Showing posts from 2018

On summer writing and fall reading

Somehow it's already mid-August. I've spent most of the summer laboring (read: obsessing) over the writing of a single new poem. "Presswife" frames the story of six colonial American printers' wives who took over the business when their husbands died as a kind of retelling of one of my favorite fairy tales, "The Crane Wife." It weaves (fairytale pun intended) together letterpress printing, strong women of history, and fairy tale, with a diction and narrative that leans toward the witchy. And I'm almost finished writing it. 

It was another busy summer at the Rose O'Neill Literary House, the highlight of which was our third annual Cherry Tree Young Writers' Conference—a 4-day, 3-night marathon with 16 (amazing!) high-school creative writers. We also spent a little time in the print shop, printing one brand-new broadside and the second edition of a bestseller broadside. Now, we're two weeks into the open reading period for Cherry Tree's …

On my (national) poetry month

The past month has been so full of personal poetry goodness! Here are some highlights:

On April 11, my second chapbook Blackbird Whitetail Redhand was released from Porkbelly Press! It is a beautiful handmade book with a letterpress cover & stab binding. Copies are available for purchase directly from the publisher. If you are interested in reviewing this chapbook, you can contact me about a review copy. If you've read & liked it, please feel free to leave a review on Goodreads. (Thank you so much to fabulous fellow poets Sally Rosen Kindred & Kate Gaskin, who have already done so!) I'll also be reading from this new chap for a Tea & Talk event on September 5 at 4:30 p.m. at the Rose O'Neill Literary House with poet, colleague, & friend Kimberly Quiogue Andrews. Kim's new chapbook Betweenis out very soon from Finishing Line Press!

On April 15, I received news that my poem "Wait a minute, there's movement. It seems to have life—organic life&qu…

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…