Emily

December (1830) is the month in which both Emily Dickinson and Susan Huntington Gilbert Dickinson were born. For that reason, we’ve decided to read for the anthology (mostly) in December. Dec 5, 2014 – Jan 5, 2015.

Emily is a collection of poetry&prose inspired by the works, life, and letters of Emily Dickinson. The anthology is to be split into several sections, each loosely clustered around one of the major themes&image in her works. We’re looking for all kinds of work for this anthology, be it poetry, prose, creative nonfiction, artwork, doodles, notes, short critical essays, illustrated narratives, comics, or illustrations. Full guidelines can be found on our Anthologies page.

  • 3 to 5 poems (no more than 10 pages)
  • 3 micro & flash fictions (no more than 1,500 words total)
  • personal essay & excerpts no longer than 2,000 words
  • short essays (no more than 2,000 words)
  • up to 5 artworks, illustrations, comic pages, scans of notes/sketches, photos (JPGs)

We request FNASR & the right to archive your work on our SW or PP website (Archival Rights).

Payment is made in one limited edition copy of the resulting anthology.
If you have a website, and would like it linked, we’ll do so from the contributor section of our site, along with a bio.

(listed at Duotrope)

Threnody by Laura Madeline Wiseman

Threnody explores the figure of lady-death, an icon come to life in these poems about the death cart, the death kiss, and a narrative dance with death. This is a collection of linked micro fictions & vignettes. They read like prose poems, too, which is part of the beauty in them—these small works live in a liminal space, somehow between poetry and prose, but also an almost-dream state between life and death. Sometimes versus too. | $7 open edition via Wicked Little Heart.

The chapbook measures about 5.25 x 5 inches. It features a painting as cover art (“Lady Death & Her Arrows,” guache+paper, 9 x 5 inches). The cover is produced via inkjet on Epson matte photo paper. Each book is handbound & trimmed.

An excerpt from Threnody titled “Kissing Death:” (listen)

The lady of death gives me the kiss of death. I don’t know why. I was just standing in jeans and a ribbed tee, my belt hard and black, the metal clasp opening, warm in my hands. She appeared in my room, looked up at me from those dark sockets—her body all rib bone, clavicle, pelvis flair, hands and fingers as delicate as cages of dead birds. I didn’t want the kiss of death. We both stared at it for a while, crawling and scooting on the cement floor. I grabbed an empty coffee cup and trapped it, but when I knelt to slide a piece of paper beneath the edge, it was gone. I looked up at death, but she shrugged and reached into the space where her heart had been for another.

What others are saying about the chapbook:

Laura Madeline Wiseman’s Threnody is one kickass, wailing dirge that has death driving shotgun, “more hold you than break you apart,” luminous, pulsating poetry that defies fear and denial.Meg Tuite

These poems are powerful, possessing great lyrical intensity and a profound sense of the mystery inherent in this mythic feminine journey into the underworld. Here the poet is an archeologist of the subterranean mind, lifting bits and pieces of knowledge like shards of pottery back up to the light.Devreaux Baker

Mythic rituals have hints of danger and sex and regret, and Wiseman’s incantatory language mixes dream and nightmare, and Eros and Thanatos, in little portraits that soothe as they trouble. I admired each piece’s swift iconography.Timothy Schaffert

About the author:

Laura Madeline Wiseman is the author of more than a dozen books and chapbooks and the editor of Women Write Resistance: Poets Resist Gender Violence (Hyacinth Girl Press, 2013). Her recent books are American Galactic (Martian Lit Books, 2014), Some Fatal Effects of Curiosity and Disobedience (Lavender Ink, 2014), Queen of the Platform (Anaphora Literary Press, 2013), Sprung (San Francisco Bay Press, 2012), and the collaborative book Intimates and Fools (Les Femmes Folles Books, 2014) with artist Sally Deskins. She holds a doctorate from the University of Nebraska and has received an Academy of American Poets Award, a Mari Sandoz/Prairie Schooner Award, and the Wurlitzer Foundation Fellowship. Her work has appeared in Prairie Schooner, Margie, Mid-American Review, and Feminist Studies. www.lauramadelinewiseman.com

Cover Artist: Nicci // damnredshoes.wordpress.com

 

More can also be found: goodreads

Love Letter to Biology 250, Chella Courington (Preview)

Love Letter to Biology 250 is a chapbook of micro fictions by Chella Courington. This manuscript pinged our nerd-brains when we first read it, flirting with obscure tidbits from Biology lectures—those things we remember because they’re strange—crafted into really tiny stories. It’ll be released on December 5th, and is currently available for pre-order via Wicked Little Heart. | $7

Excerpt from “Preferring a Clean Virgin:”

The male dark fishing spider climbs her Amazonian body, his legs under a third her size, her abdomen mountainous, fourteen times heavier than his, and he rocks her, side to side, his pedipalps engorged until the blood pushes too hard against arterial walls, curling him against her. Stuck to her, he’s consumed by her. The number and size of their offspring increased by his sacrifice.

What others are saying about Love Letter:

This collection is a work of freshness that is always surprising and never disappointing. Courington manages to do fascinating things with common images and she gives those images new life in a pleasing and sometimes disturbing oblique sort of light. Her terse, intense, and honest stories are presented in an earthy narrative voice in language full of longing and desire. These stories are both playful and provocative and can leave a reader almost breathless at times. Combined, the stories make up witty but also quite serious and worthwhile explorations.” —Pamelyn Casto, editor of Flash Fiction Flash Newsletter

About the Author

Chella Courington is Professor of Creative Writing at Santa Barbara City College. Her prose and poetry have appeared in numerous journals including The Los Angeles Review, lo-ball magazine, Gargoyle, The Tusculum Review, and Danse Macabre. In 2011 Courington published Paper Covers Rock, a flipbook of lined poetry, Indigo Press; Girls & Women, a chapbook of prose poetry, Burning River; and Talking Did Not Come Easily to Diana, an e-book of linked microfiction, Musa Publishing. Her work has been honored by Camroc Press Review, The Collagist, Qarrtsiluni, and Main Street Rag, and nominated for Best of the Net and Best New Poets Anthologies.

That Reckless Sound by Colleen S. Harris-Keith

That Reckless Sound investigates the complications of identity and relationship, the destructive next to the beautiful, the fragile touching the reckless, all bound up into one fluid experience. These poems peer through the eyes of historical & mythic (female) figures from Pandora to Magdalene, Bathsheba to Joséphine. | more at Wicked Little Heart’s shop

Below is an excerpt from the first poem, “The Way Youth Yields:”

There is nothing so faithless as
a girl left on her own among other
green and growing things. Brimming

with life, carelessly killing the field’s
flowering army so she can wear
ribbons of bluebells in her hair,

she has no need of forgiveness

Micro Chapbook Series

Colleen had our attention from the very first poem, and she kept it. We couldn’t say no to this or her other micro chapbook, Some Assembly Required, and so we accepted both for our inaugural micro chapbook series.

Open Edition Inkjet Cover

The cover is a photograph (Nicci’s) printed on Epson premium matte professional paper. The micro chapbooks is handbound & each is trimmed by hand. As they are handmade, no two are exactly alike. | open edition cover | $6

About the Poet

Colleen S. Harris-Keith works as a member of the library faculty at CSU Channel Islands. She holds various degrees, including BAs in Economics and International Relations, an MFA in Writing, an MS in Library Science, and will soon have her EdD in Learning & Leadership. She is the author of three books of poetry in addition to this chapbook, and is a three-time Pushcart Prize nominee for her poetry and short fiction. When she’s not doing homework, you can find her daydreaming, writing, or doting on her husband Jed and basset hounds Otto and Igor.

Coming Soon: Threnody by Laura Madeline Wiseman

Coming Soon from Porkbelly Press

Threnody explores the figure of lady-death, an icon come to life in these poems about the death cart, the death kiss, and a narrative dance with death. This is a collection of linked micro fictions & vignettes. They read like prose poems, too, which is part of the beauty in them—these small works live in a liminal space, somehow between poetry and prose, but also an almost-dream state between life and death. Sometimes versus too. | pre-order

Laura Madeline Wiseman’s Threnody is one kickass, wailing dirge that has death driving shotgun, “more hold you than break you apart,” luminous, pulsating poetry that defies fear and denial. —Meg Tuite

If you’d like to hear Wiseman read one of her poems from the chap, you can follow the audio link: here. This is a contemporary dance with death, set in modern day. It’s also a bit of a ghost story about what might follow you home from el museo.

Below is the piece Laura’s reading in the audio file, an excerpt from the late-middle of Threnody:

Kissing Death

The lady of death gives me the kiss of death. I don’t know why. I was just standing in jeans and a ribbed tee, my belt hard and black, the metal clasp opening, warm in my hands. She appeared in my room, looked up at me from those dark sockets—her body all rib bone, clavicle, pelvis flair, hands and fingers as delicate as cages of dead birds. I didn’t want the kiss of death. We both stared at it for a while, crawling and scooting on the cement floor. I grabbed an empty coffee cup and trapped it, but when I knelt to slide a piece of paper beneath the edge, it was gone. I looked up at death, but she shrugged and reached into the space where her heart had been for another.

About the Author

Laura Madeline Wiseman is the author of more than a dozen books and chapbooks and the editor of Women Write Resistance: Poets Resist Gender Violence (Hyacinth Girl Press, 2013). Her recent books are American Galactic (Martian Lit Books, 2014), Some Fatal Effects of Curiosity and Disobedience (Lavender Ink, 2014), Queen of the Platform (Anaphora Literary Press, 2013), Sprung (San Francisco Bay Press, 2012), and the collaborative book Intimates and Fools (Les Femmes Folles Books, 2014) with artist Sally Deskins. She holds a doctorate from the University of Nebraska and has received an Academy of American Poets Award, a Mari Sandoz/Prairie Schooner Award, and the Wurlitzer Foundation Fellowship. Her work has appeared in Prairie Schooner, Margie, Mid-American Review, and Feminist Studies. www.lauramadelinewiseman.com

pre order

Wiseman’s chapbook is available for pre-order via Wicked Little Heart. Pre-orders ship first, hot off the press!

The Eighth Phrase, LB Williams (poetry)

The Eighth Phrase (LB Williams) is a chapbook of poetry exploring New York as it existed decades ago. It takes a look at the streets of Queens and other areas, the New York Public Library, revels in the sunken fog outside yellowing windows, the messy bustle of a city teeming with joy, bikes, attic windows, high heels, lusty sunlight, and plastic fruit. It may seem a strange list of items to string together, but this chapbook does it beautifully, painting a portrait of child-life and a sense of place so vivid that you can almost taste the ice cream and night air. Available via Wicked Little Heart‘s Etsy Shop. | $7

An excerpt from another poem, number 4, “Unreal City:”

Windows yellow soaked in sunken fog
Downstairs a woman in a black coat
dark sunglasses leaves food for pigeons.
On white sills they enter.

And below is one more sample from the chapbook, an excerpt of poem 14:

A few weeks before, he told me, I’m not afraid to die.
I was in World War II, you know what they said then.
If the bullet had your name on it, it was your time to go.
My father filled up the entire coffin.

This chapbook measures about 5.25 x 5 inches. It features a painting by Angie Reed Garner as cover art (“Homes for the Displaced,” mixed media, 24 x 48 inches). The cover is produced via inkjet on professional matte photo paper. Each book is handbound, trimmed, and features a hand-cut title flag typed old school style.

What others are saying about The Eighth Phrase:

Lisa Williams trains her spotlight on the furtive glimpses and flickering moments out of the past, preserving them under shattered glass before they disappear forever. Up close, revelatory, charged with erotic beauty and grace, her poems are like doors opening into a world of disclosure. The Eighth Phrase is a force of nature, a dissolving fabric, a template for making it all real. —Lewis Warsh

L.B. Williams’ poems are full of the delightful particulars of life. The Eighth Phrase is a lovely meditative sequence of scenes: melancholy at the core, and precise in detail and melody. —Lisa Jarnot

About the Poet:

L.B.WILLIAMS is the author of the memoir Letters to Virginia Woolf (Hamilton Books, 2005), letterstovirginiawoolf.com. She wrote the critical study The Artist as Outsider in the Novels of Toni Morrison and Virginia Woolf (Greenwood Press, 2000). Her poetry has appeared in such publications as Washington Square, The Mom Egg, Sunrise from Blue Thunder (A Pirene’s Fountain Anthology) and For She is the Tree of Life: Grandmothers Through the Eyes of Women Writers. She has also published a poetry chapbook, Sky Studies, (Finishing Line Press Fall, 2014). She is Professor of Literature at Ramapo College of New Jersey.

About the Artist:

Angie Reed Garner is a second-generation narrative painter from Kentucky. http://www.angiereedgarner.com

via Wicked Little Heart‘s Etsy Shop.

Autobiography of a Love Not Mine, Hilda Weaver (micro chapbook)

Weaver’s poems take a look at love, and it’s not quite what you might expect. Even in the sweetest moments, there’s an awareness of mortality, and sometimes the potential for violence. Your lips were garrote taut and rigid wire, says her speaker in the title poem. We were enamored of this micro chap from the moment we saw the title, with its longing, edged wit, and despair too. We present it to you with all of the honest-sweet and tarnished remembering. This is Hilda’s first chapbook. | more | $6

Cover art: “Hearth—Settlement Place” (acrylic/mixed media painting, 12 x 12 inches) by Maralena Howard. The cover is produced digitally (inkjet!) on Epson matte professional paper. The micro chapbooks is handbound & each is trimmed by hand. The micro chap itself measures about 5.25 x 5 inches.

Excerpt from the title poem The Autobiography of a Love Not Mine (six parts of a ten part poem):

The Autobiography of a Love Not Mine

I

First I saw you
in a long and elegant black coat
but at the evening’s end
we went each to a squishy space,
discovered not a thing of you
nor you of me.

 II

Oxymoron: tranquil Halloween,
and when you said, “I know
who I would kiss, who I would gift
this crazy hat,” you kissed
my mouth. An unexpected soft.
I’d never felt a woman’s breath
that way before.

III

I wanted you to say
you wanted me.
Instead you said, “I love
you.” Love is Farsi
to a German whore,
Hindi in the spread of legs
to men, Sanskrit no one knows
the sound of – only signs.

IV

It started then
plunged in the slag heap
of absolute engrossed;
involved, entwined,
beyond the sanity
of bluebirds in the snow.

V

The men you kept
kept wanting you, the prophetess
of sexual endorsement
bewitched by all the pumped up parts
bountiful, enlarged
only for their ogled worship gratified.
When you were drunk
it didn’t matter much.

VI

I watched over you
lying in the sheets
garbaged up by Glenfiddich,
but you could humble me;
I was in the wrong
a confrontation gone awry
by witness, by arrest.

About the Poet

Although Hilda has written poetry off and on over the course of her life, she reports not taking it seriously until about four years ago. At that time she started as an “over-65” scholar at Northern Kentucky University learning more about refining her “tendency to be wordy.” She was graduated from Miami University (Ohio with a BA in English, and later got a Master’s Degree in Clinical and Applied Psychology from Virginia Commonwealth University. She worked over 30 years as a psychotherapist and Marriage and Family Therapist as well as an addictions counselor. Retired now for several years, she writes poetry and finds herself otherwise spectacularly lazy.

About the Cover Artist

Born and raised in Detroit, Michigan, Maralena Howard is a painter, mixed media artist and writer. Her focuses on abstract and minimalist subjects are prominent. Of her work, Maralena states, “I celebrate the complex nature of detailed simplicity. Capture. Repossess. Release. In each piece, there is liberation.”

Maralena’s work has been published, exhibited in galleries, special venues, hospitals, municipal offices, and businesses. Her paintings are collected thoughout Michigan, the United States and internationally. | www.maralena.com