2018 Argos Poetry Calendar

2018 Argos Poetry Calendar


$20 / Ships Dec 20

A calendar is no simple reckoning of dates. Each of us carries our own calendar inside, our own anniversaries both lovely and brutal. A date, like scar tissue, might mark an otherwise anonymous Wednesday. A year arrives, turns, departs, and is replaced by another version of itself, layer upon layer as a life is lived, as memory settles like sediment over the days.

Now a new year is arriving, and for the fifth time we are making a calendar to mark this cultural decision of renewal. Inside these pages are voices and images that touch us with their beauty and truth, that sing. Though we experience the years as moving faster, a moment stays mysteriously elastic. These poems are moments that will expand to enrich and deepen the coming year of days. And we are grateful to be able to share them with you.

Our fifth annual limited-edition calendar features poems by Holly Anderson, Ari Banias, Chia-Lun Chang, Miri Gabriel, Julia Guez, Harmony Holiday, Amy Lawless, Ricky Maldonado, Sade Murphy, Maryam Parhizkar, Brandon Shimoda, Eleni Sikelianos, Nikki Wallschlaeger, and Rachael Wilson.

With cover and interior artwork by Sadie Bills.

Elegy with Pilot Light

Elegy with Pilot Light

By Nina Puro


available for preorder / $10

In Nina Puro’s Elegy with Pilot Light, memory lives in the body’s soft container. Whatever the distance–a phone line, a vomit bag, a storefront lit with our reflections staring back–these moments burn at us. Puro puts the mirror up to our ugliness, rubs it in our gums. “you know how/when numb fingers/ get inside/ they burn?/ think of me as that/ feeling.” Maybe to become smaller–to disappear–is the ultimate resistance.
–Alexis Pope

Nina Puro’s writing is in Jubliat, Guernica, the PEN/ America Poetry Series, & others. Each Tree Could Hold a Noose or a House, winner of the 2017 New Issues Poetry Prize, will be published in 2018. They are a member of the Belladonna* Collaborative and recipient of fellowships from the MacDowell Colony, Syracuse University (MFA, 2012), Brooklyn Community Pride Foundation, Deming Fund, Wurlitzer Foundation, Saltonstall Foundation, & others. Currently pursuing a Masters in Social Work from NYU, they provide psychotherapy and advocacy to sex workers and ​victims of human trafficking in NYC.

Lunar Flare

Lunar Flare

by Levi Rubeck

Hand-bound, Die-cut Chapbook / $10

Levi Rubeck’s poems teem with tiny surrealisms, utterances that appear with the calm of logic and the twang of dream: “Rabies is the fairy godmother of my friendly ghost,” he writes, and “the parasite of my parasite is my friend.” The three long  poems in Lunar Flare make a particularly 21st-century, self-interrogatory weave of image and diction that is Western and deliciously, embarrassingly suburban: “I’m better with a grand slam breakfast in me.” The texture of this weave is rough with Rubeck’s singular wit –”Headstones are teeth in the gums of North Dakota” – and with lines that could have walked straight out of an after-hours bar in a one-horse Prairie village: “I know a lunatic who walked towards doubt.”

Levi Rubeck is a poet and critic from Wyoming, though his day job is at the MIT Press in Cambridge, MA. His poems have appeared in No, Dear, Maggy, Window Cat Press, Wreck Park, Analog, and elsewhere. He was an editor at NYU’s Washington Square Review, is a co-editor at the online journal Paperbag, and writes on games for Kill Screen. More info can be found at dangerhazzard.com.



by Johannes Heldén

Tr. by Kirkwood Adams, Elizabeth Clark Wessel, & Johannes Heldén

22 + shipping

Release Date: May 1, 2017

I turn to Astroecology and its Encyclopedia when the weight of the actual world grows heavy, and I need to be surprised, or puzzled, or refreshed.
— Ursula K. Le Guin

A vision both nostalgic and premonitory. A transmigration of the mundane, decay upon decay, read as imminent luminescence.
– David Sylvian

Johannes Heldén’s Astroecology begins from an eschatological place: the world as we know it is ending, and this cosmic ending can be witnessed in that most intimate and privileged of places, the private estate. Astroecology finds us in a real house and a real garden, surrounded by endlessly meaningful details, arranged with the precision of a Twin Peaks-like murder mystery. In a series of filmic visual frames and corresponding textual notes, Heldén offers a poetics that twists the organic (plants, pets, decay and growth) and the inorganic (drones, data systems, AI) into each other as a kind of avant-garde Mobius strip. A dazzling intertexuality unfolds: Inger Christensen’s indexical impulse meets Hayao Miyazaki’s surrealism, Chris Marker’s stark montage meets Robert Smithson’s iconography, Ursula LeGuin’s social investigation meets Norbert Weiner’s theory of cybernetics. In letting the reader-viewer get “stuck in the stream of evolution” over and over again, Heldén brings us to profound unanswerable questions about the origins of the universe: its processes, systems, and vanishing species of creature and thought.
Johannes Heldén is a visual artist, writer and musician. His work deals with artificial intelligence, ecology, poetry,  science fiction, sentience and interactive narrative structures. He has published twelve books, most recently Astroecology (2016) which was published in three languages and made into an interdisciplinary performance at The Royal Dramatic Theatre in Stockholm, and a digital artwork published by Bonniers Konsthall. Heldén was the recipient of the Åke Andrén Art Prize in 2015 and the Evolution project won the inaugural N. Katherine Hayles prize in 2014. He has published four music albums, most recently System (Irrlicht), and seven digital online works of poetry and visual art.  His work has recently been shown at ISEA in Vancouver, Broken Dimanche in Berlin, Bonniers Konsthall in Stockholm, Centre Pompidou in Paris, Inspace in Edinburgh, Moderna Museet Stockholm, UB Center for the Arts Buffalo, The Fifth Moscow Biennale, The Media Archaelogy Lab/University of Colorado, Volt in Bergen, ICIDS Istanbul, NIMK in Amsterdam, Dome of Visions in Copenhagen, UKS in Oslo among others. He is a fellow of the MacDowell Colony, Headlands Center for the Arts, Hawthornden Castle et al. Follow him at

Photo by Martin Vallin

Fearful Beloved

Fearful Beloved

BY khadijah queen

Full-length / $16 + Shipping

The haunting, haunted world revealed in Khadijah Queen’s Fearful Beloved stays with the reader in an uncomfortably pleasurable way, and heightens awareness of our own world’s deep horrors and ordinary brilliance. Anyone who has been unable to shake the erotic brutality of, say, Sylvia Plath’s Ariel will savor the “bruisable monuments” that Queen offers. Here Queen crafts a language that unfolds along multiple axes (spatial, temporal, emotional, spiritual) and is experimental with form while remaining seamless, precise, and vivid as “The song she sang as a little girl feeding ants.” Addressing Fear head-on—“your spectrality exists,” she insists—Queen’s Fearful Beloved evidences the fierce intelligence of “a body in its own time, possessed of itself.”

Praise for Fearful Beloved

Khadijah Queen’s Fearful Beloved is an audacious gaze at the public and private spaces where we often fear, in our words and acts, to address the body of fear itself. Queen gives her fear inestimable flesh and her poetry insists, as readers and bodies, that we must not look away from our own spines and mirrors. She writes, “if you listen – not you, fear,/but us, as you – deciding how to exist”. Her vision of bodies, intricately complex as her astonishing syntax, gleams with the tension of power, desire, mortality, and violence. Burning, and nuanced, Queen dares us to name our deepest bones, “O/let godliness and beastliness crash/together until compliance/O/love them all/O say every one of their names.”  Here you will discover a language of marrow, brilliant and potent as bloodroot. Here, in Fearful Beloved, you will witness the velocity of Queen’s distinct voice, intense and profound in its survival. —Rachel Eliza Griffiths

Khadijah Queen’s Fearful Beloved is a bold mosaic of forms, and each poem is a shade of aching. Together, they shape fiercely potent letters to fear; feminine and power and despair; the demolition of the contemplative house. —Lily Hoang

Fear, like any organism, rushes to reproduce, but more than survival it values reach. In the grout, on the nerves, across oceans, at the root. Foolhardy, slamming every door, heightening each wave. Until Khadijah Queen speaks fear’s name with intention, shows us how to apply the bloodroot. Barehanded. Bare leaden voice, spine of steel that somehow bends. Cross, uncross your arms, your saltwater heart. Let her in, beloved. —Danielle Pafunda

Queen’s Fearful Beloved is a beautiful book, haunting and haunted. The architecture of the house entangles with the architecture of the body to produce a language at once beguiling and strange, yet fused with the fiercest love. —Kate Durbin

Fear can make us its dwelling place; it can have us haunting our own house.  Khadijah Queen writes us through the rooms of the forest, the limits of shelter, from what we needed once to what we might be free to become without it. Fearful Beloved speaks directly along the lines of rootedness and growth, the blasting or freeing power of something seemingly small, the way a person shaped by fear “strikes at movements invisible to those accustomed to the light.” When you can see yourself to save yourself, that is when you can begin. —Kate Schapira

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White Blight

White Blight

by Athena Farrokhzad

translated by Jennifer Hayashida

Full-length, Hardcover

18 + Shipping*


This vital book exposes the dense tectonics churning beneath migrant dreams. Accusatory, loving, full of grief and sage truths, Athena Farrokhzad’s White Blight speaks eloquently to the troubled inheritance of diasporic survival. Through a litany of terse voices, Jennifer Hayashida’s sensitive translation describes the nexus of filial obligations and projections under which the narrator sinks from view. The intense beauty of devastation and the poignancy of betrayal emerge with startling frankness: “Your family will never be resurrected like roses after a fire.” “I have spent a fortune for your piano lessons / But at my funeral you will refuse to play.” These white lines make me ask, what has been bleached out in all of our stories? I read this book, and I remembered my humanity.

— Sueyeun Juliette Lee

It is hard to explain not just the resonance of Athena Farrokhzad’s work but of Farrokhzad herself. She is a major figure in Sweden, an outspoken feminist and leftist. She is also a stunning writer. On its surface White Blight is a story of migration, how it shapes and misshapes the familiar. Everyone in this poem has something to say about immigration’s trauma, on the impact globalization has on all sorts of intimacy, even as they are so rarely talking to each other. It is also a poem that moves through many registers. At moments it is mannered and metaphoric. At other moments frank and colloquial, intimate too. And Jennifer Hayashida has skillfully translated this complicated work into an ease of English.

—  Juliana Spahr

In White Blight, Athena Farrokhzad evokes a language of feeling that is vivid and deeply familiar. The poem performs as intimately as memory, but with the direct language of confession or accusation. In this world, the family unit nurtures by prolonging disquietude, as there is no forgetting the ruptures of exile and immigration. Still these voices yearn to be proven wrong in a future they cannot predict. The pith and force of the language shines through in Jennifer Hayashida’s careful translation, both polished and knife-sharp.

— Wendy S. Walters

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The Galaxy Is a Dance Floor

The Galaxy Is a Dance Floor

By Bianca Lynne Spriggs

Full-Length/$16 + Shipping

From different species of automatons to spiders, ants, and bees, from moons to yellow jacket nests, Bianca Spriggs’ Eye is quick and slow enough to show us that the galaxy is vast and atomic, tiny. In this  science-minded and sensual collection, red lips stand in constellation with the “dionaea muscipula on the fly” and tongues are abacuses. Bodies are “astonishing machine[s]” made up of “stardust, / coils of oxygen and carbon / and hydrogen compressed / by time…” The yellow jacket nest is also the nest of the once-self becoming. And a mountain is a parent teaching us about what it means to endure. At a time when our senses and imaginations are inundated with terrifying news and shorthand, poems like these are critical for the ways they remind us that imagination, itself, might be a kind of balm or mercy. That with our imaginations we might remember our kinship to every, every thing in the universe. In The Galaxy Is a Dance Floor Spriggs models awe while deftly conjuring emotion in nuanced moments of syntactical invention. Yes, there is heartache here. Yes, there is loss. But these all give way to necessary metamorphosis and transformation, and this is exactly where, again and again, Spriggs cultivates hope. We are reminded: “Breath, like everything, / waits in line to return / through someone else.”

–Aracelis Girmay

In these poems Bianca Spriggs becomes the heart’s astronaut, exploring, imagining, bringing the distant closer, giving substance to the invisible. In poem after poem she bears witness that the universe is a vast metaphor in which the outer world corresponds with the inner.  The strongest of these poems chronicle this quest, illuminating, enlarging our supposed individual smallness. Her fresh language and originality make The Galaxy Is a Dance Floor well worth the journey.

–Richard Taylor
Affrilachian Poet and Cave Canem Fellow, Bianca Lynne Spriggs, is a multidisciplinary artist who lives and works in Lexington, Kentucky. Spriggs is the recipient of a 2013 Al Smith Individual Artist Fellowship in Poetry, multiple Artist Enrichment and Arts Meets Activism grants from the Kentucky Foundation for Women, and a Pushcart Prize Nominee. She is the author of Kaffir Lily (Wind Publications, 2010), How Swallowtails Become Dragons (Accents Publishing, 2011), and Call Her By Her Name (Northwestern University Press, 2016), as well as the co-editor for Circe’s Lament: An Anthology of Wild Women(Accents Publishing, 2016) and Undead: Ghouls, Ghosts, and More (Apex Publications, 2017).

A Poem for Record Keepers

A Poem for Record Keepers

By Ali Power

full-length $15

Ali Power’s A Poem For Record Keepers is a long poem made of short poems that comes on like a deadpan phalanx system unlearning itself while crashing resignation into the boards and pulling the rug out from under certainty line by line. But certainty is not simply replaced by uncertainty; an angular, witty openness accumulates across Power’s poem, making it excellent company. That openness also lends itself to the poem’s capacity to build the kind of necessarily enigmatic space love requires to fend off the grinding mob-vacuum that is contemporary American life these days.

–Anselm Berrigan

You could compare the way A Poem for Record Keepers works to the ways other things work—locked-groove records, Lorine Niedecker’s calendar poems, waves—but never for too long. As much as Ali Power’s poetry delights in forward motion and real speaking, it also teaches you how to remain still and listen. This is an ingenious, biting, elegant book. To enter it is to feel squeezed by time and even (if you want to, as I did) by hope: “Everything is just beginning.” It is, and it does. Then everything begins again, right here.

—Mark Bibbins

The poet as one who maintains a history of one’s activities. The poem as record, as in ledger, one entry per every other line, record as something we replay when it’s a favorite. These lines now live in my head. They are strange enough to keep me on my toes, familiar enough to seem like they are talking about me and everyone I know. In fact, I do want to “hang out” with this new book and its author.

– Stacy Szymaszek

Ali Power is the author of the book-length poem A Poem for Record Keepers (Argos Books, 2016) and the co-editor of the volume New York School Painters & Poets: Neon in Daylight (Rizzoli, 2014). Power’s poems have appeared in the Brooklyn RailLITNo, Dear,The Pen Poetry Series, and elsewhere. From 2008 to 2015, she was an editor at Rizzoli Publications in New York. Currently, she is pursuing her master’s degree in social work at New York University and co-curates the KGB Monday Night Poetry Reading Series. For more info: ali-e-power.com

Author photo by Hillery Stone.

2016 Argos Poetry Calendar

2016 Argos Poetry Calendar

Hand-Bound Calendar

12 Months


Nothing feels steady and indisputable in the way that the months of a year do. The rhythm of a year passing may feel like twelve wheels turning in succession, or water flowing over twelve rocks in a stream. It may appear like twelve messengers bearing letters of similar length–but not content–or twelve clouds passing across the sky, each a distinct shape.

One unit of time, one month or week or moment, may feel endless – it may elongate itself out and out until its flow reverses and returns to where it began. It may also slip by all but unnoticed, as if it had never existed.

Like the feeling of time passing, we know that the structures that mark its passing are not fixed; they have evolved wildly since the beginning of human consciousness, and have been radically different across continents and cultures. These poems may serve as reminders of this: that the structures shaping the cadences and rhythms of our lives – like language – are not fixed either, and that language itself can be a window – or twelve windows – into real freedom.

Our fourth annual hand-bound, limited-edition calendar features poems by Nadia Alexis, Cheryl Clarke, Brenda Coultas, Joey De Jesus, Jay Deshpande, Brenda Iijima, Cynthia Manick, Joseph Massey, Shane McCrae, Trace Peterson, Nina Puro, & Solmaz Sharif.

With cover and interior artwork by Simone Kearney.

[Menhirs xxvii by Simone Kearney]

Symphony No. 2

Symphony No. 2

by Emily Carlson

hand-bound, foil-stamped chapbook

“Remember, your obligation is not to a place but to a life”: these are the words poet Suzanne Gardinier offers Emily Carlson at the outset of the journey traced in Symphony No. 2. Amazingly, Carlson keeps her promises to both place and life in these poems, which document the poet’s lived experience of the July 2006 invasion of Beruit, Lebanon by the Israeli Defense Forces (IDF). Carlson’s breathless telling of “the story” deftly manages a multi-modal, sound-rich syntax, one which reflects urgency while making room for real beauty:”I’m a frayed knot, me, ten million times,” she writes, letting us feel how language can work when its stakes are at their highest.

Emily Carlson lives with her partner and their child in an intentional community in Pittsburgh, Pennsylvania. Her poems have appeared in Aufgabe, Bloom, Denver Quarterly, Fence, jubilat, Slope, Whiskey & Fox, The Harp & Altar Anthology and elsewhere. She is the recipient of a travel grant from the Syria-Lebanon Nationality Room at the University of Pittsburgh, a fellowship at the Bucknell Seminar for Younger poets, and a prize from the Academy of American Poets. She teaches reading and writing courses that incorporate mindfulness practices and anti-racism education. Emily earned a BA at Sarah Lawrence College and an MFA at the University of Pittsburgh. With friends, she runs the Bonfire Reading Series.



by Safiya Sinclair

Essay & Poetry/ $15

This remarkable perfect-bound chapbook showcases the talents of a major emerging writer in both poetry and prose.

Sinclair’s is an arresting new voice that makes us sit up and re-think.  Her mythopoeic imagination thrives on startling metaphors and combinations of images.  Eschewing the naturalistic and consolatory, the poetry is alive in disturbing implosions of consciousness, drawn to cataclysm and apocalypse, whether in personal or communal histories. —Eddie Baugh


“With lush, vivid descriptions and a narrative haunted by figments of the seen and unseen, Safiya Sinclair’s remarkable collection, Catacombs gives shape and voice to a part of the Caribbean that has never before been rendered into verse.”  —Mark Wunderlich

Safiya Sinclair has published poems in the Caribbean publications The Jamaica Observer Literary Arts Magazine, Bearing Witness 2003: A Collection of the Year’s Best Fiction and Poetry and the international anthology Kunapipi: A Journal of Post-Colonial Literature. Sinclair, a graduate of Bennington College, was the former Editor-in-chief of the College’s online anthology, plain china: Best Undergraduate Writing. She currently lives in Montego Bay, Jamaica.

A Country Road Going Back in Your Direction

A Country Road Going Back in Your Direction

By Stephanie Gray


Just as cinematic language can bypass rational intellect and converse directly with memory, intuition and dream, Stephanie Gray’s poems casually subvert normative forms of communication and activate a kind of collective vernacular consciousness. “All the back roads changed…I had a job connecting dreams,” she writes, while her language does the mysterious work of linking philosophical rigor with delicious humor and deep investigations into the sonic. Hers is a poetry of vernaculars: of aphorisms, truisms and idiomatics, of the exhaustive pleasure to be found in lists, chants, catchphrases and “variations on a theme.” After reading Gray’s poems, it is impossible to hear cultural commonplaces in quite the same way—like Gray, you will want to make them your own. If Gertrude Stein appeared as a wisecracking secretary in a 1940s gangster flick, she might have Gray’s knack for thoughtful, disjunctive wit: “the secretary has seen it all.”

Poet-filmmaker Stephanie Gray is the author of two poetry collections, Shorthand and Electric Language Stars (Portable Press at Yo-Yo Labs, 2015), Heart Stoner Bingo (Straw Gate Books, 2007), and a chapbook I Thought You Said It Was Sound/How Does That Sound? (Portable Press at Yo-Yo Labs, 2012). Her poetry has been published in journals such as Aufgabe, Sentence, EOAGH, Esque, Boog City, 2nd Avenue Poetry, VLAK, Brooklyn Rail. She has received funding for her films from the New York Foundation for the Arts and New York State Council on the Arts. She has read her work often live with her films at venues including the Poetry Project Friday series, Segue series (with Tina Darragh), Triptych series (with Jonas Mekas) and others such as community garden Le Petit Versailles and Angel Orensanz Foundation. Her films have screened at fests such as Oberhausen, Viennale, Ann Arbor, Chicago Underground, and NYC venues such as Microscope Gallery, Millennium Film Workshop, and Mono No Aware. She had a retrospective of her films at Anthology Film Archives in Spring 2015.

Turn It Over

Turn It Over



Turn It Over is a work of excavation; these poems seek to uncover where the self is located within the territories of memory, grief, family, secrets, and most especially the body. Shearn Coan writes, “How I formed a true question and am asking it still. What is more present than the body?” In precise and gorgeous language, he traces his own borders and maps his loves, while staying grounded in our material experiences. This is a work awake to the nuances of the body in embodiment, and it provokes this awareness in the reader as well.

Jaime Shearn Coan lives in Brooklyn, New York. His writing has appeared in publications including Drunken Boat, The Kenyon Review, Revista la Tempestad, and Troubling the Line: Trans and Genderqueer Poetry. He is a regular contributor to the dance section of The Brooklyn Rail. Jaime has received fellowships from Poets House, VCCA, and the Saltonstall Foundation, and is the recipient of a 2014 Jerome Foundation Travel and Study Grant. A PhD student in English at The CUNY Graduate Center, Jaime also teaches at Hunter College and The City College of New York.


(guns & butter)

(guns & butter)

by montana ray

full-Length / $15

Combine Apollinaire with Pam Grier and you might come close to Montana Ray’s ferocious debut, (guns & butter). Each concrete poem is shaped like a gun and its poetic interiors are bracingly brutal and gorgeous. Capsuled in parentheticals, each magnetic phrase is locked and loaded as Ray burns holes into subjects ranging from interracial love, single motherhood, to America’s unrelenting addiction to gun violence.

Her voice is mesmerizing, tender, vicious, chimeric, as she veers between role-playing a warrior glock-wielding Annie Oakley to “warm, new mother.” I love (guns & butter) and cannot sing it enough praises. It’s the kind of rare first collection that is startling, necessary, and is truly like no other book.

–Cathy Park Hong

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2015 Argos Poetry Calendar

2015 Argos Poetry Calendar




Time is both circular and linear. The last day of the year returns us to the first day of the next. The length of the days is repeated as the earth tilts back and forth, and our ecology responds. The rains return around the same time, the heat, the snow. And yet the days move forward, from one destination to the next. Calendars are our ancient way of making sense of this. Poems are our ancient way of making sense of something else. Poetry too is both circular and linear. Each word inevitably pushes forward into the next, and yet the last line of a poem returns us to the first. The poem creates its own time, and an ecology results when a mind encounters the poem. And so we hope this calendar offers the reader a unique way of experiencing the year by evoking poetry’s special relationship to time.

Our third annual hand-bound, limited-edition calendar features poems by Evie Shockley, Dana Levin, Jon Cotner & Andy Fitch, Khadijah Queen, Abraham Adams, Wayne Koestenbaum, Jennifer Tamayo, Johannes Göransson, Doug Nufer, Ana Gorría (trans. Yvette Siegert), E Tracy Grinnell, Marina Eckler, and more. With cover and artwork by ruby onyinyechi amanze.

Limited to an edition of 250.

[Painting by ruby onyinyechi amanze]

Be A Dead Girl

Be a Dead Girl

By Krystal Languell


Krystal Languell’s deadpan wit in Be A Dead Girl subtly conveys the violence that happens with subjects are transformed into objects. In these poems, an “I” that is always in flux moves through a world that’s unsure where things end and people begin, and negotiates this uncertainty with quips that are seductively light on the tongue. The sly aphorisms embedded in Languell’s language are by turns visually stunning (“Beauty dissolves to make fire green”), hilarious (“Joyride to your grave”) and chillingly expressive of the perils of consumerism (“But I hemorrhage money privately”). There are refrains reminiscent of Pop songs, and a sensual phraseology that Emily Dickinson might use if she were tasked with writing advertisements for war machines. These poems invite the reader, at her own risk, to create continuity from a chaos that is all the more terrifying for its elusiveness: “If you came here for a story/put this in your mouth.”

Krystal Languell was born in South Bend, Indiana. She is the author of the books Call the Catastrophists (BlazeVox, 2011) and Gray Market (Coconut, 2015) and the chapbooks Last Song (dancing girl press, 2014), and Be a Dead Girl (Argos Books, 2014). In early 2014, Fashion Blast Quarter was published as a poetry pamphlet by Flying Object. A core member of the Belladonna* Collaborative, she also edits the journal Bone Bouquet. She is a 2014-2015 Lower Manhattan Cultural Council workspace resident.


I am having what you might call a hard time: on Be A Dead Girl” a review by Alexis Pope at Entropy

the fierce bums of doo-wop

The Fierce Bums of Doo-wop

By amber atiya


Amber Atiya’s poems in the fierce bums of doo-wop arouse and terrify in equal measure. She has a rare ability to manage several complex valences at once— eros, comedy, and atrocity among them—skillfully braiding them into a whole, mysteriously synthetic body of work. Pleasurable and risky as “the urge// to fry bacon/ in my vegan/ lover’s favorite pan,” Atiya’s poems answer the urgent call of our times for language that is accurate yet imaginative, slick yet embarrassing, ethically gorgeous and hot as hell.


Amber Atiya is a queer poet and native Brooklynite. Her work has appeared or is forthcoming in The Atlas ReviewBoston ReviewApogee JournalAnti-Muzzle Magazine, and elsewhere. She received a 2013 Pushcart Prize nomination, a fellowship from Poets House, and is a proud member of a women’s writing group celebrating 12 years and counting.

An interview with Amber Atiya at New Books in Poetry. 9/29/2014

Real Talk with Amber Atiya at Poets&Writers 12/1/2014

Amber Atiya reads from fierce bums at the Poetry Foundation.



By Caitie Moore

hand-bound chapbook / sold-out

… the city I’ve chosen not
to go on loving forever
to which one returns
reminding me she believes the earth is a warm place
and getting warmer, there is no leaving,
there is one place and one life
and so I go to see the dancer who unempties
the air to the shape of his gesture.

The lush, ragged texture of Caitie Moore’s lyric responds precisely to the textures of our shared anthropocene: contingent yet committed, harmonious yet disastrous. With a language that is as invested in beauty as it is in ethical inquiry, the poems in Wife reveal the work of a heart that thinks the whole world, and a mind that loves it fiercely.

Caitie Moore is a poet, educator and curator. Her work can be found in Strangemachine, Ink Node, Handsome, MuthaFucka, BOMBlog, and in the collection The Racial Imaginary, forthcoming from Fence Books.




Children of Another Hour

Children of Another Hour

by Mara Pastor

Translated by Noel Black

Letterpressed, Hand-bound chapbook / $10

“Come, astronomer,/ and tell me your abysses./ That static that smashes/ into our heads every time we mend// a beginning.”

In this collection of twenty intensely imagined poems, Mara Pastor has built a whole universe of post-futuristic melancholy. These poems, despite their brevity, take on the human condition – love and death – in a world of cosmonauts, scientists, space travel, and post-apocalyptic gloom. They are concerned with the fleeting nature of our time here on earth (and in space), our inability to connect with each other, and also with our fate as a species. The poet Noel Black has rendered this work in an American English so natural and fine that it almost feels inevitable. This is the kind of book you keep in your pocket and your head for a very long time.

Mara Pastor (San Juan, 1980) is a poet, editor and translator. Her works include the books of poetry: Poemas para fomentar el turismo (La secta de los perros, 2012); Candada por error (Atarraya Cartonera, 2009) and Alabalacera, (Terranova, 2006). Mara’s creative and critical writings have appeared in several magazines and she is featured in such anthologies as Hallucinated Horse: New Latin American Poetry (Pighog Press, 2012) and Red de voces: poesía puertorriqueña (Casa de las Américas, 2012). At this time, she lives in Mexico City.

Noel Black lives in Colorado Springs with his wife, artist Marina Eckler, and their two sons. Co-founder with Ed Berrigan of LOG Magazine and publisher of Angry Dog Midget Editions in the late 1990s, he has since worked as a writer and producer for a wide variety of media outlets including The Stranger and WNYC. He currently works as a producer for KRCC public radio. He is the author of half-a-dozen chapbooks including Hulktrans (Owl Press) and In The City of Word People (Blue Press, 2008).



By Karin Gottshall

Letterpressed, hand-bound chapbook / $10

In the hundred//years I was nine I solved ten thousand math problems/ but no one asked me what I loved, so I just//unbuckled my shoes each night, alone with it.

–from “Forecast”

Karin Gottshall’s Swan finds extraordinarily vivid patterns of emotion evident in the materials of the “everyday.” In the tradition of great American female life-lyricists—Lyn Henjian, Elizabeth Bishop, Barbara Guest—Gottshall generously allows readers not only to think about childhood, the passage of time, and the vulnerability of objects, but to feel those phenomena. Her deft handling of the lines between interior and exterior—and between “then” and “now”—merits reading and re-reading. The transformative nature of these poems invites the reader to study Gottshall’s language closely, and to study the emotional syntax of her own life in turn.

Karin Gottshall is a poet, fiction writer, and creative writing instructor. Her most recent book, The River Won’t Hold You, won the 2014 Ohio State University Press/The Journal Wheeler Prize, and will be published in late 2014. Her first book, Crocus, was published by Fordham University Press in 2007. She is also the author of the poetry chapbooks: Flood Letters (Argos Books, 2011) and Almanac for the Sleepless (Dancing Girl Press, 2012). She teaches poetry writing at Middlebury College, and has also taught at Interlochen Arts Academy and the New England Young Writers’ Conference. Karin live in Middlebury, Vermont.