Found Footage // Maggie Woodward

Found Footage is visceral little book of freckled skin, fox-bellies, and sparrow blood. There are erasures scribbled out in pen and secrets released into the night—girl stories, horror stories, love stories, a little bit of each one ominous.: “this is how the story goes: there was a girl & / there was a river.” They feel like confessions pulled from a diary stained around the edges in blood and darker things, each one “fanged  (but lovely).” (Porkbelly Press, 2018) » available from our shop »  more info

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ABOUT THE POET

maggie woodward is an mfa candidate in poetry at the university of mississippi, where she is senior editor of the yalobusha review & curates the trobar ric reading series. she is also a programmer for the oxford film festival. her work has appeared or is forthcoming from The Atlas Review, Devil’s Lake, Witch Craft Magazine, Cloud Rodeo, & New South Journal, among others.

Daughter Shaman Sings Blood Anthem // Kristi Carter

Carter’s work investigates the intersection of intergenerational trauma, survival, feminism, and power. Body-heavy and image-rich, these poems evoke a landscape of the scars and blood we carry with us, all the things that make up our lineage of memory and modes of recovery/survival/learning. It’s an intensely intimate series of poems about the claiming and finding of voice, body, and agency. “And ever since I anchored myself to the ground / and split off from myself, from the cracked husk / of girlhood finished, I return replenished. /  I return, to burn. / I return, with the wound / like a medal—in its gleam, how it sings.” (Porkbelly Press, 2017) » available in our shop » more info & excerpt

about the poet

Kristi Carter is a PhD student in Creative Writing–Poetry with a specialization in Women’s and Gender Studies at University of Nebraska Lincoln. Her poems have appeared in publications including So to Speak, poemmemoirstory, CALYX, Hawaii Review, and Nimrod. Her work examines of the intersection of gender and intergenerational trauma in 20th Century poetics. She holds an MFA from Oklahoma State University.

 

Eloisa Amezcua’s MEXICAMERICANA (poetry)

Eloisa Amezcua’s Mexicamericana becomes both a demarcation and blurring of the line between states, identities, culture, and selves. This meeting-place is investigated in mother/daughter, English/Spanish, citizen/citizen—how these things are seen from outside as separate, but are quite entangled—how a  woman finds her way walking with both, whatever the two may be, “furious and alive.” The river does not separate places—it touches both and nourishes both. This collection borrows its epigraph from Alberto Ríos: “The border is a line that birds cannot see.” (Porkbelly Press, 2017) » more info & excerpt

about the poet

Eloisa Amezcua is an Arizona native. She is the author of the chapbooks On Not Screaming (Horse Less Press) and Symptoms of Teething, winner of the 2016 Vella Chapbook Prize from Paper Nautilus Press. Eloisa is the founder/editor of The Shallow Ends: A Journal of Poetry. You can find her at www.eloisaamezcua.com.

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Sharmon Davidson » sharmondavidson.com

Feeding the Dead // M. Brett Gaffney

 

These poems are the knife edge, the hot blood, the wolf’s howl, and the fang of the girl who hunts him down. This book holds the haunted-house-horror and everything real underneath, the costume, the bruise after, the smoke curling in the heart of a hellhound. “After supper she pulls on boots, prepares her heart” and goes out to collect his “sharpest fang.” These poems are demons and strawberries and bones, and teeth, and agency, self, girl-power, woman-power—assertive figures preoccupied with agency, not beauty—not prettiness for the observer. This chapbook of poems is the bone-yard, the skeleton, the strength. “I am here to stay / … / I am just as real as anything else.” (Porkbelly Press, 2017) » more info & excerpt

about the poet

M. Brett Gaffney, originally from Houston, Texas, holds an MFA in Poetry from Southern Illinois University and is the art editor for Gingerbread House. Her poems have appeared inExit 7, Rust+Moth, Permafrost, Devilfish Review, museum of americana, BlazeVOXRogue AgentApex Magazine,and Zone 3, among others. She currently works as a library associate in northern Kentucky and lives in Cincinnati with her partner and their dog, Ava.

Cover artist: Mary Chiaramonte »  www.merrysee.com
Cover art: “The Fables,” acrylic on wood, 24 x 36 inches.
Title typeface: Brain Flower by Denise Bentulan.

inter: burial places (Billie R. Tadros)

Billie R. Tadros’ inter: burial places is at once like a confession and a chant, carrying us through a narrative of seeking, something lost, desire, full of language like “your lips always decanting like prayer.” It feels urgent and dark and betwixt what was and what will be—even the poem titles play with sound and definition. “Everything I know about layers lies your body,” and “I love you irrationally. You love me like rationing.” are love letter to the turn of language, meaning, and the she in these poems. This is a masterful play at word and line and poem, a cut and stitched love song written in music and ash and heart meat.  (Porkbelly Press, 2016) » more info & excerpt

about the poet

Billie R. Tadros is a doctoral candidate in English at the University of Louisiana at Lafayette and a graduate of the MFA program in Poetry at Sarah Lawrence College. She is the author of another chapbook, Containers (Dancing Girl Press, 2014). Her work has also appeared in The Boiler, The Collapsar, Gigantic Sequins, Horse Less Review, Kindred, Menacing Hedge, Tupelo Quarterly, Wicked Alice, Word Riot, and others, and in the anthologies Bearers of Distance (Eastern Point Press, 2013), Women Write Resistance: Poets Resist Gender Violence (Hyacinth Girl Press, 2013), and The Queer South (Sibling Rivalry Press, 2014). A poet-scholar with research interests in feminist theory, queer theory, gender and sexuality studies, and disability studies, she is also currently working on a narrative research project exploring the gendered and sexual implications of traumatic injuries to women runners and seeking to articulate a feminist poetics of the injured female body. You can find her at www.BillieRTadros.com and on Twitter at @BillieRTadros.

about the cover artist

Joline Costello Hartig received her B.F.A. in Printmaking and Art Education from Northern Kentucky University. After several years of teaching K-12 Art, she chose to stay at home raising her four children. She has recently started an after school art program at her children’s school and works in her home studio in the beautiful hills of Camp Springs, Kentucky. She inherited her printing press from her mother, who was also a local printmaker and landscape artist. This heritage serves as strong inspiration. Joline continues to pursue making abstracted images that reflect a spirituality and concern for nature and our environment. She has exhibited her work over the years in many group shows and is deeply involved in keeping the printmaking tradition alive in Northern Kentucky.

Cover art: “Clear Signals,” monotype, 20 x 20 inches

A Map of the Farm Three Miles from the End of Happy Hollow Road // Amorak Huey

Huey’s A MAP OF THE FARM THREE MILES FROM THE END OF HAPPY HOLLOW ROAD investigates place and the things that memory and reflection have made of it. Poems are titled after locations specific to a farm where the speaker played as a child. It becomes a landscape of vivid details coalescing into a map of the self, an ever deepening investigation of recollection & the things we carry with us. (Porkbelly Press, 2016) » excerpt & more

about the poet

Amorak Huey is author of the poetry collection Ha Ha Ha Thump (Sundress, 2015) and the chapbook The Insomniac Circus (Hyacinth Girl, 2014). After more than a decade as a newspaper journalist, he teaches writing at Grand Valley State University in Michigan. His writing has appeared in The Best American Poetry 2012, The Cincinnati Review, The Collagist, Menacing Hedge, Brevity, and many other journals.

about the cover art & artist

Alexandra Eldridge » http://alexandraeldridge.com
“The Field Opens” (mixed media, 24 x 24 inches)

Alexandra Eldridge, born of artist parents, received her BA in Art and literature at Ohio University. She co-founded an establishment for the arts, Golgonooza, based upon the philosophies of William Blake. She has had over 40 solo shows, and has participated in many group shows throughout the U.S. as well as many international exhibitions.

 

Ghost Skin // Wren Hanks

Wren’s GHOST SKIN is a haunted little chapbook about identity and ancestry, at once a eulogy for what is lost, a grandmother, and a falling away of the past self, a transition into new-self. The language is lush and image-heavy, speaking of moon jellies, trumpet vines, and red feathers—Gorgons and thistles and bones. Divine with this speaker, discover the things embedded into their skin like memory, rooted deep and blooming. (Porkbelly Press, 2016) » excerpt & more

about the poet

Wren Hanks is the author of Prophet Fever (Hyacinth Girl Press). A 2016 Lambda Emerging Writers Fellow, their poetry appears in Gigantic Sequins, Drunken Boat, Bone Bouquet, Permafrost, and elsewhere. They are an Associate Editor for Sundress Publications and live in Brooklyn with their girlfriend and two difficult cats.

cover & art

The cover is inkjet printed on premium matte paper. It’s trimmed down to just under 6 1/4 x 5 1/4 inches and bound by hand with heavy thread.

“One’s Destiny Always Arrives”
artist » Alexandra Eldridge
portfolio » alexandraeldridge.com