Each week we feature one of our interns at Superstition Review. This week’s piece comes from Advertising Coordinator Daniel Redding
A word is dead
When it is said,
Some say.
I say it just begins
to live that day.
– Emily Dickinson
A piece of writing can be judged as truly great when the reader can go back to it again and again, while still having a unique reaction to it. A work will not fade if it can stay alive long after its initial presentation. As a writer, I often judge my pieces by how I respond to them months and years down the road. As a young adult, my favorite novels would become worn at the seams, ultimately falling apart, highlighting the impact they had on my development. It was then, early on, that I began to realize the long-term effect of literature, and in turn the power of the writer, and for me there was no looking back.
As a part of our Twitter presence, Superstition Review has been conducting an #ArchiveDive campaign, going back through our past eight issues to find pieces that strike us today as much as they did then. Every piece published in SR is powerful in its own way. However, these recent selections for #ArchiveDive highlight the breadth of SR’s publishing history.
Among the recent highlights have been Christy Puetz’s three-dimensional beaded art from Issue 7, as well as John J. Clayton’s “Darkness Visible,” a short story from the same issue. Also rediscovered were Hilary Masters’ essay, “Working the Vineyard,” from Issue 2, and Nathaniel Miles Millard’s poetry of Issue 1.
We hope you will join us in diving back into our archives to enjoy the wide range of work we have been privileged to publish over the last four years.