I’ve always been drawn to instruction manuals. Aside from reading chapter books in elementary school, I was pulling how-to guides and building manuals off the shelves, because I was always fascinated by the idea of creating something through careful consumption. I would read books about taking care of animals like bunnies and making crafts, because I really love personalizing everything I own! I used to volunteer to organize the classroom bookshelves during recess, not because I was particularly neat, but because I loved the logic of categorization, which is something I still do today with my book notes!
My reading tastes have expanded since then, but that early love of structure and process never left me. In middle school, I fell head over heels for Tom Sawyer. I loved his free-spirited adventures and go-lucky optimism, as compared to Huck Finn’s solemn disposition (which was justified). In high school, I read many of John Steinbeck’s books, so I challenged myself to read East of Eden for English class, finding it one of the driest things I’d ever encountered. Years later however, I still think about that book constantly. I also read The Kite Runner, which didn’t fully resonate with me at the time in terms of writing style (it is still one of the saddest books I’ve read aside from A Thousand Splendid Suns), but has profoundly shaped what I want to write about now.
My current reading habits reflect this evolution. I’m voracious about memoirs, feminist theory, author diaries, and literary novels. My favorite nonfiction book is The Courage to Be Disliked by Ichiro Kishimi and Fumitake Koga, and my favorite novel is Franny and Zooey by J.D. Salinger, which is a book that changed how I think about searching for meaning in an often overwhelming and pretentious world.
What drew me to editing rather than purely creative writing was the collaborative process. Writing can be solitary, but editing is inherently relational. You’re working with someone to help them tell their story better, clearer, more powerfully. There’s something beautiful about that partnership, and about learning from other writers while helping shape their work.
I’ve spent time working with literary magazines, most recently focused on flash fiction and short poetry, but I’ve realized my heart is in longer-form work. I want to help bring full-length books, chapbooks, and novellas into the world. That’s what drew me to Sundress Publications! As a nonprofit press committed to amplifying diverse voices and creating space for work that might not fit traditional publishing models, Sundress aligns perfectly with where I want to grow as an editor!
I’m also passionate about amplifying perspectives from women, asexual voices, and religious backgrounds, which are communities whose stories deserve more space in contemporary literature. My editorial interests center on literary fiction, memoir, and nonfiction exploring history, technology, media studies, feminism, and literature itself.
When I’m not working on manuscripts, you can find me indoor climbing, drawing, learning Japanese, or adding to my ever-growing collection of shoujo and josei manga. I recently started a blog about women’s comics and just wrapped up a manga archival project that I hope to continue later in life!
I’m thrilled to join the Sundress team and can’t wait to learn from this incredible community of writers, editors, and book lovers. Here’s to making wonderful books together!
Franchesca Nicole Lazaro is an emerging editor with a passion for developmental editing and book production. She previously worked with Brink Literary Project and currently works with Tulipwood Press. Her editorial interests center on amplifying perspectives from women, asexual voices, and religious backgrounds, particularly in literary fiction, memoir, and nonfiction that explores feminism, history, technology, and media studies. She is learning Japanese and maintains a blog on women’s comics and reading. Franchesca is relocating from Seattle, Washington, to San Jose, California.
Our most treasured family heirlooms are our sweet memories. The past is not dead. It is not even past. ~ William Faulkner
Two months before my forty-third birthday, my mother, who’d been widowed for more than a decade, came for a weekend visit to our home north of Montreal. When she visited from New York, she always brought with her a nostalgic item that had belonged to my father or one of my grandparents. Because my mother lived in the past, she frequently spoke about the way things used to be. She had difficulty keeping up with the changing times. She refused to learn how to use a computer, so she was asked to resign from her job as a medical receptionist in the hospital where she’d worked for twenty-five years. By that time, she was seventy-five years old. Mother was the opposite of a hoarder. With her own sense of discretion, she tossed away anything that didn’t personally serve her. She usually did this without asking anybody in the household if they wanted any of such items. For example, in 1976, when I moved out of the house to go to college, I was devastated when I learned that Mother had thrown away all my childhood journals, which were stored in a big plastic box in my closet.
***
Before dinner on the night of my mother’s arrival in Montreal, without saying anything or acknowledging their presence, she peeked into the playroom off the kitchen where my three kids were playing. She had never much liked children, nor did she know how to connect with them. I suppose that’s why she left my care to my grandmother. She came into the kitchen and lifted her small, blue suitcase onto one of the six contemporary, black-leather chairs at the table. She pulled something out and yelled to no one in particular, “Here, I brought this for you.” I stood at the counter, my back to her with my hands submerged in a bowl of chopped meat. I suspected she was speaking to me, so I turned around as she flung a plastic sheath filled with papers across the glass table. “This is your grandmother’s,” she said. What she’d tossed so unceremoniously was Grandma’s journal. It wasn’t a bound book or a notebook but fifty pages of single-spaced, typed pages laden with strikeovers, awkward syntax, and numerous grammatical errors. I washed my hands, walked over to the table, and collected the pages. As I flipped through them, a sudden strong memory overtook me: the day my grandmother taught me how to type on her Remington typewriter when I was eight years old. I wondered if it had been the same typewriter that she’d used to type this journal. “Have a seat on this chair,” Grandma had said, pointing to her vanity chair. “I’m going to teach you how to type. This is a handy skill for a girl to have. Plus, you never know what kind of stories you’ll want to tell one day.” With her blonde hair in bouffant style and her bright red lipstick framing the space between her two front teeth, she stood behind me, smiling radiantly in the mirror. She took my right hand and positioned it on the second row of keys from the bottom, carefully placing one finger on each letter. With my left hand, she repeated the same gesture. “This is the position your fingers should be in. When you become a good typist, you won’t even have to look at the letters while you’re typing. Okay, dear, let’s see if we can type your name.”
***
Suddenly, after receiving her journal, I was reunited with her for the first time since she’d died more than thirty years earlier. It felt both eerie and exciting. Her voice once again filled the gap of the loneliness born out of being an only child and being raised by a mother with narcissistic tendencies who really did not understand me nor know how to bring out the best in me.
***
Over the years, I have often pulled out Grandma’s journal to reread it. My intention has been to absorb herr life. sensibilities and understand who she was and what she endured. I also wanted to understand her sense of torment and what led to her depression and subsequent suicide. I knew that certain psychological traits can be genetic. While we do have control over our lives, genetics is an important factor that can determine whether, when facing life’s setbacks, we feel grateful or doomed. I thought it was critical for me to know everything I could about my grandmother’s mental health, hoping it would help me navigate my own journey. Even though her story was sad, reading it grounded me and brought me closer to her. Her words empowered me. They also served as a reminder of my huge sense of loss and abandonment when she died. Until receiving the journal, I had no idea that Grandma was a journal keeper as I am. Sometimes when we study and get to know our ancestors, we make fascinating discoveries. Perhaps journaling is in my DNA. For years, it has been my savior.
Reflections / Writing Prompts
What were some of the challenges that your parents and/or grandparents faced?
Do you have an artifact or item that reminds you of an ancestor?
What passions have you carried with you since childhood?
Did a grandparent have a talent or passion that they shared with you?
Is there a memorable story that a parent or grandparent shared about their own childhood?
Diana Raab (she/her), MFA, PhD, is a memoirist, poet, workshop leader, thought-leader and award-winning author of fourteen books. Her work has been widely published and anthologized. She frequently speaks and writes on writing for healing and transformation. Her latest book is Hummingbird: Messages from My Ancestors, a memoir with reflection and writing prompts (Modern History Press, 2024). Raab writes for Psychology Today, The Wisdom Daily, The Good Men Project, Thrive Global, and is a guest writer for many others. Visit her at: https://www.dianaraab.com. Raab lives in Southern California.
Maggie Rue Hess (she/her) is a PhD student living in Knoxville, Tennessee, with her partner and their crusty white dog. She serves as Poetry Co-Editor for Grist: A Journal of the Literary Arts. Her work has appeared in Rattle, Connecticut River Review, SWWIM, and other publications; her debut chapbook, The Bones That Map Us, was published by Belle Point Press in 2024. Maggie likes to share baked goods with friends and can be found on Instagram as @maggierue_.
Intuition doesn’t tell you what you want to hear; it tells you what you need to hear. ~ Sonia Choquette
I’ve heard that children are born with strong intuitive instincts and that at ages three to five a child is fully open and naturally intuitive. World-renowned psychic Sonia Choquette says in her book, The Wise Child (1999), that children experience spontaneous intuitive messages more readily than do adults, and it’s important that parents listen to them. In fact, many in spiritual circles believe that young children are more intuitive and open to the otherworld because they are the most recent arrivals to Earth. Having intuition helps us observe and detect other people’s behavior so that we can respond accordingly and appro- priately. Those who have experienced early-childhood trauma tend to be even more intuitive because they need to be aware of everything happening in the world around them to stay safe. Unfortunately, many times children aren’t encouraged to follow their intuition, and, over time, many lose this innate sense. Encouraging the development of intuitive powers means allowing the child a lot of time for imaginary and solitary play. As an only child with very few after-school activities, especially before the age of ten, I had plenty of time to develop my intuitive powers. Intuition is also based on our experiences—what we’ve inherited from our ances- tors as well as the emotions we encounter now in various situations. When we lose our intuitive instinct, rational thought takes over. Intuition works more quickly than rational thought. Decisions made with rational thinking usually take longer because we need to evaluate various scenarios before mak- ing a decision. Most often intuition and rationality work together, but some individuals lean more in one direction than another. I believe my grandmother and I survived the challenges of our childhoods and dealing with mothers who didn’t cherish us by relying on and honing our instincts. I also believe that we all tend to trust our instincts more and more as we age. I noticed this during the recent years of uncertainty around the time of the coronavirus pandemic. As a result of the mixed messages we received from authorities and the universe-at-large about the disease, its course of infection, and vaccination programs, we all had more questions than answers. With scant concrete knowledge, facts, and experiences to pull from, much of our survival depended on our ability to tap into our inner wisdom. This wisdom or instinct is like a hunch we get about a person or a situation. It’s a gut feeling that is sometimes called clairsentience—or “clear sensation,” referring to an energy that is felt in our body in response to our environment, whether it comes from people, situations, places, or other realms. Children might have a difficult time explaining this feeling. They might simply say they don’t feel well; they have a tummy ache or backache. Or they become tired or nervous. Personally, I just remember having this deeper knowing when things felt a little weird around me. When we focus on listening to our inner voice, we become more empathetic and hypersensitive. I believe this is what saved Grandma during her turbulent, wartime childhood and being unwanted and then orphaned. It wasn’t until I read her journal, which I will share excerpts from later, that I realized how traumatized she was by her difficult childhood. On a personal level, my inner voice is what enabled me to survive life being born to a mother who told her husband that she preferred a parakeet instead of a child. All this has given me fodder for so many stories to tell. Writing and telling our own stories and sharing with others help us gain perspective on our experiences and navigate our own journey. Stories also unite us and can resonate at both personal and universal levels. That’s one of the many reasons why people love reading and hearing them. While I love my writing studio, it’s often inspiring to write in different locations, whether it’s a local coffee shop, bookstore, park, or faraway place. A few times, I have ventured off to Maui for a personal writer’s retreat and had magical experiences.
***
During that trip in Maui, I spent a few full days alone with the shaman. At the end of each day, that tall, robust, and jovial woman full of positive energy hugged me good bye and said, “Let’s meet again tomorrow to talk story.” I believe the reason I love Hawaii so much is its people’s wonderful energy and the importance of story in their culture. There’s something heartwarming about connecting and passing time together chitchatting and rekindling memories. Ancient Hawaiians expressed themselves through storytelling, which is known as the tradition of mo‘olelo. This is basically the telling of stories transferred orally from one generation to the next. Mo‘olelo is also an opportunity for people to channel their ancestors. According to Foor in Ancestral Medicine (2017), “We are bonded with the ancestors as life to death, light to shadow. The choice is not whether or not to be in relationship with them, but whether or not these relationships will be conscious or reciprocal” (p. 57). The process is similar to what I’ve been doing with Grandma through the hummingbird as a messenger. There are other ways as well in which the departed might visit us. When I’ve discussed connecting with our ancestors in my writing workshops, some of my students have said that, if they pay attention, they get messages in all kinds of forms—from butterflies, wild animals, rainbows, and found feathers or coins to pictures, slogans, billboards, a certain piece of music, a particular numerical sequence, or electrical interferences such flashing lights or a cell phone ringing. While I’ve experienced some of these occurrences during the course of my life, for me, there’s something even more powerful when a hummingbird visits. I feel a renewed sense of hope and ability to see life’s larger picture. These creatures also have a calming influence on me, telling me that everything happens for a reason and that everything will be okay. Having hope is so important, especially when dealing with challenging times of all sorts, including tragedy, illness, the possibility of death, or even living through a pandemic. The stories of loved ones can help us when we listen to them. My parents were both immigrants and had so many stories to share, but also, much has been transferred down to me by the ancestral line.
Reflections / Writing Prompts
Describe an experience in which you or another child you knew was intuitive. You might also choose to write about an intuitive child you know now.
Discuss a memorable experience during the coronavirus pandemic.
Discuss a time when you felt your intuition was strong.
Have you ever connected with an ancestor? Describe what happened.
Discuss a health challenge you or your loved ones have experienced.
Describe an experience in which you or another child you knew was intuitive. You might also choose to write about an intuitive child you know now.
Diana Raab (she/her), MFA, PhD, is a memoirist, poet, workshop leader, thought-leader and award-winning author of fourteen books. Her work has been widely published and anthologized. She frequently speaks and writes on writing for healing and transformation. Her latest book is Hummingbird: Messages from My Ancestors, a memoir with reflection and writing prompts (Modern History Press, 2024). Raab writes for Psychology Today, The Wisdom Daily, The Good Men Project, Thrive Global, and is a guest writer for many others. Visit her at: https://www.dianaraab.com. Raab lives in Southern California.
Maggie Rue Hess (she/her) is a PhD student living in Knoxville, Tennessee, with her partner and their crusty white dog. She serves as Poetry Co-Editor for Grist: A Journal of the Literary Arts. Her work has appeared in Rattle, Connecticut River Review, SWWIM, and other publications; her debut chapbook, The Bones That Map Us, was published by Belle Point Press in 2024. Maggie likes to share baked goods with friends and can be found on Instagram as @maggierue_.
The closing years of life are like the end of a masquerade party, when the masks are dropped. ~ Cesare Pavese
Often when a loved one dies, we try to replace that person with someone else. Sometimes the decision to do so is conscious, and other times it’s not. Because my grandfather also lived with us when I was a child, it was quite natural for me to try to replace my grandmother’s presence with his. Having him in my life and nurturing my regular journaling practice were two powerful healing forces for me. My grandfather told me stories about all his travels after emigrating to the United States from Austria in the late 1930s. In the few weeks after Grandma died, he spent a lot of time with me. I believe he was trying to distract me from missing her when my parents were at work. He graciously invited me into his world. In fact, if there was a bright spot in the loss of my grandmother, it was that I grew closer to my grandfather. I didn’t realize it at the time, but she had kept me isolated from him. Forty years after her passing, I found personal documents in her closet. Included in them was one of her journals, from which I learned that, in the few years before her suicide, even though my grandparents had lived together in the same house with all of us, they were legally separated. Legal paperwork I discovered in her closet revealed that my grandfather had been physically abusive toward her. Did she prevent me from seeing or spending time with him to protect me?
***
As children, we don’t usually question adult relation- ships. However, there were times when I intuitively felt things weren’t right between my grandparents. My family wasn’t communicative about their feelings, but they certainly gave off vibes that I was able to decipher at a young age. As an adult, I wonder if Grandma fabricated the story about Grandpa striking her to find her way out of an unhappy marriage. Would she do such a thing? Who was the hummingbird and who was the dragon? I’ll never know. With me, my grandfather was a gentleman who intro- duced me to the cultural wonders of New York City. For about twenty years, until his untimely passing, he and I were quite close. So, I’m left wondering—are we all chimeras and shapeshifters who exist as different beings in different spaces and moments and with different people? A hummingbird one moment, a dragon the next? Many of us have different personas and wear different masks at different times. Only those close to us truly know us. My mother was a master of masks. To the outside world, she was charming, vivacious, and joyous, but at home, she was somber and depressed. I wonder if she inherited this trait from my grandfather, who also wore two masks. He was abusive toward my grandmother yet gentle and caring to me and others. Many people have two masks: an inside mask that we keep for our loved ones and an outside mask for the world to see. As an avid reader and longtime observer of character, I understand the appeal of masks. A mask portrays emotions or serves as protection. In the sport of falconry, a falcon is fitted with a mask called a “trapping hood” to calm and protect it in scary situations. My grandfather’s “trapping hood” could have been his way of protecting himself from expressing rage in public. It calmed him, enabled him to act like a gentleman. If we feel unloved by others, we might hide behind the mask of anger. If we’re afraid, we might hide under a mask that antagonizes others by insulting them or putting them down. If we’re insecure about our perceived status, we might hide behind the mask of name-dropping—talking about celebrities or important figures. If we’re insecure or unsure of our power, we might hide under the “tough- person” mask. If we’re in a bad or difficult relationship, we might wear the mask signifying that everything is okay. Apparently, this was the mask my grandparents wore.
***
A few years after my grandfather died and during my nursing residency in Montreal, I had an interesting encounter with a female patient who, in so many ways, reminded me of my grandmother. While I didn’t find it significant at the time, looking back, I recall that she had a photograph of a hummingbird on her hospital bedside table. I remember remarking on its iridescent colors. She told me she loved those birds and had special feeders in her yard with sweetened red water that attracted them.
***
That day began with morning rounds, which involved the doctors, nurses, and nursing students going from room to room to visit all the clients on the unit. The head nurse or physician in chief summarized the reason for the patient’s hospitalization and their current status.Sometimes a patient’s condition evoked a discussion, while other times the clan moved quickly from one room to the next. We entered Mrs. G.’s room, and I stood at the back of the line. When I moved forward and saw her, I was stunned beyond words. I thought I was looking into the eyes of my grandmother. Her blonde hair had dark roots that matched her well-defined eyebrows. She was applying lipstick, and her mannerisms were Grandma’s. She traced her mouth with a lip liner, making her lips appear larger, and came to a well-defined point in the middle of her top lip. “I feel naked without my lipstick,” Grandma used to tell me, and I sensed that Mrs. G. held similar sentiments. She finished applying her lipstick and sat in bed, dressed in a pink skirt and matching floral blouse. When I asked why she was not wearing a hospital gown, I was told that she insisted on using her own clothing, something Grandma would also have requested. I watched this striking, sixty- something blonde woman staring out the window. Her blue eyes emanated intelligence, pain, and reflection. I wondered if my grandmother’s eyes showed the same pain before she took her life.
***
“Mrs. G. has been depressed for many months,” said the doctor in charge. “Her family admitted her to the hospital because she tried to commit suicide by taking an overdose of her blood-pressure pills.” The mention of the word suicide made me feel as if a dagger had been plunged deep inside my heart. I was glad I’d gulped down a bowl of cereal that morning. It helped ease the sudden nausea.
***
The head nurse approached me and whispered, “Mrs. G. attempted to kill herself the night she found her husband, twenty years her junior, sleeping with another woman.” Then she stepped out of the room. I gasped. I couldn’t leave the room. I felt a gravitational pull toward Mrs. G. I nudged myself closer to her bed in the small, private room with the window overlooking the hospital roof. I carefully drew the privacy curtains around her bed and sat on the vinyl chair beside her. Part of me wanted to wake her—to hear her voice, her tone, her story. Another part of me was petrified. I stared until I heard the head nurse’s footsteps outside the curtain. She poked her head in through the opening. “Are you okay?” she asked. I nodded, afraid to admit how the woman resembled my grandmother—in appearance and mannerisms and deed. I thought about the possibility of removing myself from the unit because I had a family history of suicide. On the other hand, with my background I felt as if I should be there. It was strange being in the company of a woman who so closely resembled Grandma. When looking at her photographs, I’d look deep into her eyes, wondering if I’d ever find out why she killed herself. I stopped when I realized I never would. Still, I’m comforted by the knowledge that we had such a powerful and deep love for each other. For now, this would have to be enough. My grandparents never spoke about each other to me. In discussions with each of them, whenever I mentioned the other’s name, whomever I was speaking with didn’t respond but sat with a blank affect, similar to the vibe I’d picked up from Mrs. G. Their silence told a story. My childhood was filled with ambiguity, especially when it came to the relationships of my parents and grandparents. In a sense, everyone came together in their love for me. I was the glue that held the family together, something I continue to do now as I’ve become a grandmother myself. That evening, when I returned home from the hospital, I pulled out my journal to write about the day’s experience. I glanced up at the framed quote hanging above my desk, which is from François Mauriac’s book, The Desert of Love (1960): “We are, all of us, molded and remolded by those who have loved us, and though that love may pass, we remain none the less their work—a work that very likely they do not recognize, and which is never exactly what they intended.”
Reflections / Writing Prompts
What genetic traits did you inherit from a beloved parent or grandparent?
Have you lost a loved one whom you tried to replace with someone else?
Are you familiar with a story about someone that emerged only after they died?
What were your superpowers when you were younger? What are they now?
What were your passions as a child, and who inspired them?
Diana Raab (she/her), MFA, PhD, is a memoirist, poet, workshop leader, thought-leader and award-winning author of fourteen books. Her work has been widely published and anthologized. She frequently speaks and writes on writing for healing and transformation. Her latest book is Hummingbird: Messages from My Ancestors, a memoir with reflection and writing prompts (Modern History Press, 2024). Raab writes for Psychology Today, The Wisdom Daily, The Good Men Project, Thrive Global, and is a guest writer for many others. Visit her at: https://www.dianaraab.com. Raab lives in Southern California.
Maggie Rue Hess (she/her) is a PhD student living in Knoxville, Tennessee, with her partner and their crusty white dog. She serves as Poetry Co-Editor for Grist: A Journal of the Literary Arts. Her work has appeared in Rattle, Connecticut River Review, SWWIM, and other publications; her debut chapbook, The Bones That Map Us, was published by Belle Point Press in 2024. Maggie likes to share baked goods with friends and can be found on Instagram as @maggierue_.
Some people are your relatives but others are your ancestors, and you choose the ones you want to have as your ancestors. You create yourself out of those values. ~ Ralph Ellison
Each day a hummingbird visits the garden outside my writing studio. She loves the red trumpet vine that bears delicious nectar. She hovers in the center of the flower for a few seconds, levitates, and then moves on to the next vine. Her movements are so quick that I have to keep a close eye so as not to miss her before she flies away. She seems to have a lot to do over the course of her day as she bestows her magic on plants and other sentient beings. It’s been said that those who were close to you before they died commonly send messages in the form of bird spirit guides. Hummingbirds, in particular, resonate at a high vibration, which makes them more connected to the spiritual realm. They’re also joyful reminders and tend to open our hearts and make us smile. They’re referred to as messengers from the heavens because they often show up when people grieve the loss of a loved one. In this way, they can also be healing. If you ever watch a hummingbird, you’ll notice that it can come to a complete stop when traveling at high speed. Also, their movements are often in the shape of an infinity sign; thus their connection to eternity. ***
I’m quite sure that my grandmother, who died in 1964 at the age of sixty-one, frequently visits me in the form of a hummingbird. She sends messages of love and offers me ongoing protection. She reminds me that everything is temporary and of how important it is to enjoy my time here on Earth. She tells me that her time here was too short and that being my grandma and caretaker was one of her greatest joys and accomplishments. She reminds me to rise above the everyday, rudimentary concerns of life and look at the larger picture. She says that, with love, we can accomplish almost anything, and a life without love is an empty one. If we pay attention, the universe has a way of sending us signs. I believe that if we pay attention, we receive signs from the departed that help show us the way. Some people call these entities guardian angels, while others refer to them as spirit guides. They visit in different forms, so you must opyour heart to the secret messages being sent your way. ***
When my grandmother and father were alive, they provided me with unconditional love, and they continue to do so on their visitations. They don’t give me direct, detailed instructions. Rather, they support and guide me on my life journey. I sometimes feel their presence over my right shoulder as if an energy were coming through—a physical sensation such as tingling or chills in the upper part of my body. Once in a while, I feel their presence when one of my extremities falls asleep. Sometimes I hear Dad giving me advice or telling me that everything will be okay. My grandmother’s messages come to me in other subtle ways—an unexpected bird, an out-of-the-blue phone call, a certain book falling off my shelf, a certain song playing on the radio, a light flickering in the house, or her whispering into my right ear. It might only be a word or two, but it’s usually enough to relay an important message, much as the hummingbirds seem to do. This connection with birds can also be a way to connect with our own souls. ***
For the most part, children and young adults take things in stride; but sometimes, if they have a difficult time expres- sing their feelings, their bodies give them messages. After my grandmother died, my parents began fighting a lot. It was difficult to watch and impossible to process. I believe my childhood asthma might have signaled that I was stressed by circumstances at home. According to the Cleveland Clinic, traumatized children have shown asthma rates fifty times higher than their peers. As an adolescent, I hung out with teens who took illegal drugs, and I stayed away from home as much as possible. I felt adrift, searching for a way to reconnect with Grandma. Now I’m left to wonder if the hummingbird visitations are a way to make that connection. Are her messages a way for me to heal from my grief both over losing her and over not being wanted by my mother?
Reflections / Writing Prompts
Write about an incident from your childhood that transformed you.
Who in your life, alive or deceased, provided you with the most unconditional love? Describe how they displayed their love.
Discuss the first time you lost someone whom you loved deeply.
Write about an experience you’ve had with a visitation from a deceased loved one.
Write about a book or books that changed your worldview or perception.
Diana Raab (she/her), MFA, PhD, is a memoirist, poet, workshop leader, thought-leader and award-winning author of fourteen books. Her work has been widely published and anthologized. She frequently speaks and writes on writing for healing and transformation. Her latest book is Hummingbird: Messages from My Ancestors, a memoir with reflection and writing prompts (Modern History Press, 2024). Raab writes for Psychology Today, The Wisdom Daily, The Good Men Project, Thrive Global, and is a guest writer for many others. Visit her at: https://www.dianaraab.com. Raab lives in Southern California.
Maggie Rue Hess (she/her) is a PhD student living in Knoxville, Tennessee, with her partner and their crusty white dog. She serves as Poetry Co-Editor for Grist: A Journal of the Literary Arts. Her work has appeared in Rattle, Connecticut River Review, SWWIM, and other publications; her debut chapbook, The Bones That Map Us, was published by Belle Point Press in 2024. Maggie likes to share baked goods with friends and can be found on Instagram as @maggierue_.
Spanning decades and relationships, dream worlds and memories and therapy sessions, Jill Khoury’s soaring, elegiac collection earthwork (Switchback Books, 2024) invites readers into the volatile and immersive experience of grieving someone both beloved and dangerous. In Khoury’s case, that person is her mother, to whom this collection is dedicated. Through three sections, the speaker reckons with her childhood, adulthood, and the aftermath of her mother’s death. The collection is grounded in her mental return to this figure, both mythically large and emaciated in her mental and physical illness, still looming over the speaker’s days, nights, and conception of herself.
The collection begins with a prelude entitled night cultivars, in which the speaker as a child immediately demonstrates her lyric and material superpower: that of unceasing observation, dismissed by her mother. The speaker describes how,
“the fractured
clay dirt
flowered
against a red
moon
bore a
scratchblossom
all thorns
and dolor
moaned from out
a low stump
when I put my ear
to it
oh
she says
that’s just
a weed
the wind.” (Khoury 1)
Quickly, the speaker gives the reader a medley of snippets illustrating fraught exchanges with her mother and the instability of their relationship. She remembers her mother in vignettes of mental decay: she flushes her meds, ceases to eat, doesn’t want her daughter to come visit her even as she says: “my mother’s whisper i would never do anything to hurt you / but this like so many of her communiques is a secret wrapped in a half-truth” (Khoury 5).
Even in the anger sparked from this neglect, the speaker’s care for her mother transforms, but does not cease: in one poem she burns her mother’s old clothes; the next, she remarks on how,
“she is
so smaller
i just want
to hold her” (Khoury 13).
This angry tenderness and ebbing and flowing despair sucks the reader into the speaker’s complex, fearless voice with abandon.
The speaker, understandably, seeks an escape away from the all-encompassing presence of her mother, and finds it in her dreams. A motif that permeates this collection is the phrase “all aspects of the dream are aspects of the dreamer”; four poems spanning the collection bear this same title. Early on in earthwork, the speaker remembers one such dream about her mother’s mental and physical deterioration in spine-crawlingly visceral detail: “my mother is perched on the couch dying properly wrapped / like a molebeast in a baby blue blanket” (Khoury 18). She is jolted back to the present when “[her] therapist asks [her] what does dying properly mean” Khoury (18). As the daughter of a palliative care physician, I was struck by moments like these that paralleled end-of-life care. The speaker’s therapist, here, asks the foundational question of palliative care: how does one die well? And in exploring someone’s values at the end of their life, the question very quickly becomes, how does one live well? Khoury delves into this query from multiple vantage points in this collection, leaving no lead unturned as she studies her chronic illness, mental health, and survivorship of abuse along with her complicated relationship with her mother.
Through all this pain and mourning, the speaker has moments that elucidate an awareness of their own resilience – the strength needed to continue living with, and in spite of, her trauma. Khoury counters a fight brewing with her mother, who compares her garden to kindling, by asserting, “i know something about surviving fire” (39). The dream motif continues as the speaker chooses to enter her mother’s bedroom in a dream, reminding herself: “it is important to remember / i choose this in dreams you are the chooser / you have the control” (Khoury 52). Her dreams, like her poetry, like her garden, become her sanctuaries, and in this the speaker illuminates a myriad of sites of refuge from the harm she’s experienced.
In Part Three, Khoury wrenches the reader from graphic descriptions of the past to an immediately more factual tone in the present. The section’s opening poem begins, “i delivered the eulogy / otherwise she would not have had a eulogy” (47). She continues to describe, with a clear numbness of immediate grief, the barebones of transpired events: her mother’s clothes were “bagged donated / to a rural church” (Khoury 48); she leaves a voicemail matter-of-factly informing her mother that she “tried to end [herself] / with antipsychotics / & alcohol” (Khoury 49). Pivotally, too, in Part Three the speaker meets her past self instead of becoming her in memory. Rather than absorbing the self-loathing and hurt her younger self was forced to endure, the speaker bids her own goodbyes to her mother and, “[takes] the knife from [her] belt to extract / the image of the child who sits in [her] mother’s lap” (Khoury 63).
This book is not just about grief or trauma, but also where this long-lasting pain settles to live within our bodies. Khoury repeatedly reckons with what it means to relive your past with such vividness that it becomes difficult to differentiate where your memories end and the present begins. Like many memories of trauma, they sometimes cease to be memories at all, and become just a different kind of embodied experience re-lived intermittently. As the speaker describes in the present-tense an afternoon lying beside her mother on a beach, she interrupts her speech to chastise and remind herself:
“no
none of this
is happening
this happened
long ago
far away.” (Khoury 65)
By beginning to create some form of distance between her past and current self, the speaker shows us how she is able to come home to her present body.
The collection’s title, earthwork, betrays one of the speaker’s central coping strategies; noticing and nurturing the earth, a place she understands when nothing else makes sense. After a suicide attempt, she relates the difficulty in returning back to school:
“i can’t remember
the difference between
dactyl and anapest
been painting
a lot though
mostly abstracts
bees dance on the honeycomb
of my tongue
so many secrets
sickle
in my closed
mouth.” (Khoury 62)
Khoury makes sense of her turbulent world with natural imagery, as she seeks for an escape in her suicidality and encounters a different spiritual response: “i ask god to erase me please / he wants me to macerate these herbs instead / light stratifies into color” (56-57). Nature and gardens, here, become sites of creation to rival the speaker’s instinct towards self-hate and destruction. One of Khoury’s most astounding poetic talents is her ability to turn a violent verb like “macerate” to something reclamatory in the space of just a few lines. Nature rebuilds when it is destroyed, and herbs, macerated, have even more of a capacity to heal in their transformed state.
In earthwork, Jillian Khoury dives into complex and living trauma, both experienced and inherited. Through it all, she retains tenderness for the mother who both raised her and harmed her, bending over backwards to attempt to understand her in memory as she did in life. This collection’s generous meditations on generational trauma will stay with me long after closing its pale-blue cover; at turns gentle, rageful, and vastly melancholic. Khoury encapsulated this range of the mixed bag we inherit from those who have loved and harmed us as she remembers her mother: “she hands me a box of her favorite earrings / some of these are tarnished” (8).
Catie Macauley (they/he/she) is a transmasculine aspiring poet living and working in Boston. They study Sociology, Environmental Studies, and English at Wellesley College, where they also compete on the Wellesley Whiptails frisbee team and perform with the Wellesley Shakespeare Society. A Best of the Net 2024 Nominee, his writing has appeared in brawl lit, The Wellesley News, and the Young Writer’s Project, among other publications. In their free time, Catie enjoys boxing, re-reading A Midsummer Night’s Dream , and buying far too many books at independent bookstores – primarily the Grolier Poetry Bookshop, where they are somehow lucky enough to work.
I have fallen in love with a hummingbird— the way she arrives each day at the red flowers outside my studio and moves among the petals as if the next has more to offer.
The nectar, oh, it oozes so gently while other birds nuzzle their beaks in curiosity.
She might think I’m foolish to stare at her in this wonder and amazement, as she performs so naturally and I pretend to be writing a new poem Beseeching her for inspiration.
But, before I can grab her, she’s gone On to the next chore, whatever it might be, maybe reaching for the heavens or seeking her ancestral friends who hold answers from the beyond—which, in the end, is all we want.
Diana Raab (she/her), MFA, PhD, is a memoirist, poet, workshop leader, thought-leader and award-winning author of fourteen books. Her work has been widely published and anthologized. She frequently speaks and writes on writing for healing and transformation. Her latest book is Hummingbird: Messages from My Ancestors, a memoir with reflection and writing prompts (Modern History Press, 2024). Raab writes for Psychology Today, The Wisdom Daily, The Good Men Project, Thrive Global, and is a guest writer for many others. Visit her at: https://www.dianaraab.com. Raab lives in Southern California.
Maggie Rue Hess (she/her) is a PhD student living in Knoxville, Tennessee, with her partner and their crusty white dog. She serves as Poetry Co-Editor for Grist: A Journal of the Literary Arts. Her work has appeared in Rattle, Connecticut River Review, SWWIM, and other publications; her debut chapbook, The Bones That Map Us, was published by Belle Point Press in 2024. Maggie likes to share baked goods with friends and can be found on Instagram as @maggierue_.
For a long time, I was told my writing was “proficient.” Not good, not even okay, but proficient. In fact, every single one of my papers was marked with this word in a large red scrawl.
You see, my elementary school had a rather peculiar grading scale. It looked something like this:
A: Advanced (90–100%)
P: Proficient (80–89%)
B: Basic (70–79%)
BB: Below Basic (60–69%)
F: Failed (0–59%)
More than anything, I wanted to be an advanced writer. The words almost sparkled to me. My teachers never had anything bad to say, always praising my competency and citing my growth, but it never felt like I was good enough. Looking back, I now understand. I was primarily raised by my deaf and Spanish-speaking mother. While she always reinforced my reading habit, communicating my own thoughts in words and constructing my own sentences in English hadn’t always come easily to me.
In my last year of elementary school, I finally received my first-ever “advanced” on a paper about Rosa Parks. My teacher, Ms. Brace, said it was the first time she heard my “voice” in an essay.
Throughout my life, I’ve fallen in and out of love with the written word, but the whole time, I’ve learned to lead with my voice by imbuing my passion into my writing.
On the first floor of the Ayala Science Library at UC Irvine, I became an advanced writer professionally. For two years, I worked at my university’s writing center, serving as both a Writing Tutor and a Community Outreach Coordinator. It was the best part of my college experience. I met with hundreds of peers, many of whom were first-generation or international students. We bonded over language barriers and cultural storytelling. My favorite part was seeing the growth of my repeat students experienced over the course of a quarter or a year as they came into their identity as new writers. I finally understood what Ms. Brace meant about using my voice. I tried to help others do the same.
This passion for ushering in the stories of underrepresented writers is what led me to Sundress Publications. As I begin my role as an Editorial Intern, I hope to continue to use my story to connect with readers and find common ground with the authors I work with.
Reina Maiden-Navarro is an editor, writer, and photographer. She recently graduated from UC Irvine with a degree in Film & Media Studies and a minor in Creative Writing, cum laude. She also works as an Editor at Prompt and an Outreach Coordinator at Bookstr. If she is not reading or writing, she can be found traveling, painting, or baking cookies.
With the upcoming release of their debut poetry collection, Burns, SG Huerta spoke with Sundress Publications editorial intern Emma Goss about their poetic choices, pushing the limits of both English and Spanish in their poems, and the significance of memory, humor, and pain, in addition to what decolonialism means to them as a queer, nonbinary writer.
Emma Goss: How is repetition used as a rhetoric for pain in your collection?
SG Huerta: My use of repetition can represent rumination or perhaps wishful thinking, like in the poem “Hurtless.” In this poem, the ending devolves into messy repetitions of the phrase “some day this will hurt less.” Repetition is also familiar, and many of the poems talk about the repetition of toxic cycles. The cover of Burns also repeats the title, which I love. I think it represents these cycles as well.
EG: How does Spanish’s integration with English, such as in “latinxpoética” or “Mi tía texts me,” reflect your cultural narrative or experience with gender?
SGH: I have a complicated relationship with both languages, which the poem “latinxpoética” delves into. Early on in my writing life, I received a lot of pushback for including any Spanish in my poetry. I grew up bilingual so of course I was deeply impacted by that attempt at cultural erasure. Currently in my poetry, I try push the bounds of English and Spanish to make more room for queer multilingual and decolonial ways of being.
EG: Humor is employed very tenderly in many of the poems in Burns; can you speak to why humor was important to include in this collection?
SGH: Humor is a very important cultural value to me! I write about some difficult things I have been through, and I fully believe that sometimes you just have to laugh so you don’t cry. Sometimes tragedy can also lead to the comically absurd.
EG: Many of these poems utilize footnotes to contextualize and interrogate the beliefs society holds about gender and trans identities; how does including footnotes extend or inflate the pathos of these poems?
SGH: Footnotes are always fun to play around with. I think it adds another layer to the poem and complicates the reading experience. In “trans poetica” specifically, the footnotes show the hidden undercurrent of what’s happening to the speaker within the poem. The speaker can feel one way about their gender, but often other people have something to say. The footnotes are a way to contend with these different voices.
EG: Colonization is one of the most potent motifs in Burns. Can you speak to the myriad ways this motif strengthens many of your poems such as “My Phone Alerts Me About Queen Elizabeth IIʼs Platinum Jubilee” and “arte poética”?
SGH: Decolonialism is a lifelong ever-present commitment. These ideas appear in so many of my poems because I’m always considering its impact on our society broadly and my culture specifically. I can’t talk about Latinx heritage without talking about colonialism.
EG:Burns does not abide by a singular poetic form. How does playing with parentheses and experimenting with form allow certain poems, including “necropoetica,” “anthropoetica,” “ignorant american,” and “Some Issues,” to complicate issues of gender?
SGH: As a nonbinary person and poet, I definitely approach gender and poetic form the same way. I work with whatever fits the occasion, which usually involves queering language in some way. I’m a firm believer in trying different forms and presentations until you find what’s right, and what’s right can always change.
EG: Many of the most emotional and vulnerable poems in this collection delve into memories of your father and childhood. Can you speak to memories’ role in the collection?
SGH: Memory is my book’s best friend. A lot of these poems felt urgent to write and record; there are many memories that only I hold since my father has passed. However, these memories get complicated, because I don’t have anyone to corroborate them. I’m able to take poetic liberty and think of what works best in the world of the poem. The line between poetry and memory is there, but it is faint at times.
SG Huerta, a Xicanx writer, is the poetry editor of Abode Press, a Roots.Wounds.Words. fellow, and a Tin House alum. The author of two poetry chapbooks and the nonfiction chapbook GOOD GRIEF (fifth wheel press, 2025), their work has appeared in Honey Literary and elsewhere. Find them at sghuertawriting.com.
Emma Goss (she/her/hers) is a senior English major with minors in Film and Linguistic Anthropology. A passionate reader, she prefers to always be juggling a poetry collection, a literary fiction novel, and an audiobook. Emma is especially drawn to poetry rooted in nature symbolism and metaphor. Some of her favorite collections include The Tradition by Jericho Brown, War of the Foxes by Richard Siken, What the Living Do by Marie Howe, and Jane: A Murder by Maggie Nelson. Her poetry has been published in Pangyrus Magazine and by the Princeton Leonard L. Milberg ’53 Poetry Contest. Originally from Los Angeles, she spends her time hiking local trails or browsing the poetry shelves at Barnes & Noble Studio City when not at Vassar.
This selection, chosen by Guest Editor Maggie Rue Hess, is from Running Wild by Patricia McMillen (Finishing Line Press 2024).
Content Warning: domestic violence or child abuse
Listening to OCD
Since Prozac I can’t keep the spice jars in alphabetical
order. There’s a stack of receipts for car repairs on one end
table, unopened mail on the other. I forget people’s
zip codes, even the names of their cats. Nights I dream of pushing
a grocery cart with one bent wheel, of ironing men’s shirts
over and over under a full moon, while some days, I read
magazines without clipping recipes, I let milk go sour.
Patricia “Ti” McMillen is a musician, clown, community activist, and retired lawyer, with publications in journalism, biography, fiction and poetry. Honors include an Illinois Arts Council poetry fellowship (2002), Pushcart Prize nomination (2002), Masters degree (English) from the University of Illinois at Chicago (2005), and publication in numerous literary journals and anthologies. Patricia’s first full length poetry collection, Running Wild, was published by Finishing Line Press (Georgetown, KY) in 2024, and her poetry chapbook, Knife Lake Anthology in 2006 by Pudding House Publications (Columbus, OH). Knife Lake Anthology is now out of print. Patricia relocated in 2025 from her home state of Illinois to Northern California, where there is sadly little public transportation, though more than enough wine. Her web address is www.knifelakeworld.com, and she posts frequently on facebook, X, the New York Times (as ChicagoPoetLawyer), and various other places under various other pseudonyms.
Maggie Rue Hess (she/her) is a PhD student living in Knoxville, Tennessee, with her partner and their crusty white dog. She serves as Poetry Co-Editor for Grist: A Journal of the Literary Arts. Her work has appeared in Rattle, Connecticut River Review, SWWIM, and other publications; her debut chapbook, The Bones That Map Us, was published by Belle Point Press in 2024. Maggie likes to share baked goods with friends and can be found on Instagram as @maggierue_.