The Wardrobe’s Best Dressed: “The Feeder” by Jennifer Jackson Berry

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This selection comes from the collection The Feeder, available from YesYes Books. Order your copy here.

Jennifer Jackson Berryis the author of The Feeder (YesYes Books, 2016), as well as the chapbooks When I Was a Girl (Sundress Publications) and Nothing But Candy (Liquid Paper Press). She is the Editor of Pittsburgh Poetry Review and an Assistant Editor for WomenArts Quarterly Journal. She lives in Pittsburgh, Pennsylvania. Visit the author at www.jenniferjacksonberry.com and follow her on Twitter as @jaxnberry.

Wren Hanks is a trans writer from Texas and the author of Prophet Fever (Hyacinth Girl Press) and Ghost Skin (Porkbelly Press). His recent work appears in Best New Poets 2016, Gigantic Sequins, Drunken Boat, and elsewhere. His third chapbook, gar child, is forthcoming in 2017 from Tree Light Books. He currently lives in Brooklyn.

The Wardrobe’s Best Dressed: “The Feeder” by Jennifer Jackson Berry

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This selection comes from the collection The Feeder, available from YesYes Books. Order your copy here.

Jennifer Jackson Berryis the author of The Feeder (YesYes Books, 2016), as well as the chapbooks When I Was a Girl (Sundress Publications) and Nothing But Candy (Liquid Paper Press). She is the Editor of Pittsburgh Poetry Review and an Assistant Editor for WomenArts Quarterly Journal. She lives in Pittsburgh, Pennsylvania. Visit the author at www.jenniferjacksonberry.com and follow her on Twitter as @jaxnberry.

Wren Hanks is a trans writer from Texas and the author of Prophet Fever (Hyacinth Girl Press) and Ghost Skin (Porkbelly Press). His recent work appears in Best New Poets 2016, Gigantic Sequins, Drunken Boat, and elsewhere. His third chapbook, gar child, is forthcoming in 2017 from Tree Light Books. He currently lives in Brooklyn.

The Wardrobe’s Best Dressed: “The Feeder” by Jennifer Jackson Berry

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This selection comes from the collection The Feeder, available from YesYes Books. Order your copy here.

Jennifer Jackson Berryis the author of The Feeder (YesYes Books, 2016), as well as the chapbooks When I Was a Girl (Sundress Publications) and Nothing But Candy (Liquid Paper Press). She is the Editor of Pittsburgh Poetry Review and an Assistant Editor for WomenArts Quarterly Journal. She lives in Pittsburgh, Pennsylvania. Visit the author at http://www.jenniferjacksonberry.com and follow her on Twitter as @jaxnberry.

Wren Hanks is a trans writer from Texas and the author of Prophet Fever (Hyacinth Girl Press) and Ghost Skin (Porkbelly Press). His recent work appears in Best New Poets 2016, Gigantic Sequins, Drunken Boat, and elsewhere. His third chapbook, gar child, is forthcoming in 2017 from Tree Light Books. He currently lives in Brooklyn.

The Wardrobe’s Best Dressed: “My Tall Handsome” by Emily Corwin

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Excerpt from “pretty pretty princess vs. the underworld”

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This selection comes from the collection My Tall Handsome, available from Brain Mill Press. Order your copy here.

Emily Corwin is a Midwestern girl who loves all things pretty and spooky. This past summer, she completed her MA at Miami University, where she studied poetry, and in the fall she will be an MFA candidate at Indiana University in Bloomington. Her writing has appeared or is forthcoming in Word Riot, Smoking Glue Gun, Midwestern Gothic, Split Rock Review, and The Rain, Party, & Disaster Society.

Wren Hanks is a trans writer from Texas and the author of Prophet Fever (Hyacinth Girl Press) and Ghost Skin (Porkbelly Press). His recent work appears in Best New Poets 2016, Gigantic Sequins, Drunken Boat, and elsewhere. His third chapbook, gar child, is forthcoming in 2017 from Tree Light Books. He currently lives in Brooklyn. 

Lyric Essentials: Nicole Rollender reads “A Summer Garden” by Louise Glück

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Chris: Welcome to Lyric Essentials where writers and poets share with us a passage or poem which is “essential” to their bookshelf and who they are as a writer. Today Nicole Rollender reads “A Summer Garden” by Louise Glück.

Nicole, there’s a lot to love in this poem. One of my favorite aspects of “A Summer Garden” is the play with time and space. I feel like Glück is a master at transporting the reader into specific psychological spaces and physical landscapes. What makes this poem stand out to you? Does “A Summer Garden” exemplify a specific quality of Glück’s work that you admire?

Nicole: For me, Louise Glück is kind of the über-narrator, and as you observed, a master at whisking the reader into suspended hyper-emotional spaces/physical spaces.

Back in 1975, Helen Vendler wrote a review in New Republic of Glück’s second book, The House on Marshland. This quote captures for me what’s so powerful about these complex narratives Glück has been composing for more than 40 years now: “Glück’s cryptic narratives invite our participation: we must … fill out the story, substitute ourselves for the fictive personages, invent a scenario from which the speaker can utter her lines, decode the import, ‘solve’ the allegory.”

What attracts me most to “A Summer Garden” is the narrator’s really overt attention to memory/nostalgia (which is a huge preoccupation in my own work), as in the first (“Indeed, dust covered everything: it seemed to me the persistent/ haze of nostalgia that protects all relics of childhood) and second parts (“the past is buried in the future”) – yet within this overtness and drama creates a sense of wistfulness/urgency/longing that doesn’t read as, “Oh, OK, we’ve heard this all before.” Also what Glück does well: She pulls us into familiar emotional landscapes (isolation from family, rejection from a lover, reckoning with our own mortality). I mean, she makes me care hard in this poem.

I get what’s happening here: You find a photo in a marked-up copy of Death in Venice of your mother who has since died, and you’re existing in this weird place of multiplicities, all different times, but against a summer garden. You’re going into the photo’s park/garden landscape and sitting with your mother; you’re remembering her alive then (maybe it was even before you were born); you’re remembering her right before she died, and in her moment of death. Yet, she’s really never totally alive and dead, since she exists within these multiple conscious spaces. And I think the idea, when we’re in certain places and moments of our lives, that we really feel like time and our lives are infinite – and then we look back at those times and remember.

One last thought: I’m obsessed with Czeslaw Milosz’s book Bells in Winter and the first poem, “Encounter,” where the narrator recalls with a certain wonder how he can recall a wagon ride during a winter dawn many years earlier with a friend, how they sighted a hare: Yet now, in the moment of recollection “Today neither of them is alive,/ Not the hare, nor the man …” It’s this particular gaze informed by the acute awareness’s of life’s temporality, which we all experience – it just depends to what hyper-aware degree. I’m just fascinated again and again by memory’s power to let us mingle again and again with the dead, but also how it teaches us how quickly our lives move away from the current moment.

Chris: The third section stands out to me in particular. It feels sparse, compared to the other sections, but also makes what feel like loud assertions—there’s the presence of the “immodest god” and at the end Glück invokes an ominous vibe with the mention of Pompeii. What do you think is being communicated with this sort of turn at this point in the poem?

Nicole: I remember back in grad school, one of my professors kept insisting that Pan was a real spirit that manifested most clearly at noon. I remember considering that as a possibility and the strange feelings it evoked in me. This third section echoes the moment I felt Pan’s presence: silent, no wind, very bright, behind me his shadow the only thing moving across the lawn. In this poem, the ominous sun/shadows and then super brightness it creates (“He must be very close/ the grass is shadowless”) communicate to me the relentlessness of how our lives move. Even as we stand young and lush under the noonday summer sun, Pan will exist as he is forever, as we are every moment passing away. Yet, as in Pompeii, where the ash shells of those humans’ final moments exist in a way, our tiny momentary triumph may be that we existed here – and that we realized our smallness, our transience, yet our place among the largeness of the universe and its change/immutability.

Chris: Is graduate school where you were first introduced to Glück’s work? And what was her influence like when you began reading her — was it immediate, or did it take time to get into Glück’s complex narratives?

Nicole: It’s funny: I can’t remember when Glück’s work came into my life. Does that mean I’ve never been without her? And her so many books? When I first awoke to poetry as a young teen, her books were among the first books I bought, along with those from Jon Anderson and Denise Levertov. I connected really quickly to Glück’s introspection/weaving narratives and an underlying melancholy or sort of understanding of mortality. Like, every minute you’re alive you’re also cognizant of death. I read Firstborn and The House on Marshland a lot, early on.

Chris: You mentioned Czeslaw Milosz earlier. Who else plays with memory/nostalgia in their writing that you admire? And, in addition to “A Summer Garden,” what are your must-read Glück poems?

Nicole: That’s such a good rabbit-hole of a question, since the use of memory and nostalgia is so important to me in poetry. But, here’s a short list of some poets and particular pieces that really resonate for me (of course, the list is always growing and shifting):

Ocean Vuong’s “I Remember Anyway” in Guernica

Kaveh Akbar’s “Unburnable Cold Flooding Our Lives” in TriQuarterly

Maggie Smith’s “Your Tongue” in Memorious

Ada Limon, “The Last Move” and “Relentless” from Bright Dead Things

Walt Whitman’s “Poem of Joys”

And same with Glück: I suppose it depends what day you asked me which poem of hers was essential to me. Today, it’s “For My Sister.” Before Glück was born, her sister died. She wrote in an essay, “Her death was not my experience, but her absence was. Her death let me be born.” People should read “For My Sister” in The American Poetry Review; these lines especially:
Now, if she had a voice,

the cries of hunger would be beginning.

I should go to her;

perhaps if I sang very softly,

her skin so white

her head covered with black feathers…
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Nicole Rollender is the author of the poetry collection, Louder Than Everything You Love (ELJ Editions, 2015), and the poetry chapbooks Arrangement of Desire (Pudding House Publications), Absence of Stars (dancing girl press & studio), Ghost Tongue (Porkbelly Press), and Bone of My Bone, a winning manuscript in Blood Pudding Press’s 2015 Chapbook Contest. Her work has appeared in The Adroit Journal, Alaska Quarterly Review, Best New Poets, The Journal, Memorious, Radar Poetry, PANK, Salt Hill Journal, Thrush Poetry Journal, Word Riot and West Branch, among others. She’s the recipient of a  2017 poetry fellowship from the New Jersey Council on the Arts, and poetry prizes from CALYX Journal, Princemere Journal and Ruminate Magazine. She earned her MFA in poetry at the Pennsylvania State University. She’s the editor-in-chief of Wearables and executive director of branded content & professional development at the Advertising Specialty Institute. In 2016, she was named one of FOLIO’s Top Women in Media. Visit her online at www.nicolerollender.com.

Chris Petruccelli is doing his thing, he guesses. Some new poetry recently appeared in Crab Fat Magazine. You can find his work in Appalachian Heritage, Cider Press Review, Nashville Review, Pine Mountain Sand & Gravel, Still: The Journal, and elsewhere. Chris is still running and drinking whisky.

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The Wardrobe’s Best Dressed: “My Tall Handsome” by Emily Corwin

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Excerpt from “pretty pretty princes vs. the underworld”

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This selection comes from the collection My Tall Handsome, available from Brain Mill Press. Order your copy here.

Emily Corwin is a Midwestern girl who loves all things pretty and spooky. This past summer, she completed her MA at Miami University, where she studied poetry, and in the fall she will be an MFA candidate at Indiana University in Bloomington. Her writing has appeared or is forthcoming in Word Riot, Smoking Glue Gun, Midwestern Gothic, Split Rock Review, and The Rain, Party, & Disaster Society.

Wren Hanks is a trans writer from Texas and the author of Prophet Fever (Hyacinth Girl Press) and Ghost Skin (Porkbelly Press). His recent work appears in Best New Poets 2016, Gigantic Sequins, Drunken Boat, and elsewhere. His third chapbook, gar child, is forthcoming in 2017 from Tree Light Books. He currently lives in Brooklyn. 

New CookBook Episode: Donuts with Karen Craigo!

craigoblueheadshotSundress Publications is pleased to announce the latest episode of CookBook, featuring poet and editor, Karen Craigo, AWP style! This episode, as well as all previous episodes, can be found on our website.

CookBook is a video series brought to you by SAFTA, and hosted by poet and food-enthusiast Darren C. Demaree. Each episode features Demaree and guest as they prepare food (recipe provided by the guest) and have a conversation about anything and everything. Guests on CookBook range from writers, artists, musicians, publishers, and community members, and come from all corners of the world.

This episode takes place at the Association of Writers & Writing Programs Conference in Washington, D.C. and features the very appropriate pairing of donuts and Karen’s poetry collection, No More Milk.

Darren C. Demaree is living in Columbus, Ohio with his wife and children. He is the author of five poetry collections, and is the recipient of six Pushcart Prize nominations. Currently, he is the Managing Editor of the
Best of the Net Anthology and Ovenbird Poetry.

Karen Craigo is the author of the poetry collection No More Milk (Sundress, 2016) and the forthcoming collection Passing Through Humansville (ELJ, 2017). She maintains Better View of the Moon, a daily blog on writing, editing, and creativity, and she teaches writing in Springfield, Missouri. She is the nonfiction editor and former editor-in-chief of Mid-American Review, the reviews editor of SmokeLong Quarterly, an editor of Gingko Tree Review, and the managing editor of ELJ Publications.

 

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The Wardrobe’s Best Dressed: “My Tall Handsome” by Emily Corwin

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Excerpt from “ceremony”

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This selection comes from the collection My Tall Handsome, available from Brain Mill Press. Order your copy here.

Emily Corwin is a Midwestern girl who loves all things pretty and spooky. This past summer, she completed her MA at Miami University, where she studied poetry, and in the fall she will be an MFA candidate at Indiana University in Bloomington. Her writing has appeared or is forthcoming in Word Riot, Smoking Glue Gun, Midwestern Gothic, Split Rock Review, and The Rain, Party, & Disaster Society.

Wren Hanks is a trans writer from Texas and the author of Prophet Fever (Hyacinth Girl Press) and Ghost Skin (Porkbelly Press). His recent work appears in Best New Poets 2016, Gigantic Sequins, Drunken Boat, and elsewhere. His third chapbook, gar child, is forthcoming in 2017 from Tree Light Books. He currently lives in Brooklyn. 

The Wardrobe’s Best Dressed: “My Tall Handsome” by Emily Corwin

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Excerpt from “bramble scratch”

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This selection comes from the collection My Tall Handsome, available from Brain Mill Press. Order your copy here.

Emily Corwin is a Midwestern girl who loves all things pretty and spooky. This past summer, she completed her MA at Miami University, where she studied poetry, and in the fall she will be an MFA candidate at Indiana University in Bloomington. Her writing has appeared or is forthcoming in Word Riot, Smoking Glue Gun, Midwestern Gothic, Split Rock Review, and The Rain, Party, & Disaster Society.

Wren Hanks is a trans writer from Texas and the author of Prophet Fever (Hyacinth Girl Press) and Ghost Skin (Porkbelly Press). His recent work appears in Best New Poets 2016, Gigantic Sequins, Drunken Boat, and elsewhere. His third chapbook, gar child, is forthcoming in 2017 from Tree Light Books. He currently lives in Brooklyn. 

The Wardrobe’s Best Dressed: “My Tall Handsome” by Emily Corwin

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Excerpt from “bramble scratch”

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This selection comes from the collection My Tall Handsome, available from Brain Mill Press. Order your copy here.

Emily Corwin is a Midwestern girl who loves all things pretty and spooky. This past summer, she completed her MA at Miami University, where she studied poetry, and in the fall she will be an MFA candidate at Indiana University in Bloomington. Her writing has appeared or is forthcoming in Word Riot, Smoking Glue Gun, Midwestern Gothic, Split Rock Review, and The Rain, Party, & Disaster Society.

Wren Hanks is a trans writer from Texas and the author of Prophet Fever (Hyacinth Girl Press) and Ghost Skin (Porkbelly Press). His recent work appears in Best New Poets 2016, Gigantic Sequins, Drunken Boat, and elsewhere. His third chapbook, gar child, is forthcoming in 2017 from Tree Light Books. He currently lives in Brooklyn.

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