Tuesday, September 30, 2014

Co-editor Barrett Warner reviews Jesse Prado's "I've Been on Tumblr"

Photo courtesy of  beaboutitpress.tumblr.com.
A chapbook is a piece of paper folded eight times. Nothing romantic about that. The beauty lies in its simplicity. Sometimes there are staples. Or stitching. The magic is its impermanence. The contents not intended to last forever. At best, a season. Or better, a few weeks, like strawberries. It’s a way of saying, here’s what I’ve been working on lately—I thought you might be interested. Like a dispatch, a smattering of poems or stories from a small journey. Not the haunted house, but only the haphazard stone walk leading to it, or just a window where a brown recluse nestles one corner awaiting a fly.

Monday, September 22, 2014

#BLauthor14: Amanda R. Howland

Follow Amanda Howland on Facebook.
#BLauthor14 is Amanda R. Howland.

Amanda R. Howland is a writer and noise musician living in Lakewood, Ohio. Her fiction can be found in Bird’s Thumb and Adanna Literary Journal. She has a degree in fiction from the Northeast Ohio Master of Fine Arts Program (NEOMFA). Amanda has been practicing yoga for years and is inspired by the wild power of nature and the organic texture of consciousness.

Monday, September 15, 2014

Guest post by Sara Biggs Chaney: Go Cry Over Your Dog Biscuits—Some Thoughts on Writers and Bullying

"Electrifying Groove," by Danielle Dragona
#BLauthor13 Sara Biggs Chaney has written a guest post on bullying within the writing community, and we think it's totally rad when other writers say, hey, do your thing, who cares? There's room for all of us. The accompanying art by Danielle Dragona kind of highlights that idea: groove on, jam out, do your thing.

Enjoy Sara's post, and please share it and leave us a comment here to tell us what you think:

Tuesday, September 9, 2014

#BLauthor13: Sara Biggs Chaney

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#BLauthor13 is Sara Biggs Chaney.

Sara Biggs Chaney received her Ph.D. in English in 2008 and currently teaches first-year writing in Dartmouth's Institute for Writing and Rhetoric. Her first chapbook, Precipice Fruit, was released by ELJ Publications in October 2013, and her second chapbook, Ann Coulter's Letter to the Young Poets, is forthcoming from dancing girl press this summer. Sara's poems and flash fictions have recently appeared (or will soon appear) in Word Riot, PANK, SunDog Lit, Dr. T.J. Eckleburg Review, Menacing Hedge, Whiskeypaper, and other places. You can catch up with Sara at her blog.

Tuesday, September 2, 2014

Co-editor Bethany Brownholtz interviews Kate Abbott, #BLauthor12


Series of untitled photos by Craig Scoffone - Video Maker

Here is BL's interview with #BLauthor12 Kate Abbott.

If you haven’t checked out Kate’s prose poetry yet, please do that. Featured art is a slideshow of work by Craig Scoffone, a San Francisco Bay Area based photographer. We are pleased to be able to present some of his works here.  Please visit his website to see additional works.

Monday, August 25, 2014

#BLauthor12: Kate Abbott

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and on Twitter @Kate_Abbott_.
#BLauthor12 is Kate Abbott.

Kate Abbott's YA novel Disneylanders was published in 2013 by Orchard Hill Press. She recently completed the memoir Walking After Midnight. She lives in Northern California with her husband, son, and tiny parrots.

Check out new work by Abbott:

Tuesday, August 19, 2014

Alienated from poetry? A guest post by #BLauthor11 Andrew Rihn

"Injured Brain = Total Abstinence,"
mixed media collage,
by Brett Stout
I haven't written a poem in roughly two years. As strange as that sentence is for me to write, it is equally strange to see my poem “Tow Truck” appear online. It is the last poem I wrote.

It is strange because two years on, I'm really happy with the poem. At the time, I was writing a lot of poems about alienation: alienation from God, alienation from each other, alienation from ourselves. Most of my poems started from images, from things I've seen that could be excavated as metaphors. In this case, the idea for the poem began by seeing tow trucks that appeared to have crosses on them, and considering the phrase “my cross to bear.”

I was also looking at spaces where alienation became somewhat literal: the space between customer and cashier, between the artist and model, or in the case of “Tow Truck,” the space between driver and passenger. I'm interested in the relationship between intimacy and distance. It is intimate to sit next to someone in the cab of a truck, yet the relationship is quite distant. Proximity may not be fulfilling, yet sometimes it is all we have.