Sheri Booker ("Lost Legacies, Found Again") is the author of Nine Years Under: Coming of Age in an Inner-City Funeral Home. She teaches writing and multiplatform production at Morgan State University.
Nate Brown ("Your Story Starts Here") is a writer and editor whose stories, essays, and criticism have appeared in Electric Literature, Los Angeles Review of Books, Lit Hub, Publishers Weekly, and elsewhere. Brown is a senior lecturer at Johns Hopkins University and the senior editor of American Short Fiction magazine.
Edward Carreón ("Making Big, Weird Things," photography) lives in Los Angeles, where he works as a corporate industrial photographer. What makes photography worthwhile, he says, are the editorial and industrial assignments where he is pushed to produce his best work.
Jen A. Miller ("A New Landscape for Medical Tests") is a frequent contributor to The New York Times and Supply Chain Dive. She has also written for The Guardian, SELF, Buzzfeed, The Washington Post, and The Philadelphia Inquirer, among others.
Simon Pemberton ("Awestruck," illustration) lives in London's East End. He has received recognition from the Victoria and Albert Museum Illustration Awards, the World Illustration Awards, and the American Illustration Awards. He is a lover of mountains, forests, wide open spaces, and tea huts.
Alanah Sarginson ("Your Story Starts Here," illustration) has created art for Wired Japan, Harvard Business Review, and the front cover of The New York Times Book Review. Her work is inspired by tarot cards, Bauhaus design, and her own inclination toward order and balance.
On the cover
Image credit: André Chung
When award-winning photographer and filmmaker André Chung met with Wes Moore, A&S '01, to shoot this issue's cover, he was struck by a portrait of Frederick Douglass displayed on the wall of the Maryland governor's office. "I directed him into a pose to echo that portrait and pay homage to the great abolitionist and Black leader from Maryland who made a deep impact on our nation's history," he says. Chung used color gels for the photograph—red to provide heat, "referring to his rising trajectory," and a rich, royal purple as a background.
