Skip to main content

Some Presses I'm Ogling

Able Muse

Ashland Poetry Press

Bona Fide Books

Brothel Books

Carolina Wren


Evening Stree Press

Folded Word


Marsh Hawk Press

Imaginary Friend Press

Cold Line

Medusa's Laugh Press


Paris Press

Exterminating Angle Press


Mayapple Press

Bargwrn Books

A Midsummer's Night Press

Matter Press

Sibling Rivalry Press

So to Speak

Feminist Review

Hireaeth Press

Pleasure Boat Studio

The Feminist Wire

Convulsive Editions

Crisis Chronicles

Etched Press

Wild Embers

Koan Books

Keyhole Press

Kore Press

Perugia Press

Patasola Books

Lumonox Press

Liquid Lights Press

Ugly Duckling


Popular posts from this blog

Women and Myth: Margaret Atwood and Circe

Circe, by Wright Baker "One day you simply appeared in your stupid boat," "Circe/ Mud Poems," Margaret Atwood, from You Are Happy I was alerted to this poem series by Estella Lauter's great chapter, "Margaret Atwood: Remythologizing Circe" from Women as Mythmakers. If you have the Norton Anthology of Modern and Contemporary Poetry, there is an excerpt in Vol. 2. And here is some interesting discussion of the text as well.

Feminist Ekphrasis: Margaret Atwood and Manet's Olympia

Margaret Atwood confronts the male gaze directly in her poem, "Manet's Olympia."

Armantrout's Feminist Poetics and the Meaning of Clarity

Because it doesn't seem to exist in digital form AT ALL, here's my annotation for this totally foundation feminist poetics essay. Rae Armantrout’s foundational essay “Feminist Poetics and the Meaning of Clarity,” offers a way of understanding the social in experimental poetry that is critical of a particular type of lyric subjectivity, described as univocal, closed, Romantic, imperial, and appropriative. For Armantrout, the stable poetic subject is inherently appropriative, serving epiphany demanded by mainstream form, constructed by metaphor’s appropriative nature. Armantrout specifically calls out the type of poems that most agree constitute conventional poetry of witness: “The conventional or mainstream poem today is univocal, more or less plainspoken, short narrative, often culminating in a sort of epiphany” (Armantrout 288). Elaborating, Armantrout argues that “such a form must convey an impression of closure, and wholeness, no matter what it says” (288). Closure an…