Updated: Jan 16, 2020

Check out these two reviews for Diannely Antigua's Ugly Music!


Claudia Cortese, of Muzzle Magazine, reads Ugly Music as a sexual parable of the "Modern Girl," even comparing the book to the song by Sleater Kinney. Her review follows the progress of Diannely's narrator from religious girlhood through the development of her sexuality and identity.


Cortese writes:


"Diannely Antigua’s Ugly Music is a book for our times—sardonic, self-effacing, sincere. The speaker is a bad feminist in the ways that we are all bad feminists—negotiating our desire for equality with the many ways we are imperfect. Although many themes thread through this 92-page book—mental illness, reproductive rights, sexual trauma, suicidality, immigration, masturbation, to name a few—the book coheres around the speaker’s distinct voice and perspective. Diannely Antigua’s poems embody the struggles of a modern girl who confronts both her privilege and oppression, sexuality and sexual trauma. Readers will surely fall as deeply in love with these brilliant, modern girl poems as I have."


Read the full review at Muzzle Magazine's website!

Emily Pérez's review of Ugly Music, written for Rhino Poetry, explores the conflicts and dualities present within Diannely's book. Pérez examines the contrast the book creates "between wanting and not, between desire and devastation," and suggests that it is "the liminal space in which [Diannely] holds the reader" that makes her words so "jolting."


"By blurring the lines between holiness and danger, self-sacrifice and self-preservation, humor and heartache, Ugly Music pushes boundaries and asks us to re-examine what we think we know. But reflection only comes after setting the book down; to hold it and read it is to be swept along in its thrilling, disquieting melody."


Read the rest of the review at Rhino Poetry, and find your copy of

Ugly Music here!




We are so excited to see this review out at Heavy Feather Review for Stay by Tanya Olson!


Esteban Rodríguez's reading of Stay focuses on the sentiment conveyed in the book's title—the longing we feel for those we love to remain with us. Tanya Olson's book explores many types of relationships and the many ways in which the people in our lives leave or stay. Rodríguez writes:


"Loss and departure can be tricky to write about; on the one hand, they’re something that every one of us has experienced in some shape or form, but on the other, that experience can be highly intimate and might not translate seamlessly to readers. Tanya Olson’s work, however, finds a way to make the personal relatable and relevant, and her latest collection, Stay, examines the way we make sense of the people and things that leave us."


Read the full article at Heavy Feather Review,

and get a copy of Stay today!



Updated: Jan 16, 2020

Read the new review of The Feeder by Jennifer Jackson Berry up at Kissing Dynamite!


A new review is available at Kissing Dynamite for Jennifer Jackson Berry's The Feeder. In "Autopsy of Post-Traumatic Guilt: Loss and Non-Redemption in Jennifer Jackson Berry’s The Feeder," Paul David Adkins writes:


"At an autopsy, the coroner must ascertain the cause of death through complete examination of the body. In The Feeder, the speaker escorts the reader through the collection wound by wound. Miscarriages (14 are cataloged in “I Lost Our Baby”) punctuate the volume like buckshot holes."


Jennifer Jackson Berry's book navigates loss and gain through all of their complex undulations—providing the reader with a dynamic celebration of grief and joy in a profound exploration of what the body can hold.


We are so excited to see this new review out for The Feeder!

Read the complete review at Kissing Dynamite,

and get yourself a copy of The Feeder today!



"Love Makes Us Want To Catch That Knife," a new review for Emily O'Neill's a falling knife has no handle!


In her review of a falling knife has no handle, Cheyenne Heckermann reads through Emily O'Neill's poems with an eye for what they savor. Often utilizing food and cooking as a tool for understanding interpersonal relationships, a falling knife has no handle provides a reader with a sense that—while eating keeps us living—it is our relationships with other people that make us alive.


Heckermann opens her review by noting:


"We sometimes fail in our own indulgence. We try to stop a situation too dangerous to stop ourselves — lest we make the situation worse. Like trying to catch a falling knife. Emily O’Neill’s poetry collection, a falling knife has no handle, has a pronounced emphasis on food and relationships, both decadent and troubled. The two pair together like a recipe and meet in a spin of tumult and how we try to cope. Deliciously, at that."


Indulging in Emily O'Neill's words is a pleasure always!

Read the complete review up now at Medium,

and enjoy your own copy of a falling knife has no handle!



Updated: Jan 16, 2020

Congratulations to Shelley Wong and her spectacular manuscript As She Appears for winning this year's Pamet River Prize!



Shelley Wong is the author of the chapbook RARE BIRDS (Diode Editions) and a Headlands Center for the Arts affiliate artist. Her poems have appeared in American Poetry ReviewGulf CoastKenyon ReviewMassachusetts Review, and The New Republic. She is a Kundiman fellow and the recipient of a Pushcart Prize and fellowships from MacDowell Colony, Vermont Studio Center, Kenyon Review Writers Workshop, I-Park Foundation, and Palm Beach Poetry Festival. She holds an MFA from the Ohio State University and lives in San Francisco.










We have also offered publication to finalist Julia Kolchinsky Dasbach's manuscript 40 Weeks! The strength of the manuscripts that come in for the Pamet River Prize is breathtaking.


Julia Kolchinsky Dasbach (www.juliakolchinskydasbach.com) emigrated from Ukraine as a Jewish refugee when she was six years old. She is the author of The Many Names for Mother, winner the Wick Poetry Prize (Kent State University Press, 2019) and The Bear Who Ate the Stars (Split Lip Press, 2014). Her newest collections, Don’t Touch the Bones, won the 2019 Idaho Poetry Prize, will be published by Lost Horse Press in Spring 2020. Recent poems appear in POETRY, American Poetry Review, and The Nation, among others. Julia is the editor of Construction Magazine (www.constructionlitmag.com). She holds an MFA from the University of Oregon and is completing her Ph.D. at the University of Pennsylvania. She lives in Philly with her two kids, two cats, one dog, and one husband, occasionally blogging about motherhood (https://otherwomendonttellyou.wordpress.com/).  


So much thanks to all the submitters and to those who nominated the work of others so that it might be considered.


Winner of the Pamet River Prize:


As She Appears by Shelley Wong


Finalists:

40 Weeks by Julia Kolchinsky Dasbach (also offered publication from YYB) Before the House Went Silent by Dana Alsamsam Mythicana by Destiny Birdsong Gray by Alison Blevins Fallen Fruit by Despy Boutris Little Houdini Sara Brickman Something Small of How to See a River by Teresa Dzieglewicz I’m Only Praying to Believe What’s True by Elaina Ellis SEX DEPRESSION ANIMALS Mag Gabbert Hell’s Belles by Allie Marini MusicfromaBurningPiano by Jill Mceldowney Washed Clean of Summer’s Dust by James Merenda Redress by Jessica Smith


See full list including semi-finalists here

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