Sunday, April 6, 2014

Now Available: The First Steps are the Deepest




Laura Wetherington's first book, A Map Predetermined and Chance (Fence Books 2011), was selected by C.S. Giscombe for the National Poetry Series. Her work appears in the Minnesota Review, Drunken Boat, Otoliths, Verse, Mrs. Maybe, among others, and in two anthologies, The Sonnets: Translating and Rewriting Shakespeare, edited by Paul Legault and Sharmila Cohen (Nightboat Books 2012) and 60 Morning Talks, edited by Andy Fitch (Ugly Duckling Presse 2014). She currently teaches in Sierra Nevada College’s undergraduate English and low-residency MFA programs. Wetherington co-founded and currently edits textsound.org and works as a faculty advisor for the Sierra Nevada Review.

Hannah Ensor has poems in print and online in Bat City Review, Cutbank, Spork Press, and Apartment Poetry, among others. An essay on Anne Carson’s Answer Scars appears in Anne Carson: Ecstatic Lyre (University of Michigan Press 2014). Along with being a member of the deep-ocean noise-pop duo Algae & Tentacles, she is also a co-editor of textsound.org, an assistant poetry editor for DIAGRAM, and serves as vice president of the board of directors of Casa Libre en la Solana, a literary arts nonprofit in Tucson, Arizona.


Jill Darling has two poetry collections: Solve For (BlazeVOX, ebooks) and begin with may: a series of moments (Finishing Line Press). And she's had work published in /NOR, Aufgabe, 580 Split, Quarter After Eight, Phoebe, factorial, Horse Less Review, Two Serious Ladies, in the anthology Poetic Voices Without Borders, and forthcoming in Denver Quarterly. She teaches at Eastern Michigan University and The University of Michigan-Dearborn.



Cover Art by Nicolette Rose, “Ascending, No. 3”

Excerpt:

Harem
 
I live in endless theorem. I live relentless correction. You didn’t tell me that we could sell the art: fiscal touching, fiscal touching in the courtyard. It elicits a response. Looking around the house peeling the wallpaper off, all so salable. Watch Pawn Stars and sleep. It seems that death is very possible. I have a million corporeal feelings. I live peerless. Here-less and There-less. Here, this: before it’s all gone we should touch the walls, illicit. Before I gray my hair. Before I marble statue. Not goodbye but see you later.





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