Showing posts from 2018

On letters from the editors

It's been a year since I finished writing my first full-length poetry manuscript Catechesis: a postpastoral. It's been a little less than that since I started sending it out to open reading periods and book contests. And it's been a fairly vulnerable process, more so than submitting individual poems to lit mags, to which I've mostly numbed myself after ten years. Every time I submit my manuscript to another press, I'm sending out four whole years of my writing life at once. It feels like I'm sending Everything That Means Anything To Me; this project that has been the center of my creative life for so long that I didn't know what to even try writing about when it was finally completed. And, of course, it's the first time I've ever done this. 

I've now submitted my manuscript to 24 book contests and open reading periods. I've spent $529 on submission fees. From these, I've received thirteen form rejections and there are nine places that I&#…

On Pantone & printing & poems

On February 1, Dream Pop Press published my first two visual poems in their Winter 2018 Issue! "(lady's thumb / plate 45)" and "(nightshade & bittersweet / plate 173)" are both poem-collages from my Silence of the Lambs series. The latter of these even made the front of the issue. 

In other good news, I've also finally broken out of my 9-month writing slump. My new pieces are feminist letterpress/printshop poems for Women's Workmy in-progress collaborative chapbook with fellow poet-printer Emma Sovich

It's a funny feeling picking up an old project again. But I feel even better equipped to write these poems now that I've had a few more years to steep in broadside printing and letterpress love. I'm especially excited about the poem I'm working on right now, titled "Girl as Pantone Matching System." It's all about ink-mixing and menstruation. It's made up of short lyric sections that are each titled with a different P…