blurbs for Men and Their Whims (WK Press, 2013)

I’m delighted to share the blurbs for my forthcoming chapbook Men and Their Whims from WK Pressman. From my creative dissertation on the suffragist, lecturer, and poet Matilda Fletcher (1842-1909), Men and Their Whims explores the relationship between Matilda and her younger brother, Geo. Geo served in the Illinois infantry during the Civil War, but his tour was brief due to an illness he contracted that left him partially deaf. He later married and had children, but his marriage was unstable, in part because he preferred the company of men and drink. Geo was charged with murder in 1905 and sentenced to life in the state prison in Joliet, IL. Matilda writes that Geo was jumped at a saloon. Somehow Spencer Post, one of the men involved and a friend of Geo’s, was stabbed. The injury hit Post’s femoral artery. He bled to death. Between 1905 and 1909, Matilda battled the Illinois court for Geo’s freedom, a task that culminated in the publication of her third book and her early death in Rockford, Illinois. Men and Their Whims ponders Geo’s relationships and the circumstances that lead to the charge of murder.

I had the chance to meet William Reichard, author of Sin Eater and This Brightness and editor of American Tensions: Literature of Identity and the Search for Social Justice,
when he was a visiting poet at UNL. I taught his book This Brightness in my introduction to poetry workshop the semester he visited. We had great discussions over his poems, especially all the fabulous poems about cats. I personally adored his Whitman poems in the  fourth section of This Brightness. I’ve also read and enjoyed reading your book How To.  Here’s Bill:

In Men and Their Whims, Laura Madeline Wiseman digs deep into the lives of 19th century lecturer and poet Matilda Fletcher and her brother, George W. Felts. Borrowing from the official record and adding to it her own powerful voice, Wiseman uncovers two equally important manifestations of history: the stories and anecdotes that comprise the public record, and the quiet moments and intimate details between these siblings that comprise a largely invisible, but no less urgent, private history. The poems are filled with well-researched facts, public figures such as Walt Whitman and Ulysses S. Grant, and the upheaval and aftermath of the Civil War. Yet, they retain a level of detail and candor not often found in any history book. Matilda’s great strength, her sense of ethics and empathy, come to life as she first campaigns for Grant, and later attempts to free her brother from an unfair imprisonment. Wiseman also gives voice to George W. Felts, Matilda’s brother, about whom little is known. He was a Civil War veteran, he lost his hearing to cannon fire and to measles, and he was convicted of killing a man who may have been his lover. Wiseman quietly mines the few facts of George’s life to create a complex figure, a man physically and spiritually wounded, a man who loved other men in an age when such behavior was criminal, and a man robbed of his freedom because he could not hear and did not know what charges were leveled against him. If history has traditionally been written by the “victors,” then Laura Madeline Wiseman is working to counter this injustice, giving voice to the common, the silent, the invisible.

I had the opportunity to talk more Kristina Marie Darling earlier this year when I interviwed her in my blog feature on the chapbook. Beyond her several chapbooks, she’s the author of Petrarchan and Melancholia (An Essay) and editor of Noctuary Press. Here’s Kristina:

Laura Madeline Wiseman’s new collection, Men and their Whims, offers readers a thought-provoking relationship between form and content. Evocative vignettes of Civil War love, loss, and trauma are presented in beautifully crafted couplets, tercets, and prose passages. Within these pristinely wrought historical portraits, Wiseman gives us with a poignant fragmentation of meaning, calling our attention to the inherent instability of history, narrative, and collective memory.

Finally, Lucy Adkins is a poet and writer I met at one of the local reading series here in Nebraska, I interviewed her about her chapbook One Shinning Life: Addie Finch, Farmwife,
and I was also fortunate to collection two of her poems in the anthology Women Write Resistance: Poets Fight Gender Violence. Lucy has recently released the co-author book Writing in Community. Here’s Lucy:

Laura Madeline Wiseman is a poet of great courage and intelligence; and in this remarkable new book, she invites us to pass through a window to a time during and around the Civil War, when the machinery of death touched almost everyone. Against this backdrop and working with the subjects of forbidden love, lost love, betrayal, and grief, she writes poems which are haunting and powerful, sometimes heartbreaking and always truthful. These are poems of the human spirit, written with a clear eye and a compassionate heart.

Thank you William, Lucy, and Kristina! I’m so very much looking forward to seeing this chapbook in print.

 

 

Recent Readings

I gave three readings the first week of April to begin April’s poetry month celebration. I read with several readers in an Art Block Party at the LUX Center of the Arts.

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I also read with Twyla Hansen at Indigo Bridge Books on the theme of women and land. I was able to read a few poems from my forthcoming collection MEN AND THEIR WHIMS.

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I read with Marjorie Saiser at Tuesdays with Writers on the theme of women and creativity. The event included art by Wendy Bantam.

Part of that event included an interview on “Friday Live” at the Mill by William Stibor (starts 26:50, or 28:23) with both Marge and Wendy. It was completely fun to be on the radio and to be in that environment at the Mill in the morning.

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To celebrate Women’s History Month, I was asked to be the visiting writer at Bradley University. I read from my letterpress books UNCLOSE THE DOOR and FARM HANDS.

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The Collum-Davis Library there displayed my letterpress books.

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I also gave a poetry workshop and was the visiting writer at the New Hampshire Institute of Art.

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They filmed the reading I gave in entirety at Teti Library. It’s featured in In Place LIVE. Fabulous.

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To officially release Women Write Resistance, several WWR poets joined me in “Shakespeare’s Sister” for Women’s Week on UNL’s campus, including Becky Faber, Grace Bauer, Sarah A. Chavez, Deborah McGinn, Lucy Adkins, Twyla Hansen, and more. I also read from the critical introduction and preface to Women Write Resistance in No Limits.

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Finally, I read in March’s First Friday event in Femme Qui Bercent with Cat Dixon, Marilyn Coffey, Mary Spittler, Denise Eileen Brady, and more at Noyes Gallery.

And, because I forgot to mention this in February’s news, I also read in Poetry at the Moon with Fran Higgins.

February News

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An excerpt of the letterpress book Unclose the Door isin Extract(s). A poem plus a feature from my forthcoming chapbook Men and their Whims is in Escape into Life. I have poems in the current issues of Martian Lit, The Meadowland Review, and  Thirteen Myna Birds, the latter contains a poem that is forthcoming in my chapbook from Finishing Line Press. My review “Wishes for New Orleans: The Wishing Tomb by Amanda Autcher,” is in the spring 2013 issue of Prairie Schooner. I have poems forthcoming in Sliver of Stone, Strange Horizons, Martian Lit, The Penwood Review, and in the anthology Out of the Depths. Two poems from Sprung and three poems from First Wife are forthcoming as the feature in Poetry Magazine, Summer 2013. I’m also up in the department’s January newsletter.

I read in One Billion Rising: Lincoln on Valentine’s Day from my full-length book Sprung and from the  anthology I have edited Women Write Resistance: Poets Resist Gender Violence (Hyacinth Girl Press, 2013).

I read in a reading at Meadowlark to raise money for the local production of the Vagina Monologues.

I also read in What Will Her Kids Think?, Sally Deskins’ show at the end of the month.

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A busy, but fun month!

 

Next Big Thing: Unclose the Door, a letterpress book based on the life of Matilda Fletcher

I’ve been tagged by Jenn Monroe to do the Next Big Thing chain-blog. What follows is a self-interview entitled “The Next Big Thing” that is making its way through the blogosphere. Every Wednesday, writers who have a recent or forthcoming book answer the following questions, post them on a blog somewhere, and tag five more writers to do the same the following Wednesday.

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What is the working title of the book?

Unclose the Door

 

 

Where did the idea come from for the book?

My father suggested I research a distant ancestor, Matilda Fletcher, who he said “She spoke at Chautauquas while her stepchildren sang and danced.”

 

What genre does your book fall under?

poetry

 

What actors would you choose to play the part of your characters in a movie rendition?

Poetry collections are often made into movies, though locally Wesleyan University is producing the play of Edgar Lee Master’s Spoon River Anthology this semester.

 

Unclose the Door
Hillary Swank as Matilda Fletcher
Nathan Fillion as John A. Fletcher or as Albert Wiseman Fletcher
Jodie Foster as Susan B. Anthony
Sigourney Weaver as Victoria Woodhull
Susan Sarandon as Amelia Bloomer

 

What is the one sentence synopsis of your book?

Unclose the Door are poems based on the life of the nineteenth century lecturer, suffragist, and poet, Matilda Fletcher (1842-1909), who spoke on stage with other suffragists of her time such as Susan B. Anthony, Elizabeth Cady Stanton, and Frances Willard, who invented and patented a design for traveling trunks for women, who wrote bills that were passed into law, and who published several books.

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How long did it take you to write the first draft of the manuscript?

In January 2009, I started writing the poems. This was 100 years after Matilda had died. She died in January 1909. This research and writing became my dissertation. The dissertation was the first draft. I graduated with the Ph.D. in May 2011. I continued to revise and work on the series. Unclose the Door was published in late December 2012. It took three years to finalize Unclose the Door.

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Who or what inspired you to write this book?

Matilda Fletcher, my great-great-great-grandmother

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What else about your book might pique the reader’s interest?

The fifth of fourteen children from abolitionist parents, who had fled the South, Matilda (Felts) Fletcher Wiseman was born in Winnebago County, Illinois, and raised on a farm in Durand. Like her seven brothers who served in the Civil War, Matilda chose the public sphere. After the death of her one and only child, Matilda joined the lecture circuit. She spoke to support herself and her first husband, John A. Fletcher, until his death. He died of tuberculosis, a disease he contracted during his service to the Union. Eleven years later, she remarried the Methodist minister and widower, William Albert Wiseman, and became the stepmother to his three children, all under the age of ten. On the stage she spoke among other suffragists of her time, such as Susan B. Anthony, Elizabeth Cady Stanton, and Frances Willard. During her forty year career, she also invented and patented a design for traveling trunks, wrote bills that were passed into law, and published several books. Surrounded by her family, she died in Rockford, Illinois on January 12, 1909.

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Will your book be self-published or represented by an agency?

Unclose the Door is published by the Gold Quoin Press, a letterpress based in Illinois.

February Readings

 

This month, I’m giving three readings locally. The first is in the movement One Billion Rising that raises awareness about gender violence.

I’m reading poems from some of my recent chapbooks and new work. I’ll also have pre-sale order forms ready for the anthology I’m editing Women Write Resistance: Poets Resist Gender Violence.

Reading (poetry) in One Billion Rising: Lincoln with Barbara Salvatore, Lucy Adkins, Juantia Rice and more
7:30-9:30 p.m., February 14, 2013
Gratitude Bakery, 1551 North Cotner Street, Lincoln, NE

Towards the end of the month, I’m reading in Omaha in a poetry reading and art exhibit on motherhood, media representation, and the female body. I can’t wait to check out Sally Deskin’s exhibit.

Reading (poetry) in What Will Her Kids Think? with Sally Deskins, Cat Dixon, Megan Gannon, Rebecca Rotert, Michelle Troxclair, Felicia Webster, and Fran Higgins
5 p.m., February 24, 2013
Star Deli Gallery, 6114 Military Ave, Benson, Omaha, NE

Finally, I’m giving a reading from my first full-length book Sprung in Poetry at the Moon.

Reading (poetry) in Poetry at the Moon with Fran Higgins
7 p.m., February 25, 2013
Crescent Moon
, 140 N 8th St #10, Lincoln, Nebraska 68508

I hope I’ll see you!

blurbs for Women Write Resistance: Poets Resist Gender Violence

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I’m thrilled to share these blurbs from Kwame Dawes, Elizabeth Kennedy, and Nancy Berns who’ve each written a few words for the anthology I’m editing Women Write Resistance: Poets Resist Gender Violence (Blue Light Press, 2013), forthcoming.

One of the most pernicious forms of violence enacted against women is the silencing of those who have been violated and abused.  The poems in Women Write Resistance: Poets Resist Gender Violence constitute a collective shout of alarm and defiance in the face of such silencing.  The voices are rich in power, nuance, raw honesty, and unquestionable grace and beauty.  This generous and ambitious anthology is a gathering of necessary and affirming poems written by some of the best poets writing in America today.
~ Kwame Dawes, author of Duppy Conqueror (Copper Canyon Press, 2013) and editor of Prairie Schooner

 

Recent events such as Congress’ failure to renew the Violence Against Women Act,  or politicians’ ignorant statements  about rape, or the US press’ shock over rape in India  (as if such things do not happen in the U.S.) all demonstrate the pressing need for continuing education about violence against women.  Women Write Resistance:  Poets Resist Gender Violence is the perfect resource for such education,  ideal for use in introductory and advanced Gender and Women’s Studies courses.  The more than 100 poems  give fresh insight into women’s experience of  various types of violence– war, rape, domestic abuse, incest, intimidation— and their  social contexts,  while reflecting on root causes of violence, methods of resistance, and visions for a world without violence.  The overall effect of women’s voices is powerful, moving the reader beyond the dichotomy of victim versus survivor, to resistance through words and action.  The critical introductory essay draws on recent feminist theory to reflect on how this transformation occurs through such techniques as breaking silence, disrupting traditional narratives, language sassing, and the strategic use of anger. The book reminds everyone that violence against women is still unfortunately a prominent part of our society, while giving tools that enhance understanding and resistance.
~ Elizabeth Lapovsky Kennedy, editor of Women’s Studies for the Future (Rutgers, 2005) and co-author of Boots of Leather, Slippers of Gold (Routledge, 1993)

 

Women Write Resistance draws us into a world of pain and oppression, but also hope. Words often fail to describe the violence women endure. However, through poetry, these women capture the trauma experienced by so many. The stories of abuse painted in the poems leave a haunting legacy and dare us to stand up against the violence. Their survival and courage to speak out gives us hope that change can happen.
~ Nancy Berns, author of Framing the Victim: Domestic Violence Media and Social Problems (Aldine Transaction, 2004) and Closure (Temple University, 2011)

Thank you Nancy, Liz, and Kwame!

The Chapbook Interview: Sarah Reck on the Chapbook Design

How do you define “chapbook”?

I tend to consider a chapbook a short collection of poetry or prose by one author that follows, more than likely, one theme or idea or emotion. I’m relatively new to the chapbook scene, though I spent time in college and graduate school reading and working on lit magazines. I don’t know if there’s really a firm definition of either, but in my mind there’s a distinction between the two in that a lit mag pulls in both poetry and prose from multiple authors and therefore they don’t all necessarily fit together perfectly. A chapbook, on the other hand, is a collection of several pieces of one whole.

 

In Margaret Bashaar’s interview she describes the process of turning an electronic chapbook submission to a real chapbook that “Oh! This is where I get to brag about how incredibly amazing Sarah Reck is…I send the manuscript to Sarah, Sarah does some sort of magic that I don’t completely understand, and sends me back a pdf of the manuscript.” Can you talk a little bit about your process and the “sort of magic” that you do?

The first thing I do is read through the poems and to get a feel for the tone and the themes and the overall feeling I get from the poems as I’m reading them. It sounds strange but I often have a font or fonts in mind after a read-through, and I set the poems out as soon as I do. The manuscripts come to me formatted by the poet, and I take care not to lose that formatting, because I know that an indent, a space, or a single word might change the poet’s intent. I’m a pretty visual person, which I think works well when it comes to the spacing and design of a poem on the page. Once I’ve got the entire book laid out, I get it into .pdf form and send it off to Margaret, and then we work together with the poet to make sure we’re all on the same page and everything looks fantastic.

Can you tell me about a few of the chapbooks you’ve designed for Hyacinth Girl Press?

One thing I think Margaret does so well with acquiring collections for HGP is that she finds poets and collections that are so varied and unique. We started with Juliet Cook’s Thirteen Designer Vaginas, and that was my first go at laying out a chapbook. It’s interesting because the poems don’t have individual titles, and each fits like blocks on the pages. It’s a fun design, almost utilitarian, which I think fits the feel of the collection. Niina Pollari’s Book Four is another without titles, and in this case it gave me the opportunity to play with negative space and open up the poetry right there on the page. And Susan Yount’s Catastrophe Theory is a collection of poems, none of which are formatted or designed the same way. It was challenging to produce, but I like the way it translated from my computer screen to the printed page. Visually, it’s really fun and different.

What has been your favorite chapbook to design and why?

Poetically, I love Susan Slaviero’s A Wicked Apple. It’s a wonderful collection of fantastical pieces, very fairy-tale in inspiration. It’s beautiful. Stylistically, Make It So… which is an anthology of poetry inspired by “Star Trek: The Next Generation.” I had the opportunity to play a lot more with font and internal design elements, giving it a feel that really speaks to both my inner geek and to Star Trek.

What current chapbook are you working on?

I just put the finishing touches on J. Hope Stein’s [Mary]:, which will be out soon from Hyacinth Girl Press. I liked designing it because it’s a combination of poetry, prose, and the format of a screenplay or dialogue. And I’ll get started shortly on Deena November’s Dick Wad.

 

Since you started doing the design and layout for HGP, has there been anything new in the publishing industry that has been destructive to the art of chapbook presses? Helpful to the art to chapbook presses?

I don’t think anything has been destructive because I do think there will always be a market for handmade, hand-designed books by talented artists. There’s something comforting and exciting about knowing how a few, real people all touched a chapbook as it comes to life.

 

How does your day job of working as a web publicist for a major publishing house influence your work with HGP, a small feminist press?

In my day job, books come to me already packaged and complete, and I get to market and promote them. What I love about working with Margaret at HGP is that it’s a completely different period in the life of the book. I like the hands-on experience of working with a small press. I mean, I love books and the written word and supporting fellow writers more than anything, and that fits into both my job and my work at HGP. Being able to produce a beautiful piece of art for and with someone else is a wonderful feeling.

 

You’ve been writing young adult novels, correct? What current writing projects are you working on?

My most recent novel, Birthright, just got a rewritten and extended ending. It’s a steampunk adventure set in an alternate NYC. While I’m looking for representation for it and my other novels, I’ve started a new project that explores what faith and religion would look and feel like in an America that forbids and has essentially made it illegal to practice any kind of religion.

 

Number of chapbooks you own: About 10, but full disclosure, the majority of them are from Hyacinth Girl Press. I’m currently working on building my collection and seeing what other small presses are doing. I also have about a dozen several lit mags tucked away from college.

Number of chapbooks you’ve designed: 9

Favorite flavors of cupcake: Red velvet or pink lemonade.

Inspirations and influences: Edith Wharton, Marjane Satrapi, Stephen Dunn, JK Rowling, William Shakespeare, John Donne, Michael Chabon.

Residence: New York City

Job and education: I manage social media and online promotion for three inspirational and religious imprints at a major publishing house. I hold an MFA in Writing and an MA in English from Chapman University, and I did my undergrad work at Lycoming College.

Bio: Sarah Reck’s short stories and poetry have appeared in The Tributary, Elephant Tree, and Make It So: Poetry Inspired by Star Trek The Next Generation chapbook. She is co-founder and managing editor of Litterbox Magazine, now on hiatus. While she calls Pittsburgh her home, she currently lives in New York City with her cat, Lola. You can find her online on Twitter, Pinterest, and at SarahReck.com.