The Wardrobe’s Best Dressed: Love Me, Anyway by Minadora Macheret

 

 

 

 

 

This selection comes from Minadora Macheret’s book Love Me, Anyway, available from Porkbelly Press.  Purchase your copy here! Our curator for February is Natalie Giarratano.

Minadora Macheret is a Ph.D. student in Poetry and Teaching Fellow at the University of North Texas. She received the James Merrill Poetry Fellowship from the Vermont Studio Center. Her work has appeared in Tinderbox Poetry Journal, Rogue Agent, Connotation Press, and elsewhere. She is the author of the chapbook Love Me, Anyway (Porkbelly Press, 2018). She likes to travel across the country with her beagle, Aki.

Natalie Giarratano is the author of Big Thicket Blues (Sundress Publications, 2017) and Leaving Clean, winner of the 2013 Liam Rector First Book Prize in Poetry (Briery Creek Press, 2013). Her poems have appeared in Beltway PoetryTupelo Quarterly, Tinderbox, and American Literary Review, among others. She edits and lives in Fort Collins, Colorado, with her partner and daughter and is the city’s poet laureate.

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The Wardrobe’s Best Dressed: Love Me, Anyway by Minadora Macheret

 

 

 

 

This selection comes from Minadora Macheret’s book Love Me, Anyway, available from Porkbelly Press.  Purchase your copy here! Our curator for February is Natalie Giarratano.

Minadora Macheret is a Ph.D. student in Poetry and Teaching Fellow at the University of North Texas. She received the James Merrill Poetry Fellowship from the Vermont Studio Center. Her work has appeared in Tinderbox Poetry Journal, Rogue Agent, Connotation Press, and elsewhere. She is the author of the chapbook Love Me, Anyway (Porkbelly Press, 2018). She likes to travel across the country with her beagle, Aki.

Natalie Giarratano is the author of Big Thicket Blues (Sundress Publications, 2017) and Leaving Clean, winner of the 2013 Liam Rector First Book Prize in Poetry (Briery Creek Press, 2013). Her poems have appeared in Beltway PoetryTupelo Quarterly, Tinderbox, and American Literary Review, among others. She edits and lives in Fort Collins, Colorado, with her partner and daughter and is the city’s poet laureate.

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The Wardrobe’s Best Dressed: Barnburner by Erin Hoover

 

 

 

 

 

 

This selection comes from Erin Hoover’s book Barnburner, available from Small Press Distribution.  Purchase your copy here! Our curator for February is Natalie Giarratano.

Erin Hoover’s debut poetry collection, Barnburner, was selected by Kathryn Nuernberger as winner of the Antivenom Poetry Award and published by Elixir Press in 2018.  Her poems have appeared in The Best American PoetryBest New Poets, and in journals such as Prairie Schooner, Narrative, Alaska Quarterly Review, and Pleiades. Hoover has served as past editor of the Southeast Review, volunteer for VIDA: Women in Literary Arts, and co-founder of the literary organization Late Night Library. She earned a Ph.D. from Florida State University and now lives in Tallahassee, where she teaches writing. You can find her @erinhoover on Twitter.

Natalie Giarratano is the author of Big Thicket Blues (Sundress Publications, 2017) and Leaving Clean, winner of the 2013 Liam Rector First Book Prize in Poetry (Briery Creek Press, 2013). Her poems have appeared in Beltway PoetryTupelo Quarterly, Tinderbox, and American Literary Review, among others. She edits and lives in Fort Collins, Colorado, with her partner and daughter and is the city’s poet laureate.

Sundress Holler Salon presents Ruth Awad, Ian T. Hall, and Jim Warner

Sundress Holler Salon presents Ruth Awad, Ian T. Hall, and Jim Warner

The Sundress Academy for the Arts is excited to host a new Holler Salon with a poetry reading and dinner at Firefly Farms. An extension of our award-winning Sundress Reading Series, Holler Salon aims to encourage conversation and collaboration between creative individuals in a variety of disciplines. The event, to be held Saturday, February 9th from 6-10 p.m., will be free and open to the public and will feature poets Ruth Awad, Ian T. Hall, and Jim Warner.

screen shot 2019-01-28 at 4.17.08 pmRuth Awad is a Lebanese-American poet whose debut poetry collection Set to Music a Wildfire (Southern Indiana Review Press 2017) won the 2016 Michael Waters Poetry Prize and the 2018 Ohioana Book Award for Poetry. She is the recipient of a 2016 Ohio Arts Council Individual Excellence Award, and her work has appeared in The New Republic, The Rumpus, The Missouri Review Poem of the Week, Sixth Finch, Crab Orchard Review, CALYX, Diode, Southern Indiana Review, The Adroit Journal, Vinyl Poetry, Epiphany, BOAAT Journal, and in the anthologies Bettering American Poetry Volume 2 (Bettering Books, 2017), The Hundred Years’ War: Modern War Poems (Bloodaxe Books, 2014), New Poetry from the Midwest 2014 (New American Press, 2015), and Poets on Growth (Math Paper Press, 2015). She won the 2012 and 2013 Dorothy Sargent Rosenberg Poetry Prize and the 2011 Copper Nickel Poetry Contest, and she was a finalist for the 2013 Ruth Lilly Fellowship. She has an MFA in poetry from Southern Illinois University Carbondale, she copy edits for Button Poetry, and she lives in Columbus, Ohio, with her Pomeranians.

 

 

 

screen shot 2019-01-28 at 4.17.01 pmIan T. Hall was born and reared in Raven, Kentucky. He is currently an MFA candidate in poetry at the University of Tennessee, where he serves as an assistant poetry editor for Grist: A Journal of the Literary Arts. He has published poetry and fiction in Kentucky Monthly Magazine, The Louisville Review, Broad River Review, Gravel, Bluestem, and Modern Mountain Magazine, among others.

 

 

 

 

screen shot 2019-01-28 at 4.16.54 pmJim Warner’s poetry has appeared in various journals including The North American Review, RHINO Poetry, New South, and is the author of two collections (PaperKite Press). His third collection actual miles was released in 2018 by Sundress Publications. Jim is the host of the literary podcast Citizen Lit and is a faculty member of Arcadia University’s MFA program.

 

 

 

 

 

 

While dinner is provided, attendees are invited to BYOB.

The Sundress Academy for the Arts (SAFTA) is an artists’ residency that hosts workshops, retreats, and residencies for writers, actors, filmmakers, and visual artists. All are guided by experienced, professional instructors from a variety of creative disciplines who are dedicated to cultivating the arts in East Tennessee.

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Subscriber Notice

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2019 Sundress Subscriptions Now Available!

Sundress Publications is excited to announce that our 2019 subscriptions are now available!

This year’s catalog includes full-length poetry collections from Leah Silveus, Amorak Huey, Aaron Graham, Ruth Foley, Zoë Estelle Hitzel, HK Hummel, and Moira J. as well as a copy of our handprinted letterpress broadside!

Subscribers receive all of these upcoming titles, complimentary merch, plus FREE entries into all of our 2019 Sundress competitions, open reading periods, and Sundress Academy for the Arts residency applications for themselves AND a friend.

From now until the end of the February, you’ll receive not only the entire 2019 catalog but also a FREE Sundress title of your choosing!

Subscribe today at: https://squareup.com/market/sundress-publications/item/sundress-subscription

A 501(c)3 non-profit literary press collective founded in 2000, Sundress Publications is an entirely volunteer-run press that publishes chapbooks and full-length collections in both print and digital formats, and hosts numerous literary journals, an online reading series, and the Best of the Net Anthology.

 

 

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The Wardrobe’s Best Dressed: Barnburner by Erin Hoover

 

 

 

 

 

 

This selection comes from Erin Hoover’s book Barnburner, available from Small Press Distribution.  Purchase your copy here! Our curator for February is Natalie Giarratano.

Erin Hoover’s debut poetry collection, Barnburner, was selected by Kathryn Nuernberger as winner of the Antivenom Poetry Award and published by Elixir Press in 2018.  Her poems have appeared in The Best American PoetryBest New Poets, and in journals such as Prairie Schooner, Narrative, Alaska Quarterly Review, and Pleiades. Hoover has served as past editor of the Southeast Review, volunteer for VIDA: Women in Literary Arts, and co-founder of the literary organization Late Night Library. She earned a Ph.D. from Florida State University and now lives in Tallahassee, where she teaches writing. You can find her @erinhoover on Twitter.

Natalie Giarratano is the author of Big Thicket Blues (Sundress Publications, 2017) and Leaving Clean, winner of the 2013 Liam Rector First Book Prize in Poetry (Briery Creek Press, 2013). Her poems have appeared in Beltway PoetryTupelo Quarterly, Tinderbox, and American Literary Review, among others. She edits and lives in Fort Collins, Colorado, with her partner and daughter and is the city’s poet laureate.

Interview with Letitia Trent, Author of Match Cut

Ahead of the release of Match Cut, her newest collection of poems, Letitia Trent took timematch cut cover to speak with Sundress editorial intern, Lauren Sutherland, to discuss the themes, imagery, organization of the collection, and the darker shadows of writing and psychology that continue to inspire Trent’s work.

Lauren Sutherland: Movies clearly inspired this collection of poems, from the title to each of the poems themselves. How was it incorporating films into your personal ideas for individual poems?

Letitia Trent: I didn’t really choose to write about film, it was the only way I could write poems for a long time, from around 2008 to 2011. I started the movie poems after I got out of my MFA program and moved back to my home state of Vermont. I’m pretty sure I was depressed around this time, and my writing started to suffer, or at least my old vision of myself as somebody who could pretty easily write a poem faltered. I couldn’t figure out how to write the kinds of poems I was writing during my MFA, and I started to feel isolated from community and frustrated with myself. Movies saved me during that time. My husband and I lived walking distance from the local movie theater, so we saw a movie almost every weekend. I also started to revisit films I’d always wanted to watch in the past but had never gotten to.

When I was a kid, I was wild about movies. When I was around ten, my mom bought me this enormous “Rating the Movies” book and I read it straight through, marking all the movies I wanted to watch with a check mark. We would go every week to the video store, and I tried to get all my checked movies in, so at one point, when I was about eleven, I found myself watching Taxi Driver with my horrified parents. Then, I went to college for literature and grad school for writing and kind of lost track of my love of movies for a while. When I got out of grad school, I felt lost, so I came back to movies again. The writing itself came out of the movies–I didn’t really have a pre-conceived notion of what I wanted to write but instead, let the poems come from
the material in the film. Once I got going, almost every movie I watched produced a poem for a period of a couple of years.

Sutherland: Was there a particular strategy for ordering your poems or did it just happen organically?

Trent: I went through so many attempts to organize these poems. I’d say that was the hardest part for me. I had a lot of help from the editors here at Sundress, as organizing a book is probably one of the biggest struggles for me, and I needed as much help as I could get. I usually try to feel it out and organize intuitively, but the more suggestions I got, the more the poems seemed to separate based on theme. There are a lot of poems about gender, particularly about how films define women. Film noir and horror, in particular, have these conflicting ideas about gender, ideas that both appeal to me and feel uncomfortable. I’m interested in these tropes and how we (as a culture and individually) use the raw material of film to build identity. I also wrote a lot about mothers and children and sex. I did not realize that these were my themes until I began the work of reflecting on the poems. Writing and organizing this manuscript was an excavation, sometimes a surprising one.

Sutherland:
Did your poems come first or did you like the idea of working with the genre and mold your poems to fit that?

Trent: I’m an enormous fan of horror and tend to be attracted to the murky, the dark, the noir-ish—and since the poems came from the film, those themes were bound to show up. These are wells I’ve been digging for most of my writing career in a variety of genres. All I know is that
these themes have always attracted me.

Sutherland: How did you come to love the darker side of writing and integrate that into your poetry?

Trent: I think an interest in more shadowy parts of life and consciousness pairs with my interest in psychology. I like to wrestle with things that trouble me. Poems have been a way for me to work through the more confusing, slippery, and troubling parts of myself. I think that’s why I’m attracted to genres at the fringe of “respectability,” like film noir or horror or exploitation films. I think they can often access the parts of us that we push away or keep in the shadows because these are genres that don’t use tasteful or acceptable ways of framing the more volatile parts of human life (sex, death, fear, etc.).

Sutherland: Your exploration with form in this collection is vast, including your creativity with capitalization (in “Blue Velvet”), line-breaks (in “The Brood”), and spacing (in “The Dreamers”). Do you find this kind of variation to be necessary when compiling a book of poems, and do you feel like it’s a challenge to branch out from the more comfortable forms?

Trent: When I was writing these poems, I was really interested in OULIPO writing techniques. A couple of the constraint-based poems are in the manuscript, including “Secretary”, which I think was an attempt at a snowball, a poem that increases word count gradually (though I think I messed the word count up and just kept the mistake in the poem) and an N+7 poem (“Kairo”), where I used a dictionary of sexual terms to replace most of the nouns in the poem. I have a few poems where I would initially write a poem response to the film and then do a collage or
OULIPO exercise on the poem I’d just written. I found constraint-based writing to be incredibly freeing. I started to get excited about writing again. While I don’t think it’s necessary for everyone, it was exciting for me to try new ways of writing.

Sutherland: What did you find to be more of a battle, and what did you find to be more innate when writing the poems that make up Match Cut?

Trent: It took me a really long time to make this manuscript exactly the way I wanted it, despite having a pretty clear organizing principle (film poems) right from the beginning. I have to thank my proofreaders and editors for that, as it was really initially just a mess of poems about movies without a lot of shape. Also, because so many of the poems were made in a rush of excitement after watching a film, they were sometimes a bit raw and unformed. It took me a while to have
enough distance from the manuscript to see the themes and to see my way forward for revision.

 

Order your copy of Match Cut today!

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letitia-trentLetitia Trent’s work includes the novels Echo Lake and Almost Dark and the poetry collection One Perfect Bird.  Her work has appeared in The Denver Quarterly, Black Warrior Review, 32 Poems, and Waxwing, among others. Letitia works in the mental health field in a small town in the Ozarks with her husband, son, and three black cats.

Pre-order your copy of Match Cut, today.

 

 

 

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Lauren Sutherland is a recent graduate of Lee University in Cleveland, TN and proudly has a Bachelor’s degree in English with a writing emphasis and a Deaf Studies minor. Lauren enjoys reading, writing poetry, but her ultimate passion is for editing. She has been interning with Sundress since July and loves getting the opportunity to have a hand in the literary community.

 

 

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The Wardrobe’s Best Dressed: Barnburner by Erin Hoover

 

 

 

This selection comes from Erin Hoover’s book Barnburner, available from Small Press Distribution.  Purchase your copy here! Our curator for February is Natalie Giarratano.

Erin Hoover’s debut poetry collection, Barnburner, was selected by Kathryn Nuernberger as winner of the Antivenom Poetry Award and published by Elixir Press in 2018.  Her poems have appeared in The Best American PoetryBest New Poets, and in journals such as Prairie Schooner, Narrative, Alaska Quarterly Review, and Pleiades. Hoover has served as past editor of the Southeast Review, volunteer for VIDA: Women in Literary Arts, and co-founder of the literary organization Late Night Library. She earned a Ph.D. from Florida State University and now lives in Tallahassee, where she teaches writing. You can find her @erinhoover on Twitter.

Natalie Giarratano is the author of Big Thicket Blues (Sundress Publications, 2017) and Leaving Clean, winner of the 2013 Liam Rector First Book Prize in Poetry (Briery Creek Press, 2013). Her poems have appeared in Beltway PoetryTupelo Quarterly, Tinderbox, and American Literary Review, among others. She edits and lives in Fort Collins, Colorado, with her partner and daughter and is the city’s poet laureate.

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Project Bookshelf: Stephanie Marker

When I peruse the titles housed in my bookshelves, I see the rooms in which I first stacked and sorted them, hear the music that was playing the first time I cracked their spines. These books have traveled with me widely, from state to state, from life to life.

I’ve had them piled against countless walls across countless uneven, warped wooden floors. I’ve had them packed away in totes and torn Amazon boxes in the back of my car. I’ve stacked them on makeshift bookshelves, in kitchen cabinets, under bathroom sinks. As my life has taken on new and unfamiliar shapes, so, too, have my book stacks.

I have friends scattered throughout these stacks and professors that I’ve admired. I’ve edited a couple for publication. I’ve reviewed one or two for literary journals and zines.

My own work is packed away in these volumes, tiny notes scribbled in narrow margins that turned into articles and essays and degrees. Hours and hours of solitude stretched across years upon years upon years. Like most writers, I live through words. These are the books through which I’ve constructed my ever-expanding reality.

 

These books are heavy with history. I didn’t write, or even contribute to, the overwhelming majority of them. But there is a sense of ownership that comes with collecting literature. These are my books. Not just in physicality, but in spirit. The stories I’ve shaped in my readings of these texts are mine alone. Nobody can see what I see in these spines. This is the intimacy of accepting the life of a writer, of choosing to experience the world through the internalized processes of a dedicated reader. There’s plenty of pain in these shelves, but there’s comfort there, too. These books will continue to take on new shapes and new lives as I do. There’s breath in these shelves.

 

 

 

 

 

 

Stephanie Marker received her MFA in fiction from Bowling Green State University in 2010, and her PhD in English from the University of Louisiana at Lafayette in 2017. Originally from Kalamazoo, Michigan, she now resides in Tuscaloosa, Alabama with her partner and their two puppies. Her work has appeared in Hayden’s Ferry Review, Third Coast, and The Collagist, among others.

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The Wardrobe’s Best Dressed: Barnburner by Erin Hoover

 

 

 

 

 

 

This selection comes from Erin Hoover’s book Barnburner, available from Small Press Distribution.  Purchase your copy here! Our curator for February is Natalie Giarratano.

Erin Hoover’s debut poetry collection, Barnburner, was selected by Kathryn Nuernberger as winner of the Antivenom Poetry Award and published by Elixir Press in 2018.  Her poems have appeared in The Best American PoetryBest New Poets, and in journals such as Prairie Schooner, Narrative, Alaska Quarterly Review, and Pleiades. Hoover has served as past editor of the Southeast Review, volunteer for VIDA: Women in Literary Arts, and co-founder of the literary organization Late Night Library. She earned a Ph.D. from Florida State University and now lives in Tallahassee, where she teaches writing. You can find her @erinhoover on Twitter.

Natalie Giarratano is the author of Big Thicket Blues (Sundress Publications, 2017) and Leaving Clean, winner of the 2013 Liam Rector First Book Prize in Poetry (Briery Creek Press, 2013). Her poems have appeared in Beltway PoetryTupelo Quarterly, Tinderbox, and American Literary Review, among others. She edits and lives in Fort Collins, Colorado, with her partner and daughter and is the city’s poet laureate.

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