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Acknowledgments

Grateful acknowledgment is made to the editors of the journals in which these poems first appeared, sometimes in slightly different form: Yale Review (“The Lepidopterist,” “Ink,” “End of the Sermon”), Virginia Quarterly Review (“Horoscope for My Dying Father”), Unsplendid (“The Orchard,” “The Devil in Grand Saline”), storySouth (“Harvest”), Southwest Review (“Winter Ghazal,” “The Baptist”), Sewanee Review (“The Lover,” “Diorama,” “Advent”), Sewanee Theological Review (“The Choice”), Parnassus (“Babel”), The Paris-American (“Doppelgänger”), Oxford American (“The Pastor”), The New Criterion (“The Illusionist”), Narrative (“Photo Found on a Dead Man’s Phone,” “Intersection”), Measure (“The Artifact,” “Crop Circles”), Hopkins Review (“Auguress”), Hayden’s Ferry Review (“Overheard”), The Freeman (“La Llorona”), The Dark Horse (“On a Chinese Festival Scene Carved into the Casque of a Helmeted Hornbill”), Crab Orchard Review (“The Pastor’s Wife”), Columbia (“The Somnambulist,” “The Mime of Thermopylae”), Birmingham Poetry Review (“Tenebrae,” “A Summer Primer,” “The Neighbors Upstairs”), and American Arts Quarterly (“The Curlew”).

“The Baptist” was selected as the winner of the 2013 Morton Marr Poetry Prize. “Auguress” was also published online at Poetry Daily. “Harvest,” “Crop Circles,” and “The Choice” also appeared in limited edition broadsides by Yellow Flag Press. “The Seven Thunders,” “The Curlew,” and “The Choice” appeared in The Southern Poetry Anthology, Volume IV (Texas Review Press, 2011).

Thanks also to Stanford University, Texas Tech University, and McNeese State University for generous fellowships and grants that allowed me to complete this book.

“The Choice” is for Aaron Kelly and Mike Wiley; “The Seven Thunders” is for Morri Creech; “The Orchard” is in memory of Virginia Shewmaker.