ALICE JAMES BOOKS Fal l 2011

INSIDE

From the Director’s Desk 1

New Books 2

Translator Interview 4Rebecca Gayle Howell

News and Events 7

Young Writers on Campus 9

Donors 10

The 3rd Annual Kinereth Gensler Awards 11 Celebration Reading & Book Launch

The Alice Fund 12

Staff Spotlight 13Frank Giampietro

Alice Asks 14 Janine Oshiro

Dear Friends,

ou gh we’ve spent much time kayaking in the nearby Sandy River, searing summer garden rewards on the grill, ° oating at the very surface of our August-warm ponds, and taking in the gorgeous green that overtakes Maine in its sudden, almost desperate fury, it has actually been a busier than average summer at the AJB o ce. We’ve embarked on more intensive website work, hired an amazing new managing editor, Frank Giampietro (author of Begin Anywhere, 2008), and beheld the work and talent of 32 young writing prodigies, who ventured to Farmington from places as far away as Florida, Colorado, and West Virginia for the week-long Longfellow Mountain Young Writers Workshop.

We’ve also been working diligently to produce and launch Pier and Hagar Before the Occupation / Hagar After the Occupation, the ÿ rst books of AJB’s two new publishing programs: e Kundiman Poetry Prize and the AJB Translation Series. For helping us unveil both of these new series and deliver two new, beautiful books to fellow poetry lovers, I want to express my deepest gratitude. AJB is very thankful for your abiding support and friendship.

You’ll ÿ nd more about these collections, and the authors and translators inside this newsletter. To round out our fall list, there’s me and Nina by Monica A. Hand, a tour-de-force that delves into the life of author, Hand, and simultaneously the life of Nina Simone. It’s a brilliant debut book, lush with lyricism and a must for every bookshelf (as is our entire fall list). What another knockout season for AJB!

As always, lingering in the ether is the matter of funding, which ultimately chooses for us what we can and cannot do with our poetry publishing dreams. In the wake of an $11,000 cut in our NEA funding, many of our pursuits have become uncertain, and it’s starting to feel like 2009 all over again. I sincerely hope you can help calm our fears and breathe new life and stability into the press by giving to our annual appeal this year. Alice James really, really needs your partnership. Our annual appeal season is kicking into high gear, and I am counting on you to see us through uncertain times. So, along with all the news, you will also ÿ nd your donors’ page complete with an extractable donation “card” for your philanthropic convenience. Alice and I respectfully invite you to use it.

I wish the happiest and most productive autumn to you. May poetry be the light that leads you in these darkening days, into and through the snow, the sparkle of winter.

Yours in poetry,

f a l l

n e w s l e t t e r

2 0 1 1

Alice James Bookspoetry since 1973

AJB STAFFCarey Salerno

Executive DirectorFrank GiampietroManaging Editor

Meg WillingEditorial Assistant

Debra NortonBookkeeper

COOPERATIVE BOARD MEMBERS

Nicole Cooley, PresidentLaura McCullough, Vice President

Matthew Pennock, TreasurerMonica A. Hand, Secretary

Catherine BarnettJoanna FuhrmanDaniel Johnson

Mihaela Moscaliuc Stephen Motika

Peter Waldor Anne Marie Macari, Alice EmeritusEllen Doré Watson, Alice Emeritus

INTERNSAbrahamm Beane

Devany Chaise-GreenwoodCallie Koenig Jamie Phillips

Casey O’MalleyRyan OuimetKristen Start

Lauren Taylor

Volume 16, Number 2

Image of Alice Jamespf MS Am 1094, Box 3 (44d)

By permission of the Houghton Library, Harvard University

Dan

Sal

erno

Front cover from me & Nina (01/2012)Image credit: “To Be Young, Gifted & Black,” Krista Franklin

Carey Salerno, Executive Director

Janine Oshiro holds degrees from Whitworth University, Portland State University, and the University of Iowa Writers’ Workshop. She is a Kundiman Fellow and the recipient of a poetry fellowship from Oregon’s Literary Arts. She lives in Hawaii and teaches at Windward Community College.

PIER

new books 2

Janine OshiroPraise for Pier:

“As if through an echolocation of brilliant and insistent o -rhyme, these poems e ect a delicate placement of self into body, body into world, world into word. And at the center of it all is an even more delicate loss. Oshiro’s Pier takes its measure in precise instances that ache with intelligence. A truly masterful ÿ rst book.” —Cole Swensen

“Who can whisper in the spare dark and still be heard in the greater stillness? Only a poet who bets everything on spirit and the ability of language to outline that spirit. In prose honed to home and verse like stones skipping on the surface of water, who can tell where this wonderfully quiet and haunting book will lead? Not where you would ever think: ‘Everywhere is a potential exit / except the door.’ In a virtuosic range of approaches to line, image and poem, Janine Oshiro makes a unique new music.” —Kazim Ali

“˜ e poems in Pier refuse to privilege poetic craft over intensity of feeling, landscape over interiority, the mundane over the fabular, stoicism over grief. Instead, they have it all—or rather, they emerge from the spaces between contending states: ‘It came out in a child’s hand and I was / not a child.’ Oshiro’s is a new voice of antique resonances, born of an anxious apprenticeship to beauty and to pain.” —Mark Levine

Snow Logic

In the world of telling, it issaid that where the snow rushes the earth, the bears are white.My empty bowl is in the world of telling. Spoon,unÿ nished state of beinga moon, my only handle.If in my empty bowl should livea bear, what color would re° ectin his dark eyes?

September 2011

Shanda Tice

Monica A. Hand

Monica A. Hand is a poet and book artist currently living in Harlem. Her poems have appeared or are forthcoming in Aunt Chloe, Black Renaissance Noire, The Sow’s Ear, Drunken Boat, Beyond the Frontier, African-American Poetry for the 21st Century, Gathering Ground: A Reader Celebrating Cave Canem’s First Decade and elsewhere. She holds an MFA in Poetry and Poetry in Translation from Drew University and is a founding member of Poets for Ayiti.

Praise for me and Nina:

“Monica A. Hand sings us a crushed velvet requiem of Nina Simone. She plumbs Nina’s mysterious bluesline while recounting the scars of her own overcoming. Hand joins the chorus of shouters like Patricia Smith and Wanda Coleman in this searchlight of a book, bearing her voice like a torch for all we’ve gained and lost in the heat of good song.”

—Tyehimba Jess

“In me and Nina, Monica A. Hand depicts, as Nina Simone did, what it is to be gifted and Black in America. She shifts dynamically through voices and forms homemade, received, and re-imagined to conjure the music (and Muses) of art and experience. ˜ is is a debut ÿ ercely illuminated by declaration and song.” —Terrance Hayes

“Monica A. Hand’s me and Nina is a beautiful book by a soul survivor. In these poems she sings deep songs of violated intimacy and the hard work of repair. ˜ e poems are unsentimental, blood-red, and positively true, note for note, like the singing of Nina Simone herself. Hand has written a moving, deeply satisfying, and unforgettable book.”

—Elizabeth Alexander

ME AND NINA

Janurary 2012

new books3

Sound speaks

traveling through us she found rageinside our breath a seaquake simple mathematics ear + voice = reverberation we implode one into the other she to us like geese migrating like a locomotive like a wagon like land claimed with a rake like a psalmwe in her presencethe Jubilee

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Hagar Before the Occupation

Amal al-Jubouri, a native of Iraq, is the author of fi ve collections of poetry in Arabic: Wine from Wounds (1986); Words, Set Me Free! (1994); Enheduanna, Priestess of Exile (1999); 99 Veils (2003); and Hagar Before the Occupation, Hagar After the Occupation (2008). Also an active literary translator, she is the founder and editor of East West Publishing, a press with the mission to introduce works of international literature into the Iraqi literary scene. In 1997, she took refuge in Germany, but returned to live in Baghdad after the fall of the Ba’ath Party. Today she lives and writes in Berlin.

translator interview 4

Husam Qaisi, originally from Amman, Jordan, earned his BS in business administration from Sullivan University. When Qaisi is not traveling the globe as an executive for Qaisi Electronics, he lives in Louisville, Kentucky with his wife Vemihan and his four children.

Rebecca Gayle Howell’s poems and translations appear in such publications as Ninth Letter, Ecotone, 32 Poems, Indiana Review, Hayden’s Ferry Review, Great River Review, and Poetry Daily. She is the recipient of the Jules Chametzky Prize in Literary Translation from The Massachusetts Review and a fellowship from the Fine Arts Work Center.

Hagar After The OccupationAJB recently asked Rebecca Gayle Howell some questions about her forthcoming translation of Amal al-Jubouri’s Hagar Before the Occupation / Hagar After the Occupation. In this interview she off ers us a view into the process of translating this landmark book of poetry from the Arabic-speaking world.

Alice James Books: In the book’s introduction, you describe the translation process as a collaboration. How is this true?

R˝˙˝ˆ ˆˇ Gˇyle Howell: I think translation is collaboration between time, place, culture, consciousness—the boundaries

of language itself—as much as it is between translator and poet. When we enter into the job, we agree to work on a continuum of approximation. We make our choices. We live with the consequences. In order to be a translator, I have to leave behind my fantasy Tower of Babel; I have to accept my limitations. I like that. With Hagar, my limitations were by nature cultural as much as they were lexical. I had to accept that I’m an American without a familial Arabic background; that I’m an American who watched on television the invasion of Iraq. So, in this case, the collaboration was between writer and writer, yes, but also between histories.

My Body Before the Occupation

—Uranium for weapons, disarmedAmmunition for wars to comeA loaf of hot bread

aching to be eaten

My Body After the Occupation

—Unable to reach heights of pleasureDisabled little deaths

I hate their crowning moans

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AJB: ˜ e foreword to Hagar Before the Occupation / Hagar After the Occupation, uses the quote “art destroys silence” by Yevgeny Yevtushenko. ˜ is seems signiÿ cant in more ways than one since as a translator you are acting as the vehicle that allows English-speaking people to understand Arabic art. Can you say more about this?

RGH: Too often we wait until a generation has passed before we translate and read poets native to our wars and con˜ icts.

° is is a shame, since their poems, when translated, might import consequential empathy and understanding to the English-reading audience. I hardly have statistics, but I’m guessing we have more poets publishing in America today than ever before. My hope is that more of us will begin translating living texts into English; by closing the gap of time and place, by welcoming a globalized poetics into English, we could become better poets. Maybe better Americans.

AJB: In your introduction you observe that it is much easier to be concise when writing in Arabic, because of the di˛ erences in grammar and syntax. In what ways does this understanding of Arabic in˝ uence your awareness of language and its impact on your own art?

RGH: Idea, image, sound, and metaphor are organized di˛ erently depending on which language system the poet is using to build her poem. Whenever I study how poetry behaves in another language, I learn something new about how it might also behave in English if I were to push it a little to the right or left. Arabic poetry, for example, can sustain abstractions or ideas more readily than English because of its musical momentum. One well-muscled craft element carries the weight of the awkward other. Is it always true that the concrete poem reigns? Or is there something particular to English that leaves it wanting concrete imagery? And can this boundary be pushed a bit more?

AJB: ˜ e non-traditional method you and the other translator, Husam Qaisi used to approach this translation was quite unique. Could you talk a bit about this process and how you chose the phrases you felt were right?

RGH: Husam and I agreed to step the traditional process back; instead of working from “literal versions” of the poems

(with syntax already interpreted), I asked him to provide lexicon tables in which Husam would retain the original Arabic syntax order. ° ese tables provided the ÿ rst potential English equivalent in rows and cells directly underneath each cell that contained the original Arabic word. Husam would then write copious notes on potential English synonyms, as well as any historical, cultural, and religious background that the Arabic reader would likely bring to the poem. Once I had a ÿ rst draft we’d work together over Skype, clarifying any confusions. ° en I’d redraft. And another Skype conversation. And another draft. ° is process, while slow, allowed me to build the English version with as much concision as possible, without compromising clarity. I tried to work on the continuum of choice I referred to earlier, approximating sound and meaning while also prioritizing the need for the English version to stand on its own. I trusted Amal’s vision. I trusted my ear.

AJB: What parts of the translating process did you ÿ nd most di˙ cult?

RGH: All of it! ° e whole thing is a ÿ re walk.

AJB: Besides your attraction to Amal al-Jubouri’s poem “˜ e Veil of Religions,” which was an Iraqi woman’s response to the events of 9/11, what can you say about your motivation for working so closely with al-Jubouri? How did you ÿ nd one another?

RGH: I found Amal through her work, ÿ rst. Her vision shares something essential with the poets I most love—Dickinson, Celan, Valentine, Merwin—writers who understand poetry as a kind of prayer. I would have wanted to translate her even if we’d never met, just to be close to the poems themselves. ° at she made herself so available to the process was an unexpected blessing; we were able to work together and conÿ dently move the ÿ nal versions in directions I was too timid to move them in on my own.

AJB: What are your feelings about bringing this particular poet’s words to an American audience?

RGH: War works best when those we war against remain anonymous. Lyric poetry such as that found in Hagar, insists on the “I,” a speciÿ c “I” who has a daughter and a husband and a mother and terror and rage. It sings from a

translator interview (continued)5

y welcoming a globalized poetics into English, we could become better poets.Maybe better Americans. B“

”

November 2011

translator interview (continued) 6

life fully lived, one we can relate to and therefore fear for. Speciÿ cs such as these change the terms of the discourse. If Hagar is, for the Arabic reader, an elegy of a homeplace, perhaps for the American reader it is a di erent kind of elegy, a way for us to grieve what we have done.

AJB: Why is the epigraph, “What is given in humiliation will be retrieved in disgrace” signiÿ cant? Why do you think it’s important to read before one begins Amal al-Jubouri’s collection of poems?

RGH: It’s a translation of one of the epigraphs that accompanied the Arabic publication. For me, it acts as a kind of eerie prophecy. Who will be disgraced? And what will be retrieved? In English it carriesdouble meaning—depending on who is read as the actor and who is read as the acted upon. ° e fact that it’s a Sumerian saying means that this prophetic voice comes to us out of the core of human history. After all, we did invade the cradle of civilization. It insists the reader enter the book knowing just how old the region is—and how long its people have survived against the odds.

AJB: How would you describe Hagar (the matriarch of Islam) as an in uence, or muse, in this collection of poetry?

RGH: ° e Hagar of this book is the one bonded to the Prophet Abraham (Ibrahim). In the Islamic version of her desert exile, Hagar runs between two mountains, Safa and Marwa, praying to God for water. In these poems, Amal uses Hagar as her mask, creating a form to which the title of the collection alludes. For most of the book, the poems are arranged in contrasting pairs: “Loneliness Before the Occupation,” “Loneliness After the Occupation.” “My Husband Before.” “My Husband After.” etc. By way of the metaphor, the poet herself runs between the two most recent eras of American involvement in Iraq; as Hagar prays for water, Amal prays for peace. What’s so impressive to me though is that, through the poet’s deft use of the lyric “I,” the reader is also Hagar, and the reader also prays.

AJB: Several of the poems are only a few lines long. Besides the conciseness of the language, what do you feel the length contributes to the delivery of the poem?

RGH: For the ÿ rst, say, two-thirds of the book, the poems use silence as much as they do sound, creating a reverential atmosphere for the chaotic subject matter. ° is choice by the poet establishes an expectation for the book’s voice that is then wildly broken once the Cantos section starts. Hagar is a grief chained, and then, unleashed. By the time the poet reaches “Poetry After the Occupation,” the last and longest poem in the collection, she cannot stop herself from saying

Congratulations to our

Matthew Olzmannfor his book

Mezzanines

Forthcoming from AJB, Spring 2013

The next contest deadline is March 1, 2012. Visit www.kundiman.org or our website for details &

guidelines.

all that needs to be said.

AJB: Why do you think Amal al-Jubouri, after writing such a powerful book of poetry, concluded the collection with the section entitled “Farewell, Poetry?”

RGH: In this adaptation of the story, Hagar does not receive her miracle. Instead, we witness the poet’s loss of faith in Iraq’s return to itself, and in the god to whom she prays. Poetry itself has turned its back on her. In her devastation, the poet decides: she will now turn her back on it. As I watch the continued unfolding of the Arab Spring and all it means, I cannot help but hope that she doesn’t.

AJB: Why do you think Amal al-Jubouri, after writing such a powerful book of poetry, concluded the collection with the section entitled “Farewell, Poetry?”

RGH: In this adaptation of the story, Hagar does not receive her miracle. Instead, we witness the poet’s loss of faith in Iraq’s return to itself, and in the god to whom she prays. Poetry itself has turned its back on her. In her devastation, the poet decides: she will now turn her back on it. As I watch the continued unfolding of the Arab Spring and all it means, I cannot help but hope that she doesn’t.

2011 Kundiman Poetry Prize Winner

news and eventsDoug Anderson

has poems forthcoming in Massachusetts Review, Connecticut River Review, Cutthroat, Cimarron Review; essay forthcoming in Massachusetts Review.

Catherine Barnett’ssecond collection, ˜ e Game of Boxes, is due out from Graywolf in August 2012. An essay on Jean Valentine is appearing in is-World Company: On the Poetry of Jean Valentine (forthcoming, University of Michigan Press); and an essay on the poetic line is appearing in A Broken ˜ ing: Poets on the Line (University of Iowa Press), in October 2011. She will be giving a reading with Colm Toibin on February 22, 2012, at the University of Maryland.

Kathleen Sheeder Bonanno has received a Knight Foundation Challenge Grant to open the Musehouse: A Literary Center for the Arts in the northwest section of Philadelphia. ˜ e center will feature workshops, readings and special events for writers of all ages and genres including poetry, ÿ ction, memoir, and playwriting. Any Alices who might be interested in reading at the Musehouse can contact Kathy at musehousecenter@ymail.com.

Carole A. Borges is proud to announce that she has ÿ nally completed her memoir about growing up on a boat on the Mississippi River in the 1950s. She’s currently shopping around for an agent. Her essay “Why I Stopped Swearing & Will Never Be ˜ rown O˛ An Airplane” will be published next month in the online magazine Write Elephant. Also, three of her poems will be forthcoming in the inaugural issue of TjgrszmK Journal (date to be announced).

Nicole Cooley’s chapbook In the Doll Museum will appear in the new journal Chapbook this fall. She will be giving upcoming readings in the Sarabande Reading Series in Kentucky, the Observable Reading Series in St. Louis, at the Tangled Spaces Motherhood Symposium in NYC and at the Oxford Festival for the Book in Mississippi.

Deborah DeNicola gave readings at Art Serve, Ft. Lauderdale and the Bottega Wine Bar in Coconut Creek, Florida. She is working on a new manuscript ˜ e Big Enigma. Her poem “Let Love” appeared in the Passager anthology, Burning Bright.

Amy Dryansky has poems in Harvard Review and the anthology Morning Song: Poems for New Parents. Her second collection, currently titled Grass Whistle, is coming out from Salmon Poetry in fall 2012. She’s recently begun teaching in the creative writing program at Hampshire College.

B.H. Fairchildhas poems forthcoming in Yale Review and Ploughshares. An essay, “A Midwestern Poetics: Selections from a Journal,” is forthcoming in New Letters. “Logophilia,” an essay that appeared in New Letters last year, recently received a Pushcart Prize. An interview with Fairchild recently appeared in Rattle.

Joanna Fuhrman has new poems online at Press 1 (http://www.leafscape.org/press1) and ˜ e Academy of American Poets website (Poem-a-Day). Her article on teaching Kenneth Koch’s poetry will be in the winter issue of Teachers & Writers magazine. Her new website is now online. Visit her at joannafuhrman.com.

Stacy Gnallhas one post-November reading lined up, so far, at Beyond Baroque Literary/Arts Center in Venice, California on Saturday, February 11, 2012.

Cynthia Huntington’sfourth collection of poetry, Heavenly Bodies, is this year’s Editor’s Selection in the Crab Orchard Poetry Series, Southern Illinois University Press. ˜ e book will appear in December 2011. She has also just been awarded a poetry fellowship from the Vermont Art Council.

Janet Kaplan’snewest book, Dreamlife of a Philanthropist: Prose Poems & Prose Sonnets, selected by Cornelius Eady and Joyelle McSweeney for the Ernest Sandeen Prize in Poetry, was published in February by the University of Notre Dame Press. Prose poems from her manuscript-in-progress were recently published in Sentence and online and in print by the Prose Poem Project. ˜ is fall she will launch Red Glass Books, a new limited-edition chapbook series, with the publication of Swimming to America by Patricia Spears Jones.

Ruth Lepson will read at the Gloucester Writers Center, September 14. She was recently published in Quarterly West.

Lesle Lewis’poem “Red Bank” was featured by the Academy of America Poets for “Poem-A-Day,” and has poems forthcoming in e Associative Press and ˜ e Monday Poetry Report.

Suzanne Matson, who remains a full-time professor at Boston College, has also joined the low-residency MFA faculty at Fairÿ eld.

Alice Mattison’sessay “˜ ree Bartlett Pears,” ÿ rst published in ˜ e ˜ reepenny Review, will be included in the coming Pushcart Prize anthology; a short story, “˜ e Vandercook,” which came out in Ecotone, will be in the O. Henry Prize Stories anthology; and an essay, “Where Do You Get Your Ideas,” is forthcoming in e Writer’s Chronicle.

Shara McCallum’sfourth book, ˜ e Face of Water: New and Selected Poems is forthcoming from Peepal Tree Press, UK, in the Fall of 2011. Her upcoming readings and lectures include: Xavier University & the University of New Orleans, New Orleans, LA—November 9-11, 2011. Miami Book Fair International, Miami, FL—November 19, 2011. Lycoming College, Williamsport, PA (date tba). Paterson Poetry Center, Paterson, NJ—February 4, 2012. University of Connecticut, Storrs, CT, Aetna Writer in Residence—February 15-17, 2012. AWP, Chicago, IL—March 1-4, 2012 (may be on a panel; attending either way). River Styx reading at Du˛ ’s, St. Louis, MO—March 19, 2012.

7

news and events (continued) 8

Attention Alices

DON’T SEE YOUR NEWS LISTED BUT HAVE SOME YOU WANT TO SHARE?

Be sure you’re included in the Spring 2012 Newsletter by contacting the AJB offi ce today.

WRITE TO US

ajb@alicejamesbooks.org

OR CALL

(207) 778-7071

We want to hear from you!

Carol Potterhas poems forthcoming in Poemeleon, Lambda Literary Review Newsletter, and the anthology, Open Field.

Donald Revellwill be giving a reading at Vermont College on Wednesday, January 4, 2012 and reading / lecturing / teaching at ˜ e Vermont Studio Center May 31-June 6, 2012.

Jane Springerhas had poems published most recently in Fogged Clarity, Poetry Daily, and ˜ e Oxford American’s “Best of the South” issue. Several of her poems are forthcoming in Smartish Pace, Plume, Fugue, and e Gettysburg Review. ˜ e title poem from her book, Murder Ballad, will appear in the 2012 Pushcart anthology.

Brian Turner’sHere, Bullet was published in Sweden this September. Phantom Noise will reach a Swedish audience by spring 2012.

Suzanne Wisehas four poems published in the current issue of Green Mountains Review, one poem in Bone Bouquet, one poem in Catch Up, and one poem in Edna.

Jon Woodward’sthird book, Uncanny Valley, will be published in 2012 by Cleveland State University Poetry Center.

Western PracticeStephen Motika

Available April 2012

COMING SPRING 2012

Sudden DogMatthew Pennock

Available April 2012

Murder BalladJane Springer

Available May 2012

THE 2012 BEATRICE HAWLEY AWARD

Open to emerging as well as established poets residing in the United States

for an unpublished, book-length manuscript of poems

~The winner recieves $2000, publication, and distribution through Consortium

~Submission deadline is December 1, 2011

~For complete guidelines or to submit your manuscript electronically, please visit our

website www.alicejamesbooks.org

donorsstaff spotlight9

Frank GiampietroAJB’s New Managing Editor

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Alice James Books: So, how did you end up in Farmington, Maine, working for Alice James Books?

F˜°˛˝ Giampietro: I came here right from Baton Rouge, Louisiana. I was the resident scholar at e Southern Review, which was a temporary position. My supervisor, the late Jeanne Leiby, at e Southern Review, sent me the ad for the managing editor job at AJB. I was so psyched to hear that they needed a managing editor at AJB. I’ve wanted to work for AJB ever since they published my book in 2008. I knew Carey Salerno from the AWP conference, I liked her after meeting her there, and my experience as a resident scholar at ˜ e Southern Review made me think I’d like to try to go into publishing. � e rest is history.

AJB: You and Carey Salerno both have books published with AJB. As a writer, what do you bring to this sort of job that someone with a strictly business background does not?

FG: � at’s a good question. For one, we’ve been through the process. We’ve been on the other side—the other side of the phone, the other side of the e-mail. I remember being asked for the author questionnaire and the photo and there being lots of deadlines that seemed important to AJB, but were a mystery to me. We can sort of help foster authors through that process, having gone through it ourselves.

AJB: Do you recall your ÿ rst publication? What was that like?

FG: I remember my ÿ rst poem was published in a journal called Poetry Bone. I’m not sure it’s even in existence anymore, and I never published that poem in a book. But it was a huge thrill. � en when I found out I got my book published, when they called me from Alice James Books, it was just about the best day of my life—other than my kids being born. It was fantastic, I was ecstatic, high for days just thinking about it.

AJB: You’ve created two websites, lafoeva.org, and poemsbyheart.org. With that in mind, how do you see poetry advancing with new media, and where do you see Alice James Books ÿ tting into that world?

FG: After I learn this job as it is, as Managing Editor, which is a huge undertaking, I do hope to help Carey continue to bring AJB into the 21st century. My sense is that poetry is poised to be even more relevant than it ever has been, for one simple reason and it’s this idea of “TL;DR,” which is an internet acronym that means: “Too long; didn’t read.”

Everything seems to be TL;DR in this day and age except poetry. Rather, it’s nice and short. Poetry is this nice little dream, this small, but signiÿ cant, way out of the “self.” Poetry is something that you can make time for with very little sacriÿ ce. Alice James Books is poised to take advantage of that and to make poetry more relevant because of that.

AJB: Are you working on something new?

FG: Yes. I have another manuscript I’m trying to get published. It’s called ˜ e Arbitrarium which is a word my wife gave me when she wanted to go to the arboretum with the kids and she called it the “arbitrarium” by mistake. It was one of those things where I thought, wow, that’s exactly where we go everyday—as a family, as people—every day is a day at the “arbitrarium.” � e new manuscript is ÿ lled with poems about me, and my life with my children, like the last book, but it also has dramatic monologues in the voices of Guinness Book of World Record holders, like the guy with the longest eyebrow hair, or the guy who stood still for the longest amount of time. Wanting to be a famous poet, something I don’t even know if I want, constitutes a similar arbitrary desire for signiÿ cance. It’s possible that it’s just as interesting as someone who wants to grow out an eyebrow hair. I like thinking of poetry like that, and still I’m writing.

Alice James Books recently sat down with the newest addition to the sta� , Managing Editor, Frank Giampietro.

as interesting as someone who wants to grow out an eyebrow hair. I like thinking of poetry like that, and still I’m writing.

I�����������Fortune Brands, Inc.The Frank M. Barnard Foundati onFranklin Savings BankThe Nati onal Endowment for the ArtsNewton PressThomson-Shore, Inc.

S�������: $2500 �� M���AnonymousAnonymousDavid Harvey

P������: $1000-$2499Celia GilbertAnne Marie MacariGloria RobinsonJudy SwahnbergPeter Waldor

B����������: $500-$999Catherine Barnett Mady DeiningerLaura McCullough and Michael BroeckNina NyhartDorothy Robinson

D�����: $250-$499Kazim AliJoan Joff e HallMatt hea HarveyDaniel JohnsonLesle and Daniel LewisAlice Matti sonAnonymousMarc Waldor

AJB THANKS THE FOLLOWING INDIVIDUALS FOR THEIR GENEROUS CONTRIBUTIONS TO THE PRESS FROM 2010 TO PRESENT*

C�����������: $150-$249Mary Jane ChizmarHugh Coyle and Maynard YostHarriet FeinbergStephen GnallJoan and David GrubinAndy and Mary KoskoNancy LagomarsinoMihaela Moscaliuc Bill RoorbachBeverly SalernoLisa SewellBetsy ShollSue StandingDavid TuckerBrian Turner

S���������: $75-$149Robert BenseSuzanne BergerJulia Bouwsma and Walker FlemingBob BrooksNancy BryanCarl DennisJeannine DobbsLaura EdwardsRachel Cotreni FlynnForrest GanderPatricia GibbonsRebecca HarrisonAva Leavell HaymonHugh HennedyAnn KilloughAnn KnoxJames LogenbachDiane MacariShara McCallum

Carolyn MooreAmy NewmanDonald Revell and Claudia KeelanCarey and Dan SalernoLisa SewellMary SzybistCliff ord TylerConnie VoisineEllen Doré WatsonEleanor WilnerCharles Wright

R������: $1-$74Kathleen AgueroElizabeth Ahl Mary AndersonCarole BealRobert BenseGeorge Blecher Carole BorgesLisa BregerKristen CaseJudy Chen-Cooper and Edward CooperRonald CohenMary CornishMary Lisa DeDomenicisTed DeppeSusan DenningCarl DennisBonnie DickinsonJeannine DobbsAmy DryanskyDenise Duhamel Lynn EmanuelPrescott Evarts, Jr.Rebecca Gambito

Cameron GearenDobby GibsonRenee and Robert GibsonJoshua GoldfondStanton and Claudia GreenMarilyn GreenbergRhonda HackerTherese HalscheidMarie HarrisPenny Harter Sarah HellerJudy HendrenNancy Jean HillMaurice HirschMichele Anne Jaquays Ronald KarrLisa KershnerCynthia KingEvelyn LachenauerJoan LarkinJeff rey Thomas LeongRuth LepsonColleen LineberryCrystal and Junsuke MakiRicardo Alberto MaldonadoAdrian MatejkaRichard McCannWesley McNairHelena MintonNora MitchellPat O’DonnellApril OssmannJudith PachtAngela PalmisonoSuzanne ParkerJoyce Peseroff Aida Press

10donors

◊ My Company has a matching program:

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MY NAME: _________________________________ADDRESS: _________________________________CITY: ______________________________________STATE / ZIP: ________________________________EMAIL: ____________________________________PHONE: ___________________________________

... and I want to give to Alice James Books.My gift will:

◊ Publish one AJB book ($5000) ◊ Launch one AJB book ($500)◊ Print one AJB book ($2500) ◊ Advertise one AJB book ($250)◊ Design one AJB book ($1000) ◊ Promote one AJB book ($100)

◊ GIVE ANOTHER AMOUNT: $______________

I wish to make my donation by:

� Enclosing a check payable to: Alice James Books 238 Main Street Farmington, ME 04938� Enclosing cash� Debit or credit card:VISA/MC CARD#: ___________________________________NAME ON CARD: ___________________________________EXPIRATION DATE: ______________________________

Alice James BooksYes! I love poetry

*If you do not see your name listed but have donated to AJB or have found an inaccuracy, please accept our apologies and noti fy us right away by calling or emailing. AJB makes every eff ort to keep this list current and accurate up to the ti me of publicati on.

Newton PressBeth PunziRuth Ann QuickDavid RadavichBill RasmoviczCarlos ReyesKimberly Ann RogersJennifer RoseBeth Anne RoyerBeverly SalernoDavid SalernoMiriam SalernoWilla Schneberg Neil ShephardRebecca Stevenson and Scott Thomas SmithJody StewartAdrienne SuTerese SvobodaAlice TaylorJ.R. ThelinJeff rey Thomson and Jennifer EriksenMona ToscanoParker TowleEdwine TrenthamFlorence WeinbergerJennifer WhitakerMarilyn Zuckerman

3rd annual kinereth gensler awards11

Many thanks to these sponsors for donating their time, treasure, and talent to AJB for this event.

SHARA MCCALLUM AND STEVE SHWARTZER

ON SATURDAY APRIL 23, AJB hosted the 3rd Annual Kinereth Gensler Awards Celebration Reading & Book Launch at Poets House in New York City. � e event featured readings from our 2010 Kinereth Gensler Awards winners, Laura McCullough and Nicole Cooley. AJB authors Ellen Doré Watson and Shara McCallum also shared their poems as guest readers.

Anne Marie Macari, Ellen Doré Watson, Monica A. Hand, a friend of AJB, and Shara McCallum enjoying snacks while discussing their favorite AJB books.

A group of attendees chatting about the readings and this year’s winners.

Matthew Pennock keeping a careful eye on the book sale table.

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the alice fund 12

What’s your legacy level?

Alice$10,000 or more

Henryup to $10,000

Williamup to $5,000

Robertsonup to $1,000

Wilkyup to $500

THE ALICE FUND...preserving the legacy of Alice James Books

About The Alice Fund � e Alice Fund’s mission is to ensure the long-term � nancial stability and realization of the strategic goals of Alice James Books. � e press is wholly committed to investing the vast majority of any “pro� ts” or “gains” from a given � scal year directly into � e Alice Fund. � ough many donors choose to give to both, funds raised for � e Alice Fund and our Annual Fundraising Appeal remain separate from each other.

Fund Management Policy Each year up to 5% of the fund may be distributed to our cash reserve/contingency portion of � e Alice Fund to Alice James Books as income for ordinary operations or for special projects.

Fund Investment Policy Our investment policy is decidedly conservative. AJB currently distributes funds evenly between cash (for contingency/quasi-endowment use), CDs, and moderate growth mutual funds.

About Our Strategic Goals All nonproÿ ts plan for growth and aspire toward greatness. Here’s what the Alice James Cooperative Board is committed to:

• Hiring full-time marketing, publicity, and development personnel • Publishing up to 8 titles per year, including the AJB anthology and books from our two new series: � e Kundiman Poetry Prize and the AJB Translation Series • Continuing to publish emerging and established poets • Accelerating the growth of Th e Alice Fund

—Jane Kenyon on AJB, 1994

ust stay alive. � at’s all I ask. J“ ”

Make a Lasting Impression Call us to discuss this opportunity to give the gift of preservation.

AJB’s deepest thanks for the gifts made to The Alice Fund by the following founding contributors:Alice• Anonymous• David and Margarete Harvey• Rita Waldor

Henry• Financial Benefi ts Research Group

William• Brown & Brown Metro Insurance• Anne Marie Macari• Valley National Bank• Peter Waldor

Robertson• Consortium Book Sales and Distribution• Katherine and Joseph Macari• Anonymous• Privett Special Risk Services• United States Fire Insurance Company

Your gift to The Alice Fund may come in many forms. You may give a one-time gift, set up annual contributions, make a gift on a loved one’s or friend’s behalf, or write a plan for Alice James Books right into your estate. Gifts may even be made in stocks or bonds, or you may also wish to consider individual or corporate sponsorship and matching opportunities. However you choose to give, poetry salutes and appreciates your conscientious e� orts to preserve this great art, and Alice James becomes your life-long friend.

Wilky• Bernstein Global Wealth Management• Lee Briccetti• Kathleen Sheeder Bonanno and David Bonanno• Chubb Group• Carmela Ciurarru• Beverly Davis• Christina Davis• Anonymous• Fireman’s Fund Insurance Company• Franklin Savings Bank, Farmington Branch• Peter Gelwarg• Joan Joff e Hall• Jan Heller• Philip Kahn• Ann Killough• Nancy Lagomarsino• Ruth Lepson• Lesle Lewis• Diane Macari• Anonymous• Idra Novey• April Ossmann• Jean-Paul Pecqueur• Bill Rasmovicz• Lawrence Rosenberg• Carey Salerno• Thomson-Shore, Inc• Jeneva & Roger Stone • Lisa Sherman & Martin Stone• Marla Vogel

13 young writers on campus

THIS SUMMER, AJB was a proud sponsor and participant in the second annual Longfellow Mountains Young Writers Workshop at the University of Maine at Farmington. Approximately thirty-two high school students from across the country attended this intensive, week-long session—workshopping poetry, ÿ ction, and nonÿ ction in the mornings, attending craft lectures in the afternoons, and gaining inspiration at featured readings by faculty and guest writers each evening at ° e Landing.

AJB APPLAUDS THESE HIGHLY CREATIVE

YOUNG WRITERS.

their work is fascinating and strong. we

can’t wait for the rest of the world to

someday read their work, too!

Kel

sey

Low

e

° e Longfellow students also participated in a tour and chapbook construction project at the AJB o ce. Editorial assistants Meg Willing and Andrew ° ompson provided the talented young writers with insights into publishing, showed them how to format their texts in Adobe InDesign, and helped them make last minute corrections to their chapbooks which contained the best of their creative writing made during their time on campus. K

elsey Lowe

Kel

sey

Low

e

14alice asks

Janine Oshiro

Alice James Books: What is the best advice anyone has ever given you? ˜ e worst? JANINE OSHIRO: I had taped to my computer for a long time something that a teacher said to me: “Just write your fucking poems.” ° is ended up being really great advice for me. I stopped worrying so much and I wrote my poems. Another teacher once said never to write a poem about the moon. Now that’s bad advice.

AJB: What is your least favorite word in the English language?

JO: How about my least favorite French word that we use in English? I don’t particularly care for the word “suite.” It’s a tricky word, and every time I see it I want to say it like a suit of cards. But then I confuse myself by thinking that it should really be a suite of cards. ° e heart suite. Why can’t “suite” and “suit” just be one word that is spelled and said the same? Besides that, I really dislike the word “pedagogy.” Teaching is much more magical than that word sounds.

AJB: If you had a secret identity, what would it be?

JO: I would be a stand-up comic.

AJB: If you could argue writing styles over a friendly lunch with any writer, who would it be, and what would you be eating?

JO: I don’t know if “argue” is the right word, but I have a few questions for Walt Whitman about the expansiveness of his “barbaric yawp.” I had a lot of resistance to Whitman when I ÿ rst started reading poems, and it’s only been in the past few years that I have come to love him. We’d have soup. Something simple.

AJB: What song or album do you listen to the most?

JO: My iTunes tells me that I listen to Van Morrison’s Astral Weeks the most.

AJB: What is your favorite character name?

JO: I love Elizabeth Bishop’s Mr. Swan, who asks, “What’s that ugly thing?”

AJB: What was the best view you ever had from your window?

JO: I have an amazing view right now. I look out northeast toward the ocean. I start the day by seeing what the ocean and clouds are doing. It is the loveliest view I have ever had.

AJB: What is your “guilty pleasure” book? Movie?

JO: My guiltiest pleasure movie is Dirty Dancing: Havana Nights. I love the dancing! Guilty pleasure book? I did read Twilight but it wasn’t exactly pleasurable. I read Eat, Pray, Love—twice. I think the second time was indeed a guilty pleasure.

AJB: What is your favorite writing utensil?

JO: When I ÿ rst started writing, I had favorite pens and unlined notebooks that I had to have. Now I don’t have any favorite. I can write with anything. I told myself I’m not allowed to buy any new pens until I use up all the pens I have at home. ° at could take years. I also make little notebooks by folding up and binding paper that has been used on one side.

AJB: During a thunderstorm, where would we ÿ nd you?

JO: Ideally I would be at home, sitting on the patio and watching the show.JO: Ideally I would be at home, sitting on the patio and

Shanda Tice

alice asks...

Alice James Books

www.a l ice j amesb ooks.organ aff i l iate of the University of Maine at Farmington

When you choose to be an Alice James Books subscriber, AJB will automatically mail you each new book we publish (6 books a year), so you’re guaranteed not to miss a title. The cost is $85/year (two seasons of books, including shipping)—that’s about 50% off the cover price! Take advantage of this great offer

now. Call us at 207-778-7071, email ajb@alicejamesbooks.org, or visit our website to enroll.

Become an Alice James Books Subscriber Today!

ALICE JAMES BOOKS has been publishing poetry since 1973 and remains one of the few presses in the country that is run collectively. The cooperative selects manuscripts for publication primarily through regional and national annual competitions. Authors who win a Kinereth Gensler Award become active members of the cooperative board and participate in the editorial decisions of the press. The press, which historically has placed an emphasis on publishing women poets, was named for Alice James, sister of William and Henry, whose fine journal and gift for writing went unrecognized during her lifetime.

NEW BOOKS

FALL 2011 CATALOG

PierSeptember 2011

ISBN: 978-1-882295-88-3 paper l $15.95

Janine Oshiro2010 Kundiman

Prize Winner

“As if through an echolocation of brilliant and insistent off-rhyme, these poems effect a delicate placement of self into body, body into world, world into word. And at the center of it all is an even more delicate loss. Oshiro’s Pier takes its measure in precise instances that ache with intelligence. A truly masterful first book.” —Cole Swensen

“Who can whisper in the spare dark and still be heard in the greater stillness? Only a poet who bets everything on spirit and the ability of language to outline that spirit. In prose honed to home and verse like stones skipping on the surface of water, who can tell where this wonderfully quiet and haunting book will lead? Not where you would ever think: ‘Everywhere is a potential exit / except the door.’ In a virtuosic range of approaches to line, image, and poem, Janine Oshiro makes a unique new music.” —Kazim Ali

“The poems in Pier refuse to privilege poetic craft over intensity of feeling, landscape over interiority, the mundane over the fabular, stoicism over grief. Instead, they have it all—or rather, they emerge from the spaces between contending states: ‘It came out in a child’s hand and I was / not a child.’ Oshiro’s is a new voice of antique resonances, born of an anxious apprenticeship to beauty and to pain.” —Mark Levine

NEW BOOKS

Hagar Before the Occupation

me and Nina

Amal al-JubouriTranslated by Rebecca Gayle Howell with Husam Qaisi

Foreword by Alicia Ostriker

January 2012ISBN: 978-1-882295-90-6

paper l $15.95

Monica A. Hand

“Monica A. Hand’s me and Nina is a beautiful book by a soul survivor. In these poems she sings deep songs of violated intimacy and the hard work of repair. The poems are unsentimental, blood-red, and positively true, note for note, like the singing of Nina Simone herself. Hand has written a moving, deeply satisfying, and unforgettable book.” ―Elizabeth Alexander

“In me and Nina, Monica A. Hand depicts, as Nina Simone did, what it is to be gifted and Black in America. She shifts dynamically through voices and forms homemade, received and re-imagined to conjure the music (and Muses) of art and experience. This is a debut fiercely illuminated by declaration and song.” ―Terrance Hayes

“Poet and translator Rebecca Howell, together with Husam Qaisi, have transported Amal al-Jubouri’s moving cri de coeur across the precarious bridge between Arabic and English, and the cultural, political and ethical chasm separating Iraq and the United States. This is poetry necessary to our times, and we owe the makers of this work in English an enormous debt of gratitude.” —Carolyn Forché

“

November 2011in English and Arabic

ISBN: 978-1-882295-89-0paper l $17.50

“Amal al-Jubouri’s poems are essentially about exile, exile from the country of her youth, exile from peace, from love, from normalcy, from hope. They are courageous, honest, bitter, and beautiful. They are as ghosts, wandering over the rivers, looking for a home. I want to ask forgiveness of these ghosts. And rock them to sleep. I bless the Iraqi dead, as she does.” ―Gerald Stern

Hagar After the Occupation

“In spare, vivid, and poundingly heartfelt language, [al-Jubouri] shows us her country before the occupation by U.S. troops and afterward . . . these poems have a timeless, haunting quality, and they offer not just enormous pleasure but understanding.” —Barbara Hoffert, Library Journal starred review

AJB Translation

Series

spring 2011

This Strange LandShara McCallum

April 2011 l ISBN: 978-1-882295-86-9$19.95 (paper w/ cd)

Heart First into the ForestStacy Gnall

May 2011 l ISBN: 978-1-882295-87-6$15.95 (paper)

lie down tooLesle Lewis

April 2011 l ISBN: 978-1-882295-85-2$16.95 (paper w/ flaps)

“...a marvelous collection filledwith lovely and evocative music...”—Library Journal, starred review

“...a book of joy,

” —James Tate

“...an utterly

”—Thom Dawkins

to deny.

original work...

impossible to put down, impossible

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BACKLIST

Tom AbsherThe Calling (1987)0-914186-73-1 • paper • $13.95

KAThleen Aguero & miriAm goodmAnThirsty Day/Permanent Wave (1977)0-914086-17-0 • paper • $3.50

KAzim AliThe Far Mosque (2005)1-882295-53-6 • paper • $14.95

CATherine AndersonIn The Mother Tongue (1983)0-914086-46-4 • paper • $13.95

doug AndersonThe Moon Reflected Fire (1994)1-882295-03-X • paper • $13.95

CATherine bArneTTInto Perfect Spheres Such Holes Are Pierced (2004)1-882295-45-5 • paper • $13.95

DAN BEACHY-QUICKNorth True South Bright (2003)1-882295-38-2 • paper • $13.95

robin beCKerBacktalk (1982)0-914086-36-7 • paper • $8.95

suzAnne bergerLegacies (1984)0-914086-49-9 • paper • $13.95

reginAld dwAyne beTTsShahid Reads His Own Palm (2010)978-1-882295-81-4 • paper • $15.95

KAThleen sheeder bonAnnoSlamming Open the Door (2009)978-1-882295-74-6 • paper • $15.95

CArole borgesDisciplining the Devil’s Country (1987)0-914086-77-4 • paper • $7.95

Julie CArrequivocal (2007)978-1-882295-63-0 • paper • $14.95

niCole CooleyMilk Dress (2010)978-1-882295-83-8 • paper w/flaps• $15.95

roberT CordingHeavy Grace (1996)1-882295-09-9 • paper • $9.95

CynThiA CruzRuin (2006)1-882295-58-7 • paper • $14.95

PATriCiA CummingLetter from an Outlying Province (1976)0-914086-14-6 • paper • $3.50Afterwards (1974)0-914086-02-2 • paper • $3.00

ChrisTinA dAvisForth A Raven (2006)1-882295-57-9 • paper • $14.95

helene dAvisChemo-Poet and Other Poems (1989)0-914086-87-1 • paper • $8.95

CorT dAyThe Chime (2001)1-882295-29-3 • paper • $11.95

deborAh deniColAWhere Divinity Begins (1994)1-882295-02-1 • paper • $9.95

Theodore dePPeThe Wanderer King (1996)1-882295-08-0 • paper • $11.95Children of the Air (1990)0-914086-91-X • paper • $8.95

XUE DIAn Ordinary Day (2002)1-882295-34-X • paper • $12.95

JeAnnine dobbs, KinereTh gensler,& elizAbeTh KniesThree Some Poems (1976)0-914086-11-1 • paper • $3.50

nAnCy donegAn The Forked Rivers (1989)0-914086-89-8 • paper • $8.95

Amy dryAnsKyHow I Got Lost So Close to Home (1999)1-882295-22-6 • paper • $11.95

JoCelyn emersonSea Gate (2002)1-882295-35-8 • paper • $12.95

B. H. FAIRCHILDThe Arrival of the Future (2000)1-882295-25-0 • paper • $11.95The Art of the Lathe (1998)1-882295-16-1 • paper • $14.95

JACQUELINE FRANKNo One Took a Country from Me (1982) 0-914086-37-5 • paper • $4.95

JoANNA FUHRmANPageant (2009)978-1-882295-77-7 • paper • $15.95

ALLISoN FUNKForms of Conversion (1986)0-914086-65-0 • paper • $12.95

ERICA FUNKHoUSERNatural Affinities (1983)0-914086-42-1 • paper • $8.95

riTA gAbisThe Wild Field (1994)1-882295-01-3 • paper • $9.95

eriC gAmAlindAZero Gravity (1999)1-882295-20-X • paper • $11.95

sArAh gAmbiToMatadora (2004)1-882295-48-X • paper • $13.95

FoRREST GANDERRush to the Lake (1988)0-914086-79-0 • paper • $13.95

FRANK X. GASpARNight of a Thousand Blossoms (2004)1-882295-44-7 • paper • $13.95

KinereTh genslerJourney Fruit (1997)1-882295-13-7 • paper • $9.95Without Roof (1981)0-914086-32-4 • paper • $4.95

FRANK GIAmpIETRoBegin Anywhere (2008)978-1-882295-70-8• paper • $14.95

dobby gibsonPolar (2005)1-882295-49-8 • paper • $13.95

CeliA gilberTAn Ark of Sorts (1998)1-882295-18-8 • paper • $7.95Bonfire (1983)0-914086-44-8 • paper • $4.95

sTACy gnAllHeart First Into the Forest (2011) 978-882295-87-6 • paper • $15.95

Kevin goodAnWinter Tenor (2009)978-1-882295-75-3 •paper w/flaps • $15.95In the Ghost-House Acquainted (2004)1-882295-47-1 • paper • $13.95

henrieTTA goodmAnTake What You Want (2007)978-1-882295-62-3 •paper • $14.95

miriAm goodmAnSignal :: Noise (1982)0-914086-39-1 • paper • $4.95

JEFFREY GREENETo the Left of the Worshiper (1991)0-914086-93-6 • paper • $8.95

JoAN JoFFE HALLRomance & Capitalism at the Movies (1985)0-914086-55-3 • paper • $13.95

FoRREST HAmERCall & Response (1995)1-882295-06-4 • paper • $11.95

moNICA A. HANDme & Nina9-781882295-90-6 • (2012) • 15.95

mArie hArrisRaw Honey (1975)0-914086-09-X • paper • $3.00

mATTheA hArveyPity the Bathtub Its Forced Embrace of the Human Form (2000)978-1-882295-26-5 • paper • $14.95

beATriCe hAwley Making the House Fall Down (1977)0-914086-19-7 • paper • $13.95

John hildebidleThe Old Chore (1981)0-914086-34-0 • paper • $4.95 

FANNY HoWERobeson Street (1985)0-914086-59-6 • paper • $12.95

CynThiA hunTingTonWe Have Gone to the Beach (1996)1-882295-11-0 • paper • $11.95

dAniel JohnsonHow to Catch a Falling Knife (2010) 978-1-882295-79-1 • paper • $15.95

linneA JohnsonThe Chicago Home (1986)978-0-914086-63-5 • paper • $14.95

AliCe JonesIsthmus (2000)1-882295-27-7 • paper • $7.95The Knot (1992)0-914086-96-0 • paper • $11.95

AmAL al-JubouriHagar Before the Occupation, Hagar After the Occupation (2011)978-1882295-89-0 • paper • $17.95

JAneT KAPlAnThe Groundnote (1998)1-882295-19-6 • paper • $11.95

lAurA KAsisChKeFire & Flower (1998)1-882295-21-8 • paper • $11.95

ClAudiA KeelAnThe Devotion Field (2004)1-882295-46-3 • paper • $13.95Utopic (2000)1-882295-28-5 • paper • $11.95

JAne KenyonFrom Room to Room (1978)0-914086-24-3 • paper • $11.95

Ann KilloughBeloved Idea (2007)978-1-882295-65-4 • paper • $14.95

dAvid KirbyThe Temple Gate Called Beautiful (2008)978-1-882295-67-8 • paper • $14.95

elizAbeTh Knies, JeAnnine dobbs &KinereTh genslerThree Some Poems (1976)0-914086-11-1 • paper • $3.50

shAron KrAusGeneration (1997)1-882295-14-5 • paper • $9.95

nAnCy lAgomArsinoThe Secretary Parables (1991)0-914086-92-8 • paper • $8.95Sleep Handbook (1987)0-914086-69-3 • paper • $7.95

BACKLIST

beATriCe hAwley Making the House Fall Down (1977)0-914086-19-7 • paper • $13.95

John hildebidleThe Old Chore (1981)0-914086-34-0 • paper • $4.95 

FANNY HoWERobeson Street (1985)0-914086-59-6 • paper • $12.95

CynThiA hunTingTonWe Have Gone to the Beach (1996)1-882295-11-0 • paper • $11.95

dAniel JohnsonHow to Catch a Falling Knife (2010) 978-1-882295-79-1 • paper • $15.95

linneA JohnsonThe Chicago Home (1986)978-0-914086-63-5 • paper • $14.95

AliCe JonesIsthmus (2000)1-882295-27-7 • paper • $7.95The Knot (1992)0-914086-96-0 • paper • $11.95

AmAL al-JubouriHagar Before the Occupation, Hagar After the Occupation (2011)978-1882295-89-0 • paper • $17.95

JAneT KAPlAnThe Groundnote (1998)1-882295-19-6 • paper • $11.95

lAurA KAsisChKeFire & Flower (1998)1-882295-21-8 • paper • $11.95

ClAudiA KeelAnThe Devotion Field (2004)1-882295-46-3 • paper • $13.95Utopic (2000)1-882295-28-5 • paper • $11.95

JAne KenyonFrom Room to Room (1978)0-914086-24-3 • paper • $11.95

Ann KilloughBeloved Idea (2007)978-1-882295-65-4 • paper • $14.95

dAvid KirbyThe Temple Gate Called Beautiful (2008)978-1-882295-67-8 • paper • $14.95

elizAbeTh Knies, JeAnnine dobbs &KinereTh genslerThree Some Poems (1976)0-914086-11-1 • paper • $3.50

shAron KrAusGeneration (1997)1-882295-14-5 • paper • $9.95

nAnCy lAgomArsinoThe Secretary Parables (1991)0-914086-92-8 • paper • $8.95Sleep Handbook (1987)0-914086-69-3 • paper • $7.95

E. J. mILLER LAINoGirl Hurt (1995)1-882295-07-2 • paper • $9.95

ruTh lePsonDreaming in Color (1980)0-914086-27-8 • paper • $3.95

lesle lewisLandscapes I & II (2006)1-882295-54-4 • paper • $14.95 lie down too (2011) 978-1-882295-85-2 • paper w/flaps • $16.95

KAren lindsey Falling off the Roof (1975)0-914086-08-1 • paper • $13.95

TimoThy liuVox Angelica (1992)0-914086-97-9 • paper • $11.95

mArgAreT lloydThis Particular Earthly Scene (1993)0-914086-99-5 • paper • $13.95

mArgo loCKwoodBlack Dog (1986)0-914086-61-8 • paper • $6.95

mArgo loCKwood & ninA nyhArTTemper / Openers (1979)0-914086-26-X • paper • $3.95

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suzAnne mATsonDurable Goods (1993)1-882295-00-5 • paper • $9.95Sea Level (1990)0-914086-84-7 • paper • $8.95

AliCe mATTisonAnimals (1980)0-914086-29-4 • paper • $13.95

shArA mCCAllumThis Strange Land (2011) 978-1-882295-86-9 • paper w/cd • $19.95

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riChArd mcCAnnGhost Letters (1994)1-882295-04-8 • paper • $9.95

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norA miTChellYour Skin is a Country (1988)0-914086-83-9 • paper • $8.95Proofreading the Histories (1996)1-882295-10-2 • paper • $9.95

mihAelA mosCAliuCFather Dirt (2010)978-1-882295-78-4 • paper • $15.95

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ninA nyhArTFrench for Soldiers (1987)0-914086-71-5 • paper • $7.95 Temper / Openers (1979)0-914086-26-X • paper • $3.95

CArole olesNight Watches: Inventions on the Life of Maria Mitchell (1985)0-914086-57-X• paper • $11.95

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JeAn PedriCKPride and Splendor (1976)0-914086-10-3 • paper • $3.50Wolf Moon (1974)0-914086-03-0 • paper • $3.00

CArol PoTTerUpside Down in the Dark (1995)1-882295-05-6 • paper • $9.95Before We Were Born (1990)0-914086-90-1 • paper • $8.95

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lisA sewellThe Way Out (1998)1-882295-17-X • paper • $9.95

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