Table of Contents


Views and Mechanics
Publisher's Note
Editor's Note
Review of A Man Without a Country
Review of Gail's Place
Review of Three 1-Act Plays
Review of Yesterday's A Dream
Crossword
(Solution Posted in May. Printable version in pdf format of journal.)
Jan/Feb Crossword Solution
Creative Nonfiction
Imagining Nora
By Lisa Norris
Loving the Fat Girl
By Christina Fisanick
Nate's Fish and Poultry Shop
By G. David Schwartz
The Folly of Valentine's Day
By Andy Martello
Poetry
Hawk King
By Wanda D. Campbell
After the Rain
By Wanda D. Campbell
You Cannot Fold the Flood.
By Mariela Perez-Simons
And Darkness Fell
By Beth L. Block
Demise of a Family Resort
By Carolyn Howard-Johnson
The Asparagus Cutters
By Joe Wilkins
Fiction
Voices
By Ed Boyd
Little White Sambo
By Brett Alan Sanders
Dies Irae
By Timothy Reilly
Follow
By Dawn Paul
Crumbs
By Kim Tremblett
Cover Art
Photography by Seth Brown
About the Contributors

© 2006, River Walk Journal and respective authors and artists. All rights reserved. Do not use or reproduce without permission.

River Walk Journal, Inc.
Board of Directors

Chairman - Elizabeth Ross
Vice Chairman - Joseph Koch
Secretary/Treasurer - Geri Stock-Ross
Editorial Director - Patti Kurtz, DA
Literacy Director - Bill Mausteller
Policy Director - PA State Rep. Jess Stairs
Advisory Board
Chairman - Patti Kurtz, DA
Asst. Chairman - Dan Lachenman, PhD
Samuel Hazo
Christopher Leland
Edwin Yoder
Joseph Bathanti
Journal Staff
Publisher - Elizabeth Ross
Editor-In-Chief - Joseph Koch
Sen. Fiction Editor - Patti Kurtz
Sen. Poetry Editor - Neeldhara Misra
Sen. Creative Nonfiction Editor - Brenda Coxe
Contributing Editor - Robert Dittman
Publicity Director (PA) - Geri Stock-Ross

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Review of Gail's Place
By Tom Anselmo

In Gail’s Place, Tom Anselmo has given readers an intriguing way to explore moral ambiguity in relationships. Beginning in the first play, loyalty to friends and family stands in direct contradiction with the greater good.

Gail is a well meaning, sometimes overbearing school counselor who has a reputation with her family and friends for giving her ten cents worth of advice – even when no one asked. Through these three plays, readers are shown Gail’s growth and increased understanding about moral dilemmas so often avoided for the sake of political correctness in today’s world.

Gail’s husband Ron is less outgoing, albeit a decent man. We follow his journey to the inevitable crossroads where speaking out on moral dilemmas regardless of the social consequences is right. His road is a bit longer than Gail’s, but is satisfying. His deep-seated decency serves as an excellent starting point.

From domestic violence to workplace sexual harassment, Anselmo jumps in feet first, examining the fallacy of political correctness in the handling of these issues. The double-edged sword that on one side condemns these behaviors, and on the other, encourages friends and family of offenders to avoid the subject is scathingly illustrated in these three plays.

While readers who are familiar with the theatrical trade may become a little mired in considering the logistics of staging these plays, their message is strong enough to keep the pages turning – rapidly. Gail’s Place is an engrossing group of plays that, beyond the audience of general readers, would be useful to instructors and students of theatre, psychology and women’s studies.