Blackbird Whitetail Redhand // Lindsay Lusby

Blackbird Whitetail Redhand (by Lindsay Lusby) is a book of chaos, transformation, and all the little possibilities tangled beneath the night clover. It is a simultaneously tumultuous and quiet narrative of bodily autonomy and the sacrifices needed to achieve it. These are poems rattled with the snapping of bear traps and the sharp, tangy bite of an ax kissing the trunk of a tree. Lusby leaves you asking: is she the sweet flesh of the fruit fruit or the sharp teeth? Listen for cloven feet over the thicket. If you catch sight of her, marvel at her mottled heart. Be careful not to make a sound, “she’ll move like scattershot” if you do. (Porkbelly Press, 2018) » more info

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2018 Chapbooks!

Our complete 2018 line of chapbooks is listed below; we’ve added three chaps to previously selected works. The first two titles are selected from our January pool of submissions, and we’ll also be publishing our first photographic chapbook (Light Experiments).

Says the Forest to the Girl by Sally Rosen Kindred (poetry)

Never Leave the Foot of an Animal Unskinned by Sara Ryan (poetry & CNF)

Light Experiments by Madeleine Barnes (photography)

Dreamland for Keeps by Sarah Nichols (erasure poetry)

Love Me, Anyway by Minadora Macheret (poetry)

Two of our 2017 books were moved to 2018:

Blackbird Whitetail Redhand by Lindsay Lusby (poetry)

Found Footage by Maggie Woodward (erasure poetry)

Congratulations to our new poets & writers & artists!
We can’t wait to work with you to bring your books into the world.

Thank you to everyone who submitted. Thank you for your patience in awaiting our reply—we took a bit longer to read this year than usual. Once again, we were given the pleasure of making some very difficult decisions. We had to say no to some books we’ll be buying when they’re released from other presses. We’re quite sure they’ll be picked up soon.

You can pre-order any combination of three, five, or all of the 2018 line, and we’ll send them as they’re finished on the binding table.

(All of our titles are individually printed, collated, trimmed & bound by hand.)

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