Cassandra Cleghorn

Cassandra Cleghorn is a poet and teacher who received her BA from the University of California, Santa Cruz, 1983 and her PhD in American Studies from Yale, 1995. She has been a Senior Lecturer in English and American Studies at Williams College in Williamstown, MA, for over 20 years. Her poems and essays have appeared in numerous notable journals including The Yale Review, The Paris Review, Tin House, and, most recently New Orleans Review and Poetry International. She received a poetry grant in 2000 from the Massachusetts Cultural Council. Cleghorn is also a devoted musician, playing fiddle in the traditions of Ireland, New England and Quebec. She is currently at work on a book-length essay on the uses of wood as subject and matter in literature and art.


An Introduction to Maria Hamilton Abegunde by Cassandra Cleghorn

    I first encountered this poem in its embodied performance by Abegunde. In my mind’s ear, I hear the poet’s aching voice gaining strength as she addresses Diamond Reynolds, Philando Castile’s girlfriend who witnessed and recorded his killing and his dying. When Abegunde watched the dash cam video, she […]


When Air Becomes Breath: Dan Beachy-Quick on Song and Silence, curated by Cassandra Cleghorn

    Dan Beachy-Quick is the author, most recently, of gentlessness (Tupelo Press, 2015) and A Brighter Word Than Bright: Keats at Work (Iowa University Press, 2013). He is a Monfort Professor teaching in the MFA Creative Writing Program at Colorado State University and lives in Fort Collins, Colorado.  Tupelo Quarterly’s Associate Editor, Cassandra […]


An Introduction to Natalie Catasús by Cassandra Cleghorn

    A line from another of Natalie Catasús’s poems haunts me, “how soon body/will sidestep body.” Lately, I seem to spend my days alternating between passionate intensity and artful sidestepping. In the latter mode, I avert my eyes, weary of contact with haters and allies alike. In times of […]


Pairings by Cassandra Cleghorn

    I first proposed this collaborative corner of TQ with an appreciative glance at Robert Creeley’s work with visual artists. Poet John Yau writes that for Creeley what mattered most in collaboration was “the kind of integration that can be made to take place.” That integration was intimate, visceral, […]


Pairings: Poets and Painters

    In the previous issue of the journal I launched this “corner” in which collaboration between poets and painters might happen. Here’s the language I used to describe the next steps:   I’ve conceived of this ‘corner’ of Tupelo Quarterly as a loosely bounded place for poets and painters, […]