimberly Ann Priest (she/her) is a writer and visual artist whose book Wolves in Shells won the 2024 Backwaters Prize in Poetry from the University of Nebraska Press. She is the author of four full-length books of poetry and an assistant professor in the Department of Writing, Rhetoric, and Cultures at Michigan State University. Her poetry has appeared in Copper NickelPoetry WalesPrairie Schooner, and Birmingham Poetry Review.

Merrick Sloane (they/them) is a neuro-Queer 90’s kid and nonbinary poet, editor, and researcher from Oklahoma. They hold an MFA in creative writing from the University of Tennessee, Knoxville and are Associate Poetry Editor of Doubleback Review. A 2026 Best of the Net and 2025 AWP Intro Journal Awards winner, Merrick’s poetry appears in citizen trans* {project}, Seattle Journal for Social Justice, Fruitslice, Puerto del Sol, and elsewhere. When they are not writing or editing, Merrick loves to serve as a pillow for their cat, Kitten, while getting lost in new worlds written by other dreamers. Merrick is deeply committed to helping create a world that liberates us all.

Sundress Reads: Review of The Watersmith

The cover of The Watersmith by Yance Wyatt. A large glass mason jar is on top of a blotted dark brown background. The jar has a yellow label with the title of the book and the author's name on it in black text. A woodsy setting is living inside of the jar, with some rocks at the bottom, water filling it about halfway, and plants on both sides inside of the jar.

Yance Wyatt’s The Watersmith (Regal House Publishing, 2026) is a thoroughly Appalachian tale that seeks to interact with familial conflict and cyclical addiction by focusing on its protagonist’s development. Jack Calloway, a father and alcoholic, grapples with the way his relationship with his son mirrors his relationship with his own father. Wyatt writes with a distinct voice that still escapes from being the focus of his writing—instead, his strength lies in the way he intertwines the setting’s atmosphere with the characters’ drive and personalities. With a decently tight-knit cast of characters, The Watersmith covers a lot of ground in a relatively short page count and does so without feeling unnecessarily distilled.

Set predominantly in Marion County, Tennessee, The Watersmith follows Jack Calloway through his relationships with his wife, son, and self as the family is forced to confront the ways they deal with grief, regret, and permanency. When Jack and his half-estranged son JJ find a somewhat dilapidated moonshine still on his recently deceased parents’ land, the two decide to repair it. Jolene—Jack’s wife—steps in only to get caught in a severe fire, suffering debilitating wounds to her entire upper body. Jolene is rendered unable to see and hear, and Jack sets out on a progressively more and more drastic journey to produce essential oils and perfumes that he can offer her as a sort of olive branch.

The most thought-provoking parts of The Watersmith lie in the way Wyatt highlights the cyclical nature of alcoholism and other kinds of addiction. Jack’s relationship with alcohol subtly hangs over the narrative—it’s an aspect of his disposition that he refuses to fumble with after the story’s turning point, but one that he retreats to in similarly destructive albeit less obvious ways. Jack’s relationship with JJ serves as a yardstick by which to measure his priorities and selfishness. At one point, Jack says, “Sometimes the fondness for it skips a generation and boomerangs back. Not usually, though. Usually, it’s more like a baton.” Wyatt is in dialogue with a certain kind of duality in regards to the way he thematically explores addiction. It’s passive (waiting for the boomerang), but not without a sense of violence (the boomerang itself). It’s active (the passing of the baton), and it’s also accepted (the taking of the boomerang). Jack’s relationship with JJ is intertwined with his relationship with alcohol in a way, yet Wyatt does not rail on such a connection in a way that makes the reader bored of it.

The aspect of Jack’s character that I came back to most frequently while reading was his glaring disregard for the upkeep of his relationships. Yes, he cares about Jolene; yes, he cares about JJ—but he seemed to lack any kind of urgency in the way he interacts with either of them. Most of his actions seem dispassionate on some level, yet the narrative (being in first person from his point of view) focuses on his thoughts and emotions. While I feel as though one result of this focus made both Jolene and JJ feel like relatively flat characters who served primarily as plot devices in Jack’s story, such a phenomenon could also serve to highlight the distance Jack’s addiction created between him and the people around him. His thoughts on his loved ones often circle back to himself as is displayed in a thought he has during an interaction with JJ. Jack comments, “Now, if there’s one thing a man can’t stand, it’s witnessing the worst part of himself in another.” Thus, the story’s hyperfocus on Jack serves, in a way, to reinforce the frequently cyclical nature of abuse and addiction.

Jack’s character development eventually begins to create its own cyclical movement, and his relationships with his family and his own inventiveness are pulled along on the journey. Wyatt writes Jack in a way that makes him feel both stagnant and evolving at the same time. He’s thrust forward in some areas while being pulled backwards in others—the areas where Jack regresses are duplicated by the areas where he improves, and both sides of the equation are being pushed and pulled at by interacting factors in his disposition and environment. Thus the thematically cyclical nature of the history and physical environment of the story are both condensed and expanded within Jack as a character, and many moving parts are sharpened by the way they rebound from each other.

The Watersmith is available from Regal House Publishing



Joan Alft (she/any) is an undergraduate student at the University of Tennessee studying publishing and creative writing. Her short story “Pilgrim” can be found in the summer 2026 edition of Phoenix Literary Arts Magazine where she works as an Assistant Prose/Fiction Editor. Gothic themes and relationships, the dichotomy between the familiar and unfamiliar, and confusingly intense devotion in places where it shouldn’t be are a few things she enjoys seeing in others’ art and tries integrating in her own projects. In her free time, Joan collects physical media (records, cassettes, DVDs, CDs, and VHS tapes, oh my!), hangs out at local coffeeshops, and sews on occasion.

The Wardrobe’s Best Dressed: The Mid-Year Best Best Dressed


Merrick’s first selection for the mid-year best of 2026 is from These Aren’t My Woods Anymore by Soon Jones (Poetose Press 2025).

You Could Be Pretty

When my breasts betrayed me the first time
             by arriving before I was ten,
my stepmother forced me to wear
             lacey bras and satin underwear,
telling me not to be a whore as she threw me
             at any boy or grown man who looked,
hoping for a shotgun marriage.

So I stopped wearing dresses outside
             of church and at weddings. I stopped
wanting to be pretty. Wore thrifted
             Timberland boots and large shirts,
carried knives.

I treated makeup like an exotic curiosity
              and yes, it makes me pretty.
Creates someone new

              and vulnerable, someone who looks
safe. Instead
              I learned to throw a punch
without breaking my wrists. Learned to throw
              grown men over my hip
like fussy children. Developed an early eye
              for tight groupings, center mass.



Learned to hold a rifle as close
               as a lover to my shoulder, and open
my bones to each bullet’s shockwave,
               to the unrelenting
hunger of the world.


Soon Jones (they/them) is a Korean-American lesbian poet and writer raised in the rural countryside of the American South. They are a Lambda Literary Fellow with an MFA from Oklahoma State University. Their work has appeared in Sinister Wisdom, Denver Quarterly, Lunch Ticket, Moon City Review, and others, and their debut collection, These Aren’t My Woods Anymore, is out now from Poetose Press. When not writing poems or working on cars, you can find Soon going on long walks through nature or stargazing.

Merrick Sloane (they/them) is a neuro-Queer 90’s kid and nonbinary poet, editor, and researcher from Oklahoma. They hold an MFA in creative writing from the University of Tennessee, Knoxville and are Associate Poetry Editor of Doubleback Review. A 2026 Best of the Net and 2025 AWP Intro Journal Awards winner, Merrick’s poetry appears in citizen trans* {project}, Seattle Journal for Social Justice, Fruitslice, Puerto del Sol, and elsewhere. When they are not writing or editing, Merrick loves to serve as a pillow for their cat, Kitten, while getting lost in new worlds written by other dreamers. Merrick is deeply committed to helping create a world that liberates us all.

The Wardrobe’s Best Dressed: Familiar by Luiza Flynn-Goodlett


This feature, chosen by Guest Editor Catherine Garbinsky, is from Familiar by Luiza Flynn-Goodlett (Madhouse Press 2024).

When least expected,

magic twines legs like

a cat. Or was it always

here, and by averting

eyes from the shadow,

I missed its shine? Or

did A strike it from my

flint-like limbs? Either

way,21 its song fills every

room, and I only have

to notice what catches

in my throat when

I lift voice in return.

____________
21“It is not that something different is seen, but that one
sees differently. It is as though the spatial act of seeing were
changed by a new dimension,” Carl Jung.


Luiza Flynn-Goodlett (she/her) is the author of Mud in Our Mouths (Northwestern University Press, 2025) and Look Alive (Cowles Poetry Book Prize, Southeast Missouri State University Press, 2021), along with numerous chapbooks, most recently Lossland (forthcoming from Black Lawrence Press). Her poetry can be found in Ninth Letter, swamp pink, Poetry Northwest, and
elsewhere. She serves as a poetry editor for the Whiting Award–winning LGBTQIA2S+ literary journal and press Foglifter. She was raised in the wilds of Tennessee and now lives in the SF Bay Area with her wife and rescue dog.

Catherine Garbinsky (she/they) is a writer living in Knoxville, Tennessee. They received their MFA in Poetry from the University of Tennessee-Knoxville, where they are now a PhD candidate. Catherine’s poems have been nominated for the Pushcart Prize and Best of the Net. She has written two chapbooks: All Spells Are Strong Here (Ghost City Press, 2018) and Even Curses End (Animal Heart Press, 2019), and her work has been featured in Yes Poetry, Coffin Bell Journal, Cream City Review, and elsewhere.