Four Chambers presents: Poetry and Prose for the Phoenix Art Museum

fourchamberspress

Call for Submissions:

Up to Three Works

Any Style Genre or Form

Somehow Inspired By Work in the Phoenix Art Museum

Deadline: Sunday February 1st

Guidelines and Forms Available Online at: http://fourchamberspress.com/chapbooks/phxart

Four Chambers—what people may or may not know is an independent community literary magazine based in Phoenix, Arizona, also a figurative heart—is looking for local authors to write work in response to exhibitions and collections housed in the Phoenix Art Museum so they can put together a boutique chapbook and stage a live performance in the gallery during Art Detour on First Friday, March 6th (submissions for which close Sunday, February 1st 2015).

Art Loves Literature

Sometimes–in all the hubbub of giving greater visibility to the literary arts and encouraging their larger participation in the cultural scene–people don’t have the opportunity to enjoy art as much as they’d like to. To stop for a moment. Breathe. Smell the roses. The important things in life get missed.

So when things come up and literature doesn’t get to spend as much time with art as it would like to, art can get a little sad.

“I mean, I know literature’s been working really hard to create another space in this city where people can come together, have meaningful interactions and build sustainable forms of community and relationship—we’re all so busy trying to do our own thing—it’s just that, well,” art pauses, looks off into the distance and then down. “We just used to have so much fun together. Literature really understood me.” Art sniffs, quavers, and looks up with sad, shining eyes. “I just miss it.”

What happened? Art and literature made each other so happy. They had such a long history. And now, art is completely heartbroken, literature is lonelier than ever, it has no idea what happened, and it has no idea what to do.

Literature Loves Art

So literature, distraught, called Four Chambers. And after much heartfelt discussion—tears streaming down literature’s face, Four Chambers nodding empathetically on the other line—Four Chambers thinks the best thing literature can do is to ask local authors to go to the Phoenix Art Museum, walk through the galleries, and write something responding to the Museum’s collection of work.

This, the magazine thinks, is the way to win back art’s heart, and will show art that literature cares more than a vintage crockpot from the 1970s or a small yellow cactus in a concrete pot ever could (though both of these would make really great gifts). Then art will understand that literature is truly sorry for whatever it did wrong, people in Phoenix will have a greater sense of cultural cohesiveness and shared identity, and art and literature can continue building the long-lasting relationship they already have.

Four Chambers Loves You

“So all silliness aside,” explains the magazine’s Founder and Editor in Chief Jake Friedman, standing in front of the Art Museum dressed as a baby cupid, “If all we do is help people fall in love with art and / or literature,” adjusting his cloth diaper, shifting the bow and arrow in his hand, “if people can have a slightly more meaningful experience in their life because of this project,” a cold wind causes Friedman to shiver, a wing falling off. “Well…” Friedman shrugs. “That would be a beautiful thing.”

Individuals who are interested in submitting poetry and prose for the Phoenix Art Museum can find more details online at http://fourchamberspress.com/chapbooks/phxart.

Individuals who are interested in visiting the museum may do so for free every Wednesday evening from 3 to 10 pm or every First Friday night from 6 to 10 pm, and any other time, the Museum is open for a modest and reasonable fee. Four Chambers will also be organizing a tour at the Museum Wednesday January 6th at 6:30 pm. Selected works are available online at http://egallery.phxart.org/.

Individuals who want to read Jia’s poem can do so at http://fourchamberspress.com/chapbooks/phxart/joakbaker.

Submissions for the project close Sunday, February 1st, 2015 at 11:59 PM MST.

About Four Chambers Press                                          

Four Chambers Press is an independent community literary magazine based in Phoenix, AZ that wants to expose you to wonderful literature + give you something to do every once in a while + make your life slightly more meaingful. For more information please visit http://fourchamberspress.com.

Interviews with BatCat Press and Kevin Haworth

During AWP 2013, Superstition Review had the pleasure of meeting a small press called BatCat Press. They publish soft cover, but mostly hardcover works of poetry, fiction, creative nonfiction, and mixed media. However, they welcome all genres and encourage authors of all ages to submit work. What’s unique about BatCat is that they hand-bind all of their publications. You can view their process here. They have published a wide variety of authors some of whom are graphic artists, teachers, and award-winning authors including Kevin Haworth who I had the opportunity to interview about his experience with BatCat Press and his essay collection they published, Far Out All My Life.

Mai-Quyen Nguyen: What drove you to submit Far Out All My Life to BatCat Press?

Kevin Haworth: This is kind of embarrassing, but when I was three years old I had a gray striped kitten that I named Batcat. I had a photo of him that was taped inside my metal lunchbox and I looked at it while I ate lunch each day at preschool. (I was kind of a lonely child.) He grew up to be a very loyal, if not terribly clever, cat and lived a wonderful life until a truck backed over him in our driveway. Really! So when I saw the name BatCat Press it grabbed my attention, and the more I learned about the press the more intrigued I was. I loved the idea of a small press operating out of a charter performing arts school. I have a colleague who grew up in Midland, where the school is located, and all his stories about the town paint it as pretty grim. When I ultimately visited the BatCat students, once my collection of essays had been accepted, I found the town to be as low-rent as advertised, and the school all the more amazing for it. It’s a remarkable place, full of life and creativity.

MQN: Can you describe the publication process with BatCat Press? How did you decide on the cover of your essay collection?

KH: First of all, Deanna Mulye and the students designed the cover. They designed everything about the physical look of the book, and it’s quite an accomplishment. The whole book is assembled by hand, so no two covers are exactly alike. I met the student whose hand served as the handprint for the cover (she held up her hand for a high-five) and I saw photos of the assembly process. It looked like the world’s most fantastic sweatshop—all these students in a row, putting the parts together.

The publication process was a joy. I worked with a student named Maria Capelli, who was the lead editor on my book. She’s in college now. We tossed some ideas back and forth about the order of the essays, and there were a couple of minor adjustments that we made to the text to be sensitive to the fact that the book is published by a high school. But there’s a lot of stuff in it that others might consider controversial in that setting—a whole essay, in fairly graphic terms, about a newborn’s circumcision, for example—and they welcomed all of that. They’re a very mature and sophisticated group of students.

MQN: I rather enjoy that they bind all of their publications by hand, and I understand now that they designed everything physically. My question is, then, did you give any input on the cover through the process? How involved were you in what the cover looked like? I’ve read that major publishing companies can sometimes disregard the author’s comments on their covers.

KH: Regarding your question about the cover: While publishers often consult their authors about the covers, in this case, I knew that BatCat Press brought a sense of innovation and beauty to their cover designs and that the cover was an integral part of the book’s overall design. So I left it in their hands, and they did a wonderful job.

MQN: What drew you to the form of innovative, experimental nonfiction for this collection of essays?

KH: I had been reading a lot of innovative nonfiction over the years, books like Maggie Nelson’s Bluets and Eliot Weinberger’s An Elemental Thing. I was really drawn to the way that these authors mixed different kinds of material—sometimes personal, sometimes scholarly, sometimes historical—and the way they put them next to each other, without apology. Writing about a Jewish life, as many of these essays do, is a deep process. Jewish history looms large, as does the many forms of Jewish observance. I wanted a style of writing that reached beyond just my own life and recognized all these different forces that work upon us everyday, layers of history, geography, identity. So this is my attempt to bring all those elements into the essays all at once.

MQN: How long did it take you to write this collection?

KH: About three years. I started submitting the individual essays to literary journals and there was a lot of enthusiasm for them—they’ve appeared in journals such as Witness, Fourth Genre, Harpur Palate, Copper Nickel—really wonderful journals to be in. Once I realized that I had a critical mass of essays with enough links between them, about four or five, I started writing with a little more intention toward making a book. I received a ten-week residency to Headlands Center for the Arts, near San Francisco, and I did a lot of work there to write some of the longer essays and to knit the book together.

MQN: What do you like best about BatCat Press?

KH: There’s a lot to like about BatCat. They have creative, dedicated teachers, led by Deanna. They have a bright-eyed enthusiasm. They believe in art. I want my children to grow up to be just like little BatCats.

Staffed and operated by Deanna Mulye and the students of Lincoln Park Performing Arts Charter School in Midland, PA, BatCat Press seek to publish two new titles every year, accepting submissions of complete manuscripts, which include collections of short pieces, novels, novellas, poems, and stories. In addition to Kevin, I had the chance to interview Deanna about BatCat.

Mai-Quyen Nguyen: When, why, and by whom was BatCat Press established?

Deanna Mulye: BatCat was founded in 2009, and it began as a class at Lincoln Park Peforming Arts Charter High School, where I was teaching bookbinding classes as an elective option for students in the literary arts program. There was a great deal of interest in these classes, so much so that we (program director Dan LeRoy and myself) decided that we wanted to find a way for students to parlay both their creative writing and bookbinding skills on a larger scale. Establishing a small press for the students to run seemed like the natural direction, and so we pitched the idea to the students and off it went. In the beginning it was a huge experiment, as none of us had any experience with small presses or behind-the-scenes of publishing, but we found our footing very quickly. There is a lot more to the story, of course, but I think I’ll stop it here.

BatCat meets as a class three times a week during the school year (and very frequently after school during certain times of the year). The staff changes yearly as students graduate, and I am the “teacher” or “managing editor,” depending on the context. All students who are on staff are required to have taken classes in poetry, fiction, creative nonfiction, screenwriting, critical reading, and bookbinding (they are usually upperclassmen, but occasionally sophomores qualify).

MQN: What inspired you to hand-bind all of your publications?

DM: I guess this was kind of addressed in my last answer – it’s not so much an inspiration to do so as it is an impulse and a shared interest among the staff members. We love the freedom that making books by hand gives us in terms of design. We want to produce books that aren’t just for reading, but for experiencing, and hand-binding has allowed us to do some pretty unique things with the physical structure that would be hard to achieve otherwise.

MQN: Can you briefly describe the bookbinding process?

DM: When we select a manuscript for publication and head into the process of book design, we ask the question, “What is the best way this work could possibly be presented? What is its ideal physical form?” and go from there. Size and binding style is usually our starting point, and from there we move on to structure, layout, and then cover design. We usually make a number of mock-ups, trying out different design ideas and to test materials, which we keep doing till we have what we want.

Once we know what the final design is and what materials we are using, we make the books assembly line style. The actual process for making each book can vary wildly from title to title, but it always involves a lot of cutting, folding, sewing, and gluing. Last year we also spent a lot of time painting, as the covers for both Far Out All My Life and Snowmen Losing Weight are all individually colored/specked. We’ll be doing something similar for this year’s projects as well.

MQN: Do you collaborate with the author on his/her book cover?

DM: Not usually, only when an author expresses interest in doing so, and even then we reserve final design approval.

MQN: What is the origin of the name BatCat Press?

DM: When the idea for a small press was being floated, our department was located in the basement of a (very old) library that had a door that led directly outside. It was a unique space, but also led to some weird interactions. That spring we were making handmade paper for the school’s literary journal and the door was left ajar – and we had visitors. One day we discovered a bat (he was hanging out next to a blender full of paper pulp) and a few days later, two kittens wandered over and spent the day with us (and that was one of the best days EVER, of course).

A week or so later we were brainstorming for press names and we got to that point in the process where everyone was just pointing at things and tacking “Press” onto the end. Someone suggested BatCat, and it just seemed right, so we went with it.

MQN: Aside from your handmade covers and books, what sets you apart from other magazines?

DM: We’re not afraid of work that doesn’t fall into a conventional category, and we’re not hyper-focused on any single style or genre. The staff changes every year and so do their preferences, so we leave our submissions guidelines wide open and read everything, looking for what feels right. This might not be particularly helpful for those looking for cues on what to submit to us, but I think the advantage for our authors is that we are extremely invested in the material and will go to great lengths to “do it right.”

Additionally, we look for work that we think will be of interest to a broad audience, not just other writers, which is how I sometimes feel about other journals/presses. Since we’re housed in a high school, we want our books to not only be of a very high literary quality, but also accessible to our most immediate audience: students studying other disciplines, their friends, and their families (and, of course, our alumni, many of whom have gone on to study writing at the college level).

MQN: I can see that a great deal of time and effort goes into publishing two original titles. What are some of your brief and long-term goals as a small press?

DM: Our perpetual goal is to give the students a great experience. It’s a lot of hard work and being on staff can be extremely demanding, but ultimately the press was created to give students the chance to do what they want to do and what they think is right, which is something I try to keep in the back of my mind at all times.

One of our brief goals is to publish some fiction! So far we just haven’t found the right piece or collection, but every year it’s come up as something we’d like to see happen. Maybe next year. For the long term, as long as there is student interest in the press, we will continue to exist – hopefully for a long time. Every year we’ve received more submissions and made more sales, and hopefully this trend continues.

MQN: You have a section called Collaborations on your Publications page—with whom have you collaborated?

DM: The website really needs some revision… this section was created years ago when we thought we’d be doing more outside collaboration, but it has not yet come to pass, although it’s still not out of the question!

Follow BatCat Press on Facebook and Twitter, and peruse their website at www.batcatpress.com. You may find yourself wanting one of their handmade journals or sketchbooks.

You can also purchase Kevin Haworth’s collection of essays, and other works BatCat has published, at their online store.

SR Pod/Vod Series: Poet Letitia Trent

Each Tuesday we feature audio or video of an SR Contributor reading their work. We’re proud to feature this podcast by Letitia Trent.

letitiatrentLetitia Trent’s books include One Perfect Bird (Sundress Publications) and the chapbooks Splice (Blue Hour Press) and The Medical Diaries (Scantily Clad Press). She is a graduate of the Ohio State University MFA program and has been a fellow at MacDowell and the Vermont Studio Center.

 

To subscribe to our iTunes U channel, go to http://itunes.apple.com/us/itunes-u/superstition-review-online/id552593273

You can read along with her poems in Issue 9 of Superstition Review.

Guest Post, Letitia Trent: The New Online Chapbooks

Letitia Trent

Since I first heard about chapbooks (probably my first year of graduate school, where I learned just how little I knew about publishing in general), I’ve loved the form: what better way to consume a text, be it poetry, nonfiction, or prose, than in small, carefully curated bites? Most chapbooks contain thematically or formally related work, which gives them a sense of cohesion that larger books often lack: there is, at least in my experience, a great deal of “filler” in many poetry, short story, or nonfiction collections. The chapbook makes a writer really consider what pieces work when pressed against each other, which usually results in a stronger, more potent little book.

The chapbook also provides an opportunity for taking chances with design in print publishing. Publishers such as Dancing Girl Press, Ugly Duckling Presse, and Tarpaulin Sky Press put a great deal of attention into design and the tactile quality of the book—some presses even hand-make each book, something that it is impossible to do with a more mass-produced full-length collection due to cost and time prohibitions. Buying a chapbook is one of the last ways to feel that a book has actually been lovingly assembled by a person. The downside is the limited nature of the books: once they are gone, they are often gone for good. But maybe that is part of the beauty of the form—it is limited, unlike many things in our very virtual world.

What to do, then, with online chapbooks? The form itself is perfect for the internet: it isn’t too long, which can be a problem for readers who get eye strain, and the way that we consume media online—often in not more than two or three page articles at a time—seems to fit the chapbook model. Many online chapbook publishers go with a very basic, easy-to-read and easy to access PDF model. Beard of Bees, for example, has been publishing PDF chapbooks with a clean, simple, and consistent design since 2001. Some newer publishers, though, are paying as much attention to the design of the chapbook in an online space as print publishers.

Blue Hour Press (who published my chapbook, Splice, in 2011), create beautifully designed chapbooks using Issu, which allows for a more easily navigable, two-page design. Blue Hour Press chapbooks often incorporate visual elements such as photography or drawing, which can be cumbersome in PDF form and economically difficult in print form. Floating Wolf Quarterly publishes chapbooks right from the website using an extremely easy paging format. Unlike more old-fashioned click-through poetry chapbooks, Floating Wolf Quarterly’s format makes paging through their chapbooks feel like reading a physical book.

Online chapbooks are unlikely to completely replace the traditional print chapbook (and for those who lament the death of the book, I can only roll my eyes—I buy both electronic and print books, and always will), but they do provide a kind of access to poetry that was not possible 20 years ago: a small print run of a chapbook would be unlikely to reach readers living in rural Oklahoma (where I grew up) in 1994, but a Google search of “online chapbooks” can easily get a reader in 2012 to one of these websites. Now that publishers are putting as much attention into the craft of creating a book as the author did into creating the work to go inside it, online chapbooks have become an art form of their own.

Letitia Trent’s first full-length collection, “One Perfect Bird,” is available from Sundress publications. Her work has appeared in the Denver Quarterly, The Black Warrior Review, Fence, Folio, The Journal, Mipoesias, Ootoliths, Blazevox, and many others. Her chapbooks are Splice (Blue Hour Press) and The Medical Diaries (Scantily Clad Press). She was the 2010 winner of the Alumni Flash Writing Award from the Ohio State University’s The Journal and has been awarded fellowships from The Vermont Studio Center and the MacDowell Colony.

Guest Post, Lori Brack: On Completeness

Contributor Guest Post: Lori Brack

In the midst of things, at the between of things, I wonder why I ever believe in completeness. Again, my plans for a project, my idea that I can predict how I will approach something, my faith that these things are manageable – all slide away.

Without meaning to, with other things to do and books to read piled around me, I began reading Ernesto Pujol’s new book Sited Body, Public Visions: silence, stillness & walking as Performance Practice. On that rainy gray morning I read it until I had to stop on page 49. I stopped because every page calls me to write and write in response, in collaboration, in imitation. I have fallen into the trance of a voice, a mind, a generosity. Pujol’s writing is doing that thing to me that is the reason I go to art: he is writing things I have guessed, have intimated, have intuited, have maybe even known, but never articulated. So reading feels like coming to myself even while I am reading the inner and outer life of someone quite unlike me.

I want to write and write. I want to quote and quote. I want to ask and ask: Must I “finish” in order to respond? Must I get all the way to the end – of the book, the day, the job, the semester, the life – in order to be moved, to know something? Here is Ernesto on his work as a visual and performance artist: “It takes a passage of time, sometimes a lifetime, for an art practice to mature, to know itself, to reveal its secret depths and complexities. . .” So Ernesto answers me, perhaps. The ends of things, or maybe the pauses between things, bring maturity, knowing, revelation. Every page is a revelation. Every page ends and then goes on as my hands turn and turn, my eyes leap and shift, wet orbs of light and reading.

I have known Ernesto for a little more than 10 years. We have collaborated on two projects – an exhibition and a work of performance – in that time. His Field School Project published my first chapbook in 2010. He commissioned the work as a script for Farmers Dream, an all-night performance in a warehouse in central Kansas. My long poem is a partial, unfinished and unfinishable memoir of a span of difficult months in my life when I turned to the work that Ernesto envisioned. I hoped the project might save me. I used the assignment as an opportunity for reading and re-reading my grandfather’s farming journal. He wrote his daily activities, the weather, his goings out and comings back in the same big book each day from 1907 when he was a bachelor at 19, until he was a married 30-year-old father of two in 1918. My mother would be born in 1925, by which year he no longer wrote every day. On March 9, 1912, he wrote “Cut wood in morning. Shoveled sand out of river in afternoon. Went after milk. Spotted heifer (Star) was fresh about 4 p.m. Milked cows. Clipped my hair at night.” He recorded the middles of things – chores that need doing and then redoing because of the fecundity of nature.

I did not meet this grandfather who worked with his hands and back, who supported the people I grew up knowing best – my mother and her sisters. He died when my mother was 13. I have a photograph of her, freckles over her nose, sitting with her mother on the still-humped grave on his birthday in August 1938. In 2001, she would die on the same date, long past knowing the calendar in her illness, living the last weeks of her life entirely in the bed her parents had bought and used a lifetime earlier. When I visit my sister, I sleep in that bed. I am not finished sleeping yet. It is not only the photograph or the smooth wood of the headboard and footboard that know.

Ernesto writes, “You are dead. You are reading this, but you are dead. You died long ago, but you are being remembered. A child is remembering you.” In those sentences I become the girl at her father’s grave, I become her father I know only through his handwriting, I become my 75-year-old mother at her death; I become myself.

The grave is so new that only a temporary marker, a round metal sign with letters pushed into slots, leans a bit in the foreground. Toward me. I can almost make out his name and the single date, but I am imagining into the picture, doing what I do best: reading through a lens of what reading suggests I understand. Already, stopped only at page 49, I flip back through Ernesto’s book looking for what I think is there. Are the words printed or are they the ones I put there as a reader, as a writer?

When Ernesto was small, he writes in the first paragraph of Chapter One, he was able to make it rain, his favorite weather, “a child of the shade, moist moss and wet ferns.” How often have I written about that shade? Mine was Midwestern, shaggy elm tree and shrub shade of back yards. His was tropical island shade, fronds and leaves. In our separate and still lived lives, we share greengray timelessness, when morning and afternoon almost all the way to night cast the same light. Under the rough spreading bushes of the back yard, I planted my first seeds – black grenade shapes of four-o-clocks also called mirabilis (amazing, wondrous), which opened in late afternoon shadows when the temperature dropped and the soil went cool against bare feet.

I will go on reading this gentle book past the page, each page where I stop. I will go on writing it as a reader writes, incompletely and through the half-illuminating, half-blinding lenses of my experience. I write from a dim room where I am comforted by the scents of moss and milk. Writing and reading as a writer are the ways I know to re-enter that room and when I find a book like Ernesto’s, that miracle in my hands, it helps me through the doorway and I am t/here.

Ernesto Pujol’s memoir/performance text is available through McNally Jackson Books, New York.

A House For You to Build: A Look at Used Furniture Review by David Cotrone

A House For You to Build: A Look at Used Furniture Review by David Cotrone 

 The Short:

Used Furniture Review is an online literary magazine founded in November 2010. We are interested in all genres of writing, art and music; we are also interested in running interviews with authors and musicians, as well as chapbook or book reviews. We accept submissions on a rolling basis and update our site three days each week, so check back often to read fresh material.

 The Long:

UFR is an online magazine that seeks to promote the voices of contemporary writers, established and emerging. We understand that though writing is done in solitude, writers are best served when they belong to a greater community — this community. We hope to both reach out and support you. We hope to provide a space for your words to take flight and sing. We hope to make you happy.

Besides making a home for fiction, nonfiction, book reviews, poetry and art, we have (and continue) to run interviews with Pulitzer Prize Finalists, best-selling authors, prize-winning songwriters and others. We are also proud to host a range of columnists: a musician who combines cover songs and life stories, a bookseller who shares her adventures, a mother exploring the world of children’s literature, an Alabama native who chats with like-minded creative types and more. Really, we want whatever you can give us. We wouldn’t exist without you, after all. We’re a house for you to build.

And of course, a little about our name: there’s a certain air that goes with it, we hope, that evokes something idiosyncratic and bracing. A sort of wonder. This idea that writing is an investigation of where a certain antique came from, what it witnessed, how it outlived its owner. And there’s something (hopefully) to be said for the way something sounds. There are two ways of looking at writing: You can be obsessed with a word’s meaning — the philosophy behind things — or you can walk around singing and scatting and reciting lines and lyrics, all the while falling in love with the musicality of language. If that’s true then we like to think our name has both.

Other:

This interview and this interview with our Editor may answer any lingering questions.

Our contributors.

Submissions.

The above painting is our mascot; his name is Winston. He was created by Katie Eisenberg.

The Nitty-Gritty:

For queries and correspondences, please write to usedfurnituresubs@gmail.com. Also, feel free to inquire if you would like your book to be our “Feature Title of the Week.”

Find us on Facebook: Used Furniture Review

And follow us on twitter: http://twitter.com/UFReview_

Launch of Issue 7: Poetry

Superstition Review Issue 7 has launched and to celebrate we will be featuring blog posts about our artists and authors. Today we will be highlighting a few of the talented poets who are featured in Issue 7.

Angela S. Gentry is the two-time recipient of the Devine Summer Fellowship in Poetry from Bowling Green State University. Her first chapbook, Stirrings of Movement, was released in 2010 from Finishing Line Press. She received her BA in Christian Education from Cedarville University and her MFA in Poetry from BGSU. In her spare time, she would like to build a tree house, in addition to writing, but finds herself inordinately occupied with evaluating student papers. She currently resides in Michigan. Read her poem “My Barber” featured in issue 7. Angela Gentry’s Website

Marge Piercy is the author of 18 collections of poetry, most recently The Crooked Inheritance and this spring, her second volume of new and selected poems 1980-2010 The Hunger Moon, out from Knopf. She has published 17 novels, most recently Sex Wars. Two of her early novels, Dance The Eagle To Sleep and Vida, are being republished with new introductions by PM Press this fall. Her work has been translated into 19 languages. Her memoir Sleeping With Cats is available from Harper Perennial. Read her four poems featured in issue 7. Marge Piercy’s Website

Matthew Gavin Frank is the author of Barolo (The University of Nebraska Press), Pot Farm (forthcoming from the University of Nebraska Press), Warranty in Zulu (Barrow Street Press), The Morrow Plots (forthcoming from Black Lawrence Press/Dzanc Books), Sagittarius Agitprop (Black Lawrence Press/Dzanc Books), and the chapbooks Four Hours to Mpumalanga (Pudding House Publications), and Aardvark (West Town Press). Recent work appears in The New Republic, The Huffington Post, Field, Epoch, AGNI, Crazyhorse, Indiana Review, North American Review, Pleiades, Crab Orchard Review, The Best Food Writing, The Best Travel Writing, Creative Nonfiction, Prairie Schooner, Hotel Amerika, Gastronomica, and others. He was born and raised in Illinois and teaches at Northern Michigan University. Read his poem “The Sticking-Place, Stripped Screws” in issue 7. Matthew Gavin Frank’s Website

Patricia Clark is Poet-in-Residence and Professor in the Department of Writing at Grand Valley State University. Author of three volumes of poetry, Patricia’s newest book is She Walks into the Sea; she has also published a chapbook, Given the Trees. Patricia’s work has been featured on Poetry Daily and Verse Daily; she has won Mississippi Review’s Poetry Prize; and been honored as the 2nd prize winner in the 2005 Pablo Neruda/Nimrod International Journal Poetry competition. Her poems have appeared in The Atlantic MonthlyPoetrySlateStandThe Gettysburg Review, and many other literary magazines. Read her poem “Until it Speaks” in issue 7. Patricia Clark’s Website

Tanaya Winder is from the Southern Ute and Duckwater Shoshone Nations. She graduated from Stanford University in 2008 with a BA in English. Tanaya was a finalist in the 2009 Joy Harjo Poetry Competition and a winner of the A Room Of Her Own Foundation’s Spring 2010 Orlando prize in poetry. Her work appears in Cutthroat magazineYellow Medicine ReviewAdobe WallsBarrier Islands Review, and Lingerpost. She is the co-editor of a forthcoming collection Soul Talk, Song Language: Conversations with Joy Harjo. She is currently pursuing a MFA in Poetry at the University of New Mexico. Read her two poems published in issue 7.

 

The full magazine with featured art and artists from issue 7 can be found here.