ALICE JAMES BOOKS Fall 2011
INSIDE From the Directorâ€™s Desk
Rebecca Gayle Howell
News and Events
Young Writers on Campus
The 3rd Annual Kinereth Gensler Awards Celebration Reading & Book Launch
The Alice Fund
Alice Asks Janine Oshiro
fall n e w s l e t t e r
A lice J ames B ooks
2011 Volume 16, Number 2
AJB STAFF Carey Salerno
Executive Director Frank Giampietro
Managing Editor Meg Willing
poetry since 1973 Dear Friends, ˜ uo 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.
COOPERATIVE BOARD MEMBERS Nicole Cooley, President Laura McCullough, Vice President Matthew Pennock, Treasurer Monica A. Hand, Secretary Catherine Barnett Daniel Johnson Mihaela Moscaliuc Stephen Motika Peter Waldor
Anne Marie Macari, Alice Emeritus Ellen Doré Watson, Alice Emeritus
INTERNS Abrahamm Beane Devany Chaise-Greenwood Callie Koenig Jamie Phillips Casey O’Malley Ryan Ouimet Kristen Start Lauren Taylor Front cover from me & Nina (01/2012) Image credit: “To Be Young, Gifted & Black,” Krista Franklin Image of Alice James pf MS Am 1094, Box 3 (44d) By permission of the Houghton Library, Harvard University
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 tourde-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,
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.
Snow Logic In the world of telling, it is said 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 being a moon, my only handle. If in my empty bowl should live a bear, what color would re° ect in his dark eyes? Shanda Tice
PIER September 2011
Janine Oshiro Praise 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
new books 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 Decadeand elsewhere. She holds an MFA in Poetry and Poetry in Translation from Drew University and is a founding member of Poets for Ayiti.
Rachel Eliza Gri˛ ths
traveling through us she found rage inside 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 psalm we in her presence the Jubilee
Monica A. Hand
Janurary 2012 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
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.
Sarah Wylie A. VanMeter
Amal al-Jubouri, a native of Iraq, is the author of ﬁve 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.
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.
My Body Before the Occupation
My Body After the Occupation
—Uranium for weapons, disarmed Ammunition for wars to come A loaf of hot bread
—Unable to reach heights of pleasure Disabled little deaths
aching to be eaten
I hate their crowning moans
Hagar Before the Occupation Hagar After The Occupation AJB 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 oﬀers us a view into the process of translating this landmark book of poetry from the Arabicspeaking 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.
translator interview November AJB: 2011
˜ e foreword toHagar 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 Englishspeaking people to understand Arabic art. Can you say more about this?
(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.
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 AJB: What parts of the translating process did you ÿ nd most I’m guessing we have more poets publishing in America di˙ cult? today than ever before. My hope is that more of us will begin translating living texts into English; by closing the RGH: All of it! ° e whole thing is a ÿ re walk. gap of time and place, by welcoming a globalized poetics into English, we could become better poets. Maybe better y welcoming a globalized poetics into Americans. English, we could become better poets. AJB: In your introduction you observe that it is much easier to Maybe better Americans. 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 AJB: Besides your attraction to Amal al-Jubouri’s poem “˜ e Veil of Religions,” which was an Iraqi woman’s response to your own art? the events of 9/11, what can you say about your motivation RGH: Idea, image, sound, and metaphor are organized for working so closely with al-Jubouri? How did you ÿ nd one di˛ erently depending on which language system the poet another? is using to build her poem. Whenever I study how poetry behaves in another language, I learn something new about RGH: I found Amal through her work, ÿ rst. Her vision how it might also behave in English if I were to push it a shares something essential with the poets I most love— little to the right or left. Arabic poetry, for example, can Dickinson, Celan, Valentine, Merwin—writers who sustain abstractions or ideas more readily than English understand poetry as a kind of prayer. I would have wanted because of its musical momentum. One well-muscled craft to translate her even if we’d never met, just to be close to element carries the weight of the awkward other. Is it always the poems themselves. ° at she made herself so available true that the concrete poem reigns? Or is there something to the process was an unexpected blessing; we were able to particular to English that leaves it wanting concrete work together and conÿ dently move the ÿ nal versions in directions I was too timid to move them in on my own. imagery? And can this boundary be pushed a bit more?
AJB: ˜ e non-traditional method you and the other translator, AJB: What are your feelings about bringing this particular Husam Qaisi used to approach this translation was quite poet’s words to an American audience? unique. Could you talk a bit about this process and how you RGH: War works best when those we war against remain chose the phrases you felt were right? anonymous. Lyric poetry such as that found in Hagar, RGH: Husam and I agreed to step the traditional process insists on the “I,” a speciÿ c “I” who has a daughter and a back; instead of working from “literal versions” of the poems husband and a mother and terror and rage. It sings from a
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.
all that needs to be said.
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: 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.
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 carries double 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
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?”
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.
Congratulations to our 2011 Kundiman Poetry Prize Winner
Matthew Olzmann for 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.
news and events
Doug Anderson Joanna Fuhrman has poems forthcoming in Massachusetts Review, Connecticut has new poems online at Press 1 (http://www.leafscape.org/press1) River Review, Cutthroat, Cimarron Review; essay forthcoming in and ˜ e Academy of American Poets website (Poem-a-Day). Her Massachusetts Review. article on teaching Kenneth Koch’s poetry will be in the winter issue of Teachers & Writers magazine. Her new website is now Catherine Barnett’s online. Visit her at joannafuhrman.com. second collection, ˜ e Game of Boxes, is due out from Graywolf in August 2012. An essay on Jean Valentine is appearing in ˜ is-World Stacy Gnall Company: On the Poetry of Jean Valentine (forthcoming, University has one post-November reading lined up, so far, at Beyond of Michigan Press); and an essay on the poetic line is appearing Baroque Literary/Arts Center in Venice, California on Saturday, in A Broken ˜ ing: Poets on the Line(University of Iowa Press), in February 11, 2012. October 2011. She will be giving a reading with Colm Toibin on February 22, 2012, at the University of Maryland. Cynthia Huntington’s fourth collection of poetry, Heavenly Bodies, is this year’s Editor’s Kathleen Sheeder Bonanno Selection in the Crab Orchard Poetry Series, Southern Illinois has received a Knight Foundation Challenge Grant to open the University Press. ˜ e book will appear in December 2011. She Musehouse: A Literary Center for the Arts in the northwest has also just been awarded a poetry fellowship from the Vermont section of Philadelphia. ˜ e center will feature workshops, readings Art Council. and special events for writers of all ages and genres including poetry, ÿ ction, memoir, and playwriting. Any Alices who might Janet Kaplan’s be interested in reading at the Musehouse can contact Kathy at newest book, Dreamlife of a Philanthropist: Prose Poems & Prose email@example.com. Sonnets, selected by Cornelius Eady and Joyelle McSweeney for the Ernest Sandeen Prize in Poetry, was published in February Carole A. Borges by the University of Notre Dame Press. Prose poems from her is proud to announce that she has ÿ nally completed her memoir manuscript-in-progress were recently published in Sentence and about growing up on a boat on the Mississippi River in the 1950s. online and in print by the Prose Poem Project. ˜ is fall she will She’s currently shopping around for an agent. Her essay “Why I launch Red Glass Books, a new limited-edition chapbook series, Stopped Swearing & Will Never Be ˜ rown O˛ An Airplane” will with the publication of Swimming to America by Patricia Spears be published next month in the online magazine Write Elephant. Jones. Also, three of her poems will be forthcoming in the inaugural issue of TjgrszmK Journal (date to be announced). Ruth Lepson will read at the Gloucester Writers Center, September 14. She was Nicole Cooley’s recently published in Quarterly West. chapbook In the Doll Museum will appear in the new journal Chapbook this fall. She will be giving upcoming readings in the Lesle Lewis’ Sarabande Reading Series in Kentucky, the Observable Reading poem “Red Bank” was featured by the Academy of America Poets Series in St. Louis, at the Tangled Spaces Motherhood Symposium for “Poem-A-Day,” and has poems forthcoming in ˜ e Associative in NYC and at the Oxford Festival for the Book in Mississippi. Press and ˜ e Monday Poetry Report. Deborah DeNicola Suzanne Matson, gave readings at Art Serve, Ft. Lauderdale and the Bottega Wine Bar who remains a full-time professor at Boston College, has also in Coconut Creek, Florida. She is working on a new manuscript joined the low-residency MFA faculty at Fairÿ eld. ˜ e Big Enigma. Her poem “Let Love” appeared in the Passager anthology, Burning Bright. Alice Mattison’s essay “˜ ree Bartlett Pears,” ÿ rst published in ˜ e ˜ reepenny Amy Dryansky Review, will be included in the coming Pushcart Prize anthology; has poems in Harvard Review and the anthology Morning Song: a short story, “˜ e Vandercook,” which came out inEcotone, will Poems for New Parents. Her second collection, currently titled be in the O. Henry Prize Stories anthology; and an essay, “Where Grass Whistle, is coming out from Salmon Poetry in fall 2012. Do You Get Your Ideas,” is forthcoming in˜ e Writer’s Chronicle. She’s recently begun teaching in the creative writing program at Hampshire College. Shara McCallum’s fourth book, ˜ e Face of Water:New and Selected Poems is B.H. Fairchild forthcoming from Peepal Tree Press, UK, in the Fall of 2011. Her has poems forthcoming in Yale Review and Ploughshares. An essay, upcoming readings and lectures include: Xavier University & the “A Midwestern Poetics: Selections from a Journal,” is forthcoming in University of New Orleans, New Orleans, LA—November 9-11, New Letters. “Logophilia,” an essay that appeared in New Letters last 2011. Miami Book Fair International, Miami, FL—November 19, year, recently received a Pushcart Prize. An interview with Fairchild 2011. Lycoming College, Williamsport, PA (date tba). Paterson recently appeared in Rattle. 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.
news and events
Carol Potter has poems forthcoming in Poemeleon, Lambda Literary Review Newsletter, and the anthology, Open Field.
COMING SPRING 2012
Donald Revell will 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.
Western Practice Stephen Motika
Available April 2012
Jane Springer has 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’s Here, Bullet was published in Sweden this September. Phantom Noise will reach a Swedish audience by spring 2012. Suzanne Wise has 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’s third book, Uncanny Valley, will be published in 2012 by Cleveland State University Poetry Center.
Matthew Pennock Available April 2012
Available May 2012
THE 2012 BEATRICE HAWLEY AWARD 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 ofﬁce today. WRITE TO US
firstname.lastname@example.org OR CALL
We want to hear from you!
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
donors staff spotlight Frank Giampietro
AJB’s New Managing Editor
Alice James Books recently sat down with the newest addition
to the staff, Managing Editor, Frank Giampietro.
Alice James Books: So, how did you end up in Farmington, Maine, working for Alice James Books?
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?
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 Reviewmade me think I’d like to try to go into publishing. The rest is history.
FG: Th 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 Everything seems to be TL;DR in this day and age except poetry. to AJB, but were a mystery to me. We can sort of help foster authors Rather, it’s nice and short. Poetry is this nice little dream, this through that process, having gone through it ourselves. 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 AJB: Do you recall your ÿ rst publication? What was that like? Books is poised to take advantage of that and to make poetry more relevant because of that. FG: I remember my ÿ rst poem was published in a journal calledPoetry Bone. I’m not sure it’s even in existence anymore, and I never published AJB: Are you working on something new? that poem in a book. But it was a huge thrill. Th en when I found out I got my book published, when they called me from Alice James Books, FG: Yes. I have another manuscript I’m trying to get published. it was just about the best day of my life—other than my kids being It’s called ˜ e Arbitrariumwhich is a word my wife gave me born. It was fantastic, I was ecstatic, high for days just thinking about when she wanted to go to the arboretum with the kids and she it. called it the “arbitrarium” by mistake. It was one of those things where I thought, wow, that’s exactly where we go everyday— AJB: You’ve created two websites, lafoeva.org, and poemsbyheart.org. With as a family, as people—every day is a day at the “arbitrarium.” that in mind, how do you see poetry advancing with new media, and Th e new manuscript is ÿ lled with poems about me, and my life where do you see Alice James Books ÿ tting into that world? with my children, like the last book, but it also has dramatic monologues in the voices of Guinness Book of World Record FG: After I learn this job as it is, as Managing Editor, which is a huge holders, like the guy with the longest eyebrow hair, or the guy undertaking, I do hope to help Carey continue to bring AJB into who stood still for the longest amount of time. Wanting to be a the 21st century. My sense is that poetry is poised to be even more famous poet, something I don’t even know if I want, constitutes relevant than it ever has been, for one simple reason and it’s this idea a similar arbitrary desire for signiÿ cance. It’s possible that it’s just of “TL;DR,” which is an internet acronym that means: “Too long; as interesting as someone who wants to grow out an eyebrow didn’t read.” hair. I like thinking of poetry like that, and still I’m I’m writing. writing.
AJB THANKS THE FOLLOWING INDIVIDUALS FOR THEIR GENEROUS CONTRIBUTIONS TO THE PRESS FROM 2010 TO PRESENT* I����������� Fortune Brands, Inc. The Frank M. Barnard Foundation Franklin Savings Bank The National Endowment for the Arts Newton Press Thomson-Shore, Inc. S�������: $2500 �� M��� Anonymous Anonymous David Harvey
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3rd annual kinereth gensler awards
ON SATURDAY APRIL 23, AJB hosted the 3rd Annual Kinereth Gensler Awards Celebration Reading & Book Launch at Poets House in New York City. Th 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.
Matthew Pennock keeping a careful eye on the book sale table.
A group of attendees chatting about the readings and this year’s winners.
SHARA MCCALLUM AND STEVE SHWARTZER
Many thanks to these sponsors for donating their time, treasure, and talent to AJB for this event.
the alice fund
stay alive. “ Just That’s all I ask.
About The Alice Fund The Alice Fund’s mission is to ensure the long-term financial stability and realization of the strategic goals of Alice James Books. The press is wholly committed to investing the vast majority of any “profits” or “gains” from a given fiscal year directly into The Alice Fund. Though many donors choose to give to both, funds raised for The 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 The 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.
—Jane Kenyon on AJB, 1994
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: The Kundiman Poetry Prize and the AJB Translation Series • Continuing to publish emerging and established poets • Accelerating the growth of The Alice Fund
THE ALICE FUND
...preserving the legacy of
AJB’s deepest thanks for the gifts made to The Alice Fund by the following founding contributors
• Anonymous • David and Margarete Harvey • Rita Waldor
• Financial Beneﬁts Research Group
• Brown & Brown Metro Insurance • Anne Marie Macari • Valley National Bank • Peter Waldor
• 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
• 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 Joﬀe 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
A lice J ames B ooks
What’s your legacy level? Alice $10,000 or more Henry up to $10,000
William up to $5,000
Robertson up to $1,000 Wilky up to $500
Make a Lasting Impression Call us to discuss this opportunity to give the gift of preservation.
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 efforts to preserve this great art, and Alice James becomes your life-long friend.
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.
° 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.
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!
alice 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. Shanda Tice
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 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: My iTunes tells me that I listen to Van Morrison’s Astral Weeks the most.
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: What is your favorite character name?
AJB: During a thunderstorm, where would we ÿ nd you?
JO: I love Elizabeth Bishop’s Mr. Swan, who asks, “What’s that ugly thing?”
JO: Ideally I would be at home, sitting on the patio and watching the show.
AJB: What song or album do you listen to the most?
Alice James Books Become an Alice James Books Subscriber Today!
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 email@example.com, or visit our website to enroll. www
. a l i c e j a m e s b o o k s . o rg
an affiliate of the University of Maine at Farmington
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.
FALL 2011 CATALOG NEW BOOKS
2010 Kundiman Prize Winner
Janine Oshiro September 2011 ISBN: 978-1-882295-88-3 paper l $15.95
“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
Hagar Before the Occupation Hagar After the Occupation
Translated by Rebecca Gayle Howell with Husam Qaisi Foreword by Alicia Ostriker AJB Translation Series
November 2011 in English and Arabic ISBN: 978-1-882295-89-0 paper l $17.50
“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 “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 “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
me and Nina
Monica A. Hand January 2012 ISBN: 978-1-882295-90-6 paper l $15.95
“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
lie down too Lesle Lewis
...a book of joy, impossible to put down, impossible to deny.
April 2011 l ISBN: 978-1-882295-85-2 $16.95 (paper w/ flaps)
Heart First into the Forest
This Strange Land
April 2011 l ISBN: 978-1-882295-86-9 $19.95 (paper w/ cd)
...a marvelous collection filled with lovely and evocative music... —Library Journal, starred review
ISBN: 978-1-882295-87-6 $15.95 (paper)
...an utterly original work...
Parable of Hide and Seek
978-1-882295-84-5 $15.95 (paper)
978-1-882295-83-8 $15.95 (paper)
978-1-882295-82-1 $15.95 (paper)
Shahid Reads His Own Palm
How to Catch a Falling Knife
Reginald Dwayne Betts
978-1-882295-81-4 $15.95 (paper)
978-1-882295-80-7 $16.95 (paper)
978-1-882295-79-1 $15.95 (paper)
The Captain Lands in Paradise
The Moon Reflected Fire
1-882295-03-X $15.95 (paper)
1-882295-33-1 $14.95 (paper)
The Art of the Lathe B.H. Fairchild 1-882295-16-1 $15.95 (paper)
Into Perfect Spheres Such Holes are Pierced Catherine Barnett 1-882295-45-5 $13.95 (paper)
Pity the Bathtub Its Forced Embrace of the Human Form Matthea Harvey 978-1-882295-26-5 $14.95 (paper)
Here, Bullet Brian Turner 978-1-882295-55-5 $15.95 (paper)
Tom Absher The Calling (1987) 0-914186-73-1 • paper • $13.95
HELENE DAVIS Chemo-Poet and Other Poems (1989) 0-914086-87-1 • paper • $8.95
Kathleen Aguero & Miriam Goodman Thirsty Day/Permanent Wave (1977) 0-914086-17-0 • paper • $3.50
CORT DAY The Chime (2001) 1-882295-29-3 • paper • $11.95
JOHN HILDEBIDLE The Old Chore (1981) 0-914086-34-0 • paper • $4.95
Kazim Ali The Far Mosque (2005) 1-882295-53-6 • paper • $14.95
DEBORAH DeNICOLA Where Divinity Begins (1994) 1-882295-02-1 • paper • $9.95
FANNY HOWE Robeson Street (1985) 0-914086-59-6 • paper • $12.95
CATHERINE ANDERSON In The Mother Tongue (1983) 0-914086-46-4 • paper • $13.95
THEODORE DEPPE The Wanderer King (1996) 1-882295-08-0 • paper • $11.95 Children of the Air (1990) 0-914086-91-X • paper • $8.95
CYNTHIA HUNTINGTON We Have Gone to the Beach (1996) 1-882295-11-0 • paper • $11.95
DOUG ANDERSON The Moon Reflected Fire (1994) 1-882295-03-X • paper • $13.95 Catherine Barnett Into Perfect Spheres Such Holes Are Pierced (2004) 1-882295-45-5 • paper • $13.95
XUE DI An Ordinary Day (2002) 1-882295-34-X • paper • $12.95 JEANNINE DOBBS, KINERETH GENSLER, & ELIZABETH KNIES Three Some Poems (1976) 0-914086-11-1 • paper • $3.50 NANCY DONEGAN The Forked Rivers (1989) 0-914086-89-8 • paper • $8.95 AMY DRYANSKY How I Got Lost So Close to Home (1999) 1-882295-22-6 • paper • $11.95
DAN BEACHY-QUICK North True South Bright (2003) 1-882295-38-2 • paper • $13.95
JOCELYN EMERSON Sea Gate (2002) 1-882295-35-8 • paper • $12.95
ROBIN BECKER Backtalk (1982) 0-914086-36-7 • paper • $8.95
B. H. FAIRCHILD The Arrival of the Future (2000) 1-882295-25-0 • paper • $11.95 The Art of the Lathe (1998) 1-882295-16-1 • paper • $14.95
SUZANNE BERGER Legacies (1984) 0-914086-49-9 • paper • $13.95
JACQUELINE FRANK No One Took a Country from Me (1982) 0-914086-37-5 • paper • $4.95
Reginald Dwayne Betts Shahid Reads His Own Palm (2010) 978-1-882295-81-4 • paper • $15.95
Joanna Fuhrman Pageant (2009) 978-1-882295-77-7 • paper • $15.95
Kathleen sheeder bonanno Slamming Open the Door (2009) 978-1-882295-74-6 • paper • $15.95
ALLISON FUNK Forms of Conversion (1986) 0-914086-65-0 • paper • $12.95
CAROLE BORGES Disciplining the Devil’s Country (1987) 0-914086-77-4 • paper • $7.95
ERICA FUNKHOUSER Natural Affinities (1983) 0-914086-42-1 • paper • $8.95
JUlie Carr equivocal (2007) 978-1-882295-63-0 • paper • $14.95
RITA GABIS The Wild Field (1994) 1-882295-01-3 • paper • $9.95
NICOLE COOLEY Milk Dress (2010) 978-1-882295-83-8 • paper w/flaps• $15.95
Eric Gamalinda Zero Gravity (1999) 1-882295-20-X • paper • $11.95
ROBERT CORDING Heavy Grace (1996) 1-882295-09-9 • paper • $9.95
Christina Davis Forth A Raven (2006) 1-882295-57-9 • paper • $14.95
Daniel Johnson How to Catch a Falling Knife (2010) 978-1-882295-79-1 • paper • $15.95
KINERETH GENSLER Journey Fruit (1997) 1-882295-13-7 • paper • $9.95 Without Roof (1981) 0-914086-32-4 • paper • $4.95
Linnea Johnson The Chicago Home (1986) 978-0-914086-63-5 • paper • $14.95
frank giampietro Begin Anywhere (2008) 978-1-882295-70-8• paper • $14.95 Dobby Gibson Polar (2005) 1-882295-49-8 • paper • $13.95 CELIA GILBERT An Ark of Sorts (1998) 1-882295-18-8 • paper • $7.95 Bonfire (1983) 0-914086-44-8 • paper • $4.95 STACY GNALL Heart First Into the Forest (2011) 978-882295-87-6 • paper • $15.95
ALICE JONES Isthmus (2000) 1-882295-27-7 • paper • $7.95 The Knot (1992) 0-914086-96-0 • paper • $11.95 AMAL al-Jubouri Hagar Before the Occupation, Hagar After the Occupation (2011) 978-1882295-89-0 • paper • $17.95 JANET KAPLAN The Groundnote (1998) 1-882295-19-6 • paper • $11.95 LAURA KASISCHKE Fire & Flower (1998) 1-882295-21-8 • paper • $11.95
Kevin Goodan Winter Tenor (2009) 978-1-882295-75-3 •paper w/flaps • $15.95 In the Ghost-House Acquainted (2004) 1-882295-47-1 • paper • $13.95 Henrietta goodman Take What You Want (2007) 978-1-882295-62-3 •paper • $14.95 MIRIAM GOODMAN Signal :: Noise (1982) 0-914086-39-1 • paper • $4.95 JEFFREY GREENE To the Left of the Worshiper (1991) 0-914086-93-6 • paper • $8.95 JOAN JOFFE HALL Romance & Capitalism at the Movies (1985) 0-914086-55-3 • paper • $13.95 FORREST HAMER Call & Response (1995) 1-882295-06-4 • paper • $11.95
MARIE HARRIS Raw Honey (1975) 0-914086-09-X • paper • $3.00
Sarah Gambito Matadora (2004) 1-882295-48-X • paper • $13.95
BEATRICE HAWLEY Making the House Fall Down (1977) 0-914086-19-7 • paper • $13.95
Frank X. Gaspar Night of a Thousand Blossoms (2004) 1-882295-44-7 • paper • $13.95
Monica A. Hand me & Nina 9-781882295-90-6 • (2012) • 15.95
Cynthia Cruz Ruin (2006) 1-882295-58-7 • paper • $14.95 PATRICIA CUMMING Letter from an Outlying Province (1976) 0-914086-14-6 • paper • $3.50 Afterwards (1974) 0-914086-02-2 • paper • $3.00
FORREST GANDER Rush to the Lake (1988) 0-914086-79-0 • paper • $13.95
MATTHEA HARVEY Pity the Bathtub Its Forced Embrace of the Human Form (2000) 978-1-882295-26-5 • paper • $14.95
CLAUDIA KEELAN The Devotion Field (2004) 1-882295-46-3 • paper • $13.95 Utopic (2000) 1-882295-28-5 • paper • $11.95 JANE KENYON From Room to Room (1978) 0-914086-24-3 • paper • $11.95 ANN KILLOUGH Beloved Idea (2007) 978-1-882295-65-4 • paper • $14.95 David Kirby The Temple Gate Called Beautiful (2008) 978-1-882295-67-8 • paper • $14.95 ELIZABETH KNIES, JEANNINE DOBBS & KINERETH GENSLER Three Some Poems (1976) 0-914086-11-1 • paper • $3.50 SHARON KRAUS Generation (1997) 1-882295-14-5 • paper • $9.95 NANCY LAGOMARSINO The Secretary Parables (1991) 0-914086-92-8 • paper • $8.95 Sleep Handbook (1987) 0-914086-69-3 • paper • $7.95
E. J. MILLER LAINO Girl Hurt (1995) 1-882295-07-2 • paper • $9.95
Richard McCann Ghost Letters (1994) 1-882295-04-8 • paper • $9.95
RUTH LEPSON Dreaming in Color (1980) 0-914086-27-8 • paper • $3.95
DAVID McKAIN The Common Life (1982) 0-914086-38-3 • paper • $4.95
LeslE Lewis Landscapes I & II (2006) 1-882295-54-4 • paper • $14.95 lie down too (2011) 978-1-882295-85-2 • paper w/flaps • $16.95
JAne mead The Usable Field (2008) 978-1-882295-69-2 • paper • $14.95
KAREN LINDSEY Falling off the Roof (1975) 0-914086-08-1 • paper • $13.95
HELENA MINTON The Canal Bed (1985) 0-914086-53-7 • paper • $6.95
TIMOTHY LIU Vox Angelica (1992) 0-914086-97-9 • paper • $11.95
NORA MITCHELL Your Skin is a Country (1988) 0-914086-83-9 • paper • $8.95 Proofreading the Histories (1996) 1-882295-10-2 • paper • $9.95
MARGARET LLOYD This Particular Earthly Scene (1993) 0-914086-99-5 • paper • $13.95
Mihaela moscaliuc Father Dirt (2010) 978-1-882295-78-4 • paper • $15.95
MARGO LOCKWOOD Black Dog (1986) 0-914086-61-8 • paper • $6.95
AMY NEWMAN Camera Lyrica (1999) 1-882295-24-2 • paper • $11.95
MARGO LOCKWOOD & NINA NYHART Temper / Openers (1979) 0-914086-26-X • paper • $3.95
idra novey The Next Country (2008) 978-1-882295-71-5• paper • $14.95
SABRA LOOMIS Rosetree (1989) 0-914086-85-5 • paper • $8.95 ALESSANDRA LYNCH Sails the Wind Left Behind (2002) 1-882295-36-6 • paper • $12.95
SARAH MANGUSO The Captain Lands in Paradise (2002) 1-882295-33-1 • paper • $14.95 Adrian Matejka The Devil’s Garden (2003) 1-882295-41-2 • paper • $13.95
JEAN PEDRICK Pride and Splendor (1976) 0-914086-10-3 • paper • $3.50 Wolf Moon (1974) 0-914086-03-0 • paper • $3.00 CAROL POT TER Upside Down in the Dark (1995) 1-882295-05-6 • paper • $9.95 Before We Were Born (1990) 0-914086-90-1 • paper • $8.95
SUZANNE MATSON Durable Goods (1993) 1-882295-00-5 • paper • $9.95 Sea Level (1990) 0-914086-84-7 • paper • $8.95
Laura McCullough Panic (2011) 978-1-882295-84-5 • paper • $15.95
CarEY salerno Shelter (2009) 978-1-882295-72-2 • paper • $14.95 WILLA SCHNEBERG & LARKIN WARREN Box Poems / Old Sheets (1979) 0-914086-25-1 • paper • $3.95 RON SCHREIBER Moving to a New Place (1974) 0-914086-07-3 • paper • $3.00 LISA SEWELL The Way Out (1998) 1-882295-17-X • paper • $9.95
BETSY SHOLL Rough Cradle (2009) 978-1-882295-73-9 • paper• $15.95 Rooms Overhead (1986) 0-914086-67-7 • paper • $7.95 Appalachian Winter (1978) 0-914086-21-9 • paper • $3.50 Changing Faces (1974) 0-914086-05-7 • paper • $3.00 SUSAN SNIVELY From This Distance (1981) 0-914086-35-9 • paper • $4.95 SUE STANDING Deception Pass (1984) 0-914086-50-2 • paper • $11.95 PAMELA STEWART Infrequent Mysteries (1991) 0-914086-86-3 • paper • $8.95
Cole Swensen The Glass Age (2007) 978-1-882295-60-9 • paper • $14.95 Goest (2004) 1-882295-43-9 • paper • $13 Lia purpura King Baby (2008) 978-1-882295-68-5• paper • $14.95 Bill rasmovicz The World in Place of Itself (2007) 978-1-882295-64-7 • paper • $14.95 DONALD REVELL The Bitter Withy (2009) 978-1-882295-76-0 • paper • $15.95
TOM THOMPSON The Pitch (2006) 1-882295-56-0 • paper • $14.95 Live Feed (2001) 1-882295-31-5 • paper • $11.95 LAUREL TRIVELPIECE Blue Holes (1987) 0-914086-75-8 • paper • $7.95 Brian Turner Phantom Noise (2010) 978-1-882295-80-7 • paper • $16.95 Here, Bullet (2005) 978-1-882295-55-5 • paper • $15.95 JEAN VALENTINE The River at Wolf (1992) 0-914086-95-2 • paper • $11.95 audio cassette • $9.95 Home Deep Blue (1989) 0-914086-81-2 • paper • $11.95 CORNELIA VEENENDAAL Green Shaded Lamps (1977) 0-914086-16-2 • paper • $3.50 The Trans-Siberian Railway (1973) 0-914086-01-4 • paper • $3.00
Chad Sweeney Parable of Hide and Seek (2010) 978-1-882295-82-1 • paper • $15.95
Alice Mattison Animals (1980) 0-914086-29-4 • paper • $13.95 SHARA MCCALLUM This Strange Land (2011) 978-1-882295-86-9 • paper w/cd • $19.95
LEE RUDOLPH The Country Changes (1978) 0-914086-23-5 • paper • $3.50
CAROLE OLES Night Watches: Inventions on the Life of Maria Mitchell (1985) 0-914086-57-X• paper • $11.95
Jean-Paul Pecqueur The Case Against Happiness (2007) 1-882295-59-5 • paper • $14.95
MARY SZYBIST Granted (2003) 978-1-882295-37-1 • paper • $15.95
ROSAMOND ROSENMEIER Lines Out (1989) 0-914086-88-X • paper • $8.95
NINA NYHART French for Soldiers (1987) 0-914086-71-5 • paper • $7.95 Temper / Openers (1979) 0-914086-26-X • paper • $3.95
Janine Oshiro Pier (2011) 978-1882295-8-83•paper• $15.95
Anne Marie Macari Gloryland (2005) 1-882295-50-1 • paper • $14.95
A Thief of Strings (2007) 978-1-882295-61-6 • paper • $14.95 Pennyweight Windows: New & Selected Poems (2005) 1-882295-52-8 • paper • $18.95 cloth • $26.95 My Mojave (2003) 1-882295-40-4 • paper • $13.95
LIZ WALDNER Self and Simulacra (2001) 1-882295-32-3 • paper • $11.95 Peter Waldor Door to a Noisy Room (2008) 978-1-882295-66-1 • paper • $14.95 LARKIN WARREN & WILLA SCHNEBERG Box Poems / Old Sheets (1979) 0-914086-25-1 • paper • $3.95 ELLEN DORÉ WATSON Ladder Music (2001) 1-882295-30-7 • paper • $11.95 We Live in Bodies (1997) 1-882295-12-9 • paper • $11.95 RUTH WHITMAN Tamsen Donner (1977) 0-914086-20-0 • paper • $12.95 audio cassette • $9.95 DAVID WILLIAMS Traveling Mercies (1993) 0-914086-98-7 • paper • $9.95 SUZANNE WISE The Kingdom Of The Subjunctive (2000) 1-882295-23-4 • paper • $11.9
ADRIENNE SU Middle Kingdom (1997) 1-882295-15-3 • paper • $11.95
Jon Woodward Mister Goodbye Easter Island (2003) 1-882295-42-0 • paper • $13.95
LARISSA SZPORLUK The Wind, Master Cherry, the Wind (2003) 1-882295-39-0 • paper • $13.95
Marilyn Zuckerman, Robin Becker & Helena MintON Personal Effects (1976) 0-914086-15-4 • paper • $13.95
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Tamsen Donner: A Woman’s Journey by Ruth Whitman (60 minutes; $9.95) Sustaining Poetry: Twenty Years of Alice James Books (71 minutes; $9.95) The River at Wolf by Jean Valentine (42 minutes; $9.95)
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