First Bacon of Fall (September’s Good News)



Apples or Pomegranates (Porkbelly Press, 2017)
by Anita Olivia Koester »


Love Me, Anyway (Porkbelly Press, 2018)
by Minadora Macheret


Haunting the Last House on Holland Island, Fallen into the Bay (Porkbelly Press, 2016) by Sarah Ann Winn »


A Map of the Farm Three Miles from the End of Happy Hollow Road (Porkbelly Press, 2016) by Amorak Huey »


hiku [pull] (Porkbelly Press, 2016)
by James A. H. White


Set the Garden on Fire (Porkbelly Press, 2015)
by Chen Chen »

Because the word will not save you. Because an elegy is a body’s warm light unfolding. Because the tree cannot hold all of you. Because love’s glossolalia isn’t translatable. Because translation is a kind of murder. Because language is both the bread and the knife. Because we could all stand to be a little more like flowers. When I Grow Up I Want To Be A List Of Further Possibilities pairs well with a date to the zoo, the works of Paul Celan, and New York tap water. Chen Chen’s poems are hearts too big for their bodies. // @shitty_book_reviews

  • Chen’s interviewed by Allison Peters for Michigan Quarterly Review.

    “I want to write and to read poems with this kind of scrappy don’t-fuck-with-me-but-also-gahh-I’m-a-human-ness,” says Chen. // more


MEXICAMERICANA (Porkbelly Press, 2017)
by Eloisa Amezcua »


The Girl (Porkbelly Press, 2017)
by Donna Vorreyer »

  • a review of The Girl is up on Glass! (review by Amorak Huey!)

These are poems to be believed. This experience is real. Fraught and complex and contradictory and imaginative and impossible, naturally, but real nonetheless.

… Vorreyer starts this collection with a bit of a mystery, our heroic girl stopping “mid-stride in the center of a crosswalk.” The world does not know what to make of her, frozen like this, getting in the way of things. The girl’s parents, the police, a priest — all of them are unable to persuade her to move. The poem ends that way: the world freaking out, the girl unflinching. // more


Dry Spell (Porkbelly Press, 2016)
by Patrick Kindig »


Excerpt from Kimberly Ann Southwick’s reviews of three Porkbelly Press titles on Ploughshares blog this month:

Porkbelly Press is a Cincinnati-based press that puts out chapbooks and micro-chapbooks as well as a literary magazines and anthologies. It describes itself as an “indie queer-friendly, feminist press” and produces chapbooks that are hand-stitched. Porkbelly is as diverse as its description claims, boasting titles like Eloisa Amezcua’s Mexicamericana, Billie R. Tadros’ inter: burial places, and Wren Hanks’ Ghost Skin, in addition to those reviewed below, which exemplify the high-quality writing the press values. // more

Titles reviewed include: hiku [pull] by James A. H. White, A Map of the Farm Three Miles From the End of Happy Hollow Road by Amorak Huey, and Haunting the Last House on Holland Island, Fallen Into the Bay by Sarah Ann Winn.


Porkbelly Press tabled at the Kentucky Fried Zine Fest (Lyric Theater & Cultural Arts Center, Lexington, Kentucky). We met some fab people & scooped up cool stickers, patches, & zines! Thanks for the welcome and all the writing&activism&life conversation, KFZ!


Bettering American Poetry 2016 Nominations

Porkbelly Press’ Nominees from 2016

Shakeema Smalls for “rût.” First printed in Sugared Water #005, December 2016.

Michal Leibowitz for “In Sderot.” First printed in Persephone’s Daughters inaugural issue, reprinted in Sugared Water #005, December 2016.

James A. H. White for “Okaasan [Mother].” First printed in chapbook hiku [pull] (Porkbelly Press, 2016).

Congratulations & good luck to all nominees! It’s been our pleasure to nominate this work for such an outstanding project.

From Bettering American Poetry’s nominations page

We want work that is unafraid to look, to shake shit up, to speak. We are interested in poems that challenge patriarchal and white supremacist power structures. We love poems that burn misogynist, homophobic, ableist, transphobic, racist, xenophobic attitudes and behaviors at the core. Poems that critique the dominant culture and flummox the status quo, that speak with voices historically misrepresented, underrepresented, censored, and silenced make us sit up and listen hard. | more

Related Reading

» Bettering American Poetry‘s website
» An interview series with poets in Bettering American Poetry‘s 2015 anthology via VIDA