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

excerpt
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

Donna Vorreyer’s THE GIRL

Vorreyer’s The Girl is sharp and clear from the dedication: “To all the girls I have taught. To all the girls we once were.” These small prose poems are strung together like a chain of dolls cut from steel, each stronger for her connection to the other, but capable of claiming her own ground—each poem is a portrait of a girl, nameless. Each girl moves beyond that designation, none are just a girl, and their anonymity does not strip identity or agency. These are girls who stand where they will, treat their own wounds, heal broken things, fear little or nothing, persist in spite of, because of—”If she cries, she opens a window, knows her ghosts need a means of escape.” (Porkbelly Press, 2017) » available in our shop » more & excerpt

About the Poet

Donna Vorreyer is the author of Every Love Story is an Apocalypse Story (Sundress Publications, 2016) and A House of Many Windows (Sundress Publications, 2013) as well as seven chapbooks, most recently Encantado, a collaboration with artist Matt Kish from Redbird Chapbooks and Tinder, Smolder, Bones, and Snow forthcoming from dancing girl press. She serves as the reviews editor for Stirring: A Literary Collection and teaches middle school in the suburbs of Chicago.

» donnavorreyer.com

Cover Art

artist » Alexandra Eldridge
portfolio » alexandraeldridge.com

March & Porkbelly

(Good news, happenings, publications, awards, and general good stuff by/with/for our poets & writers.)

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Feeding the Dead (Porkbelly Press, 2017)
by M. Brett Gaffney » blog

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

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

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Set the Garden on Fire (Porkbelly Press, 2015)
by Chen Chen » @chenchenwrites » chenchenwrites.com

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Dry Spell (Porkbelly Press, 2016)
by Patrick Kindig » pdkindig.wordpress.com

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Pray, Pray, Pray: Poems I wrote to Prince in the middle of the night (Porkbelly Press, 2015)
by E. Kristin Anderson » www.ekristinanderson.com

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

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Ghost Tongue (Porkbelly Press, 2016)
by Nicole Rollender » nicolerollender.com

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How to Leave a Farmhouse (Porkbelly Press, 2015)
by Beth McDermott

  • new work appears in Bayou issue 66!

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Apples or Pomegranates (Porkbelly Press, 2017)
by Anita Olivia Koester » www.anitaoliviakoester.com

  • poem “Tapestry with White Columns” won the Sable Books Poetry of Protest contest judged by Shadab Zeest Hashmi

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Ghost Skin (Porkbelly Press, 2016)
by Wren Hanks » wrenhanks.tumblr.com

  • Prophet Fever (Hyacinth Girl Press, 2016) was nominated for an Elgin Award.

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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.

2017 Chapbook Lineup

Thank you to everyone who sent manuscripts to our 2017 chapbook call, for your patience in our review process, and for your gorgeous poems, essays, and fictions.

This reading period, we’ve selected four works of poetry. We’re excited to welcome these poets to the press family, and so very honored to be part of bringing these titles into the world.

chapbooks

Found Footage by Maggie Woodward

Mexicamericana by Eloisa Amezcua

Blackbird Whitetail Redhand by Lindsay Lusby

Daughter Shaman Sings Blood Anthem by Kristi Carter

notes

M. Brett Gaffney’s Feeding the Dead, a chapbook of poems accepted last year, is scheduled for release later this month.