Monday, September 18, 2017

Queen Mob's Teahouse: Jeremy Luke Hill interviews Greg Rhyno


As my tenure as interviews editor at Queen Mob's Teahouse continues, the thirty-third interview is now online: Jeremy Luke Hill interviews Guelph, Ontario writer Greg Rhyno. Other interviews from my tenure include: an interview with poet, curator and art critic Gil McElroy, conducted by Ottawa poet Roland Prevostan interview with Toronto poet Jacqueline Valencia, conducted by Lyndsay Kirkhaman interview with Drew Shannon and Nathan Page, also conducted by Lyndsay Kirkhaman interview with Ann Tweedy conducted by Mary Kasimoran interview with Katherine Osborne, conducted by Niina Pollarian interview with Catch Business, conducted by Jon-Michael Franka conversation between Vanesa Pacheco and T.A. Noonan, "On Translation and Erasure," existing as an extension of Jessica Smith's The Women in Visual Poetry: The Bechdel Test, produced via Essay PressFive questions for Sara Uribe and John Pluecker about Antígona González by David Buuck (translated by John Pluecker),"overflow: poetry, performance, technology, ancestry": kaie kellough in correspondence with Eric Schmaltz, Mary Kasimor's interview with George FarrahBrad Casey interviewed byEmilie LafleurDavid Buuck interviews John Chávez about Angels of the Americlypse: An Anthology of New Latin@ Writing, Ben Fama interviews Abraham AdamsTender and Tough: Letters as Questions as Letters: Cheena Marie Lo, Tessa Micaela and Brittany Billmeyer-Finn, Kristjana Gunnars’ interview with Thistledown Press author Anne Campbell, Timothy Dyke’s interview with Hawai’i poet Jaimie Gusman, Hailey Higdon's interview with Joanne Kyger, Stephanie Kaylor's interview with Kenyatta JP Garcia, Jaimie Gusman’s interview with Timothy Dyke, Sarah Rockx interviews Gary Barwin, Megan Arden Gallant's interview with Diane Schoemperlen, Andrew Power interviews Lauren B. Davis, Chris Lawrence interviews Jonathan Ball , Adam Novak interviews Tom Stern, Eli Willms interviews Gregory Betts and Jeremy Luke Hill interviews Kasia Jaronczyk and Karen Smythe.

Further interviews I've conducted myself over at Queen Mob's Teahouse includeGeoffrey YoungClaire Freeman-Fawcett on Spread LetterStephanie Bolster on Three Bloody WordsClaire Farley on CanthiusDale Smith on Slow Poetry in AmericaAllison GreenMeredith QuartermainAndy WeaverN.W Lea and Rachel Loden.

If you are interested in sending a pitch for an interview my way, check out my "about submissions" write-up at Queen Mob's; you can contact me via rob_mclennan (at) hotmail.com


Sunday, September 17, 2017

12 or 20 (second series) questions with Stephen Roxborough



Stephen Roxborough was born in New York to an American mother and a Canadian father and moved to Colombia when he was two months old. With Jeff Pew, Rox co-edited the anthology radiant danse uv being, a poetic portrait of bill bissett (Nightwood Editions) He is the author of seven chapbooks, one CD, and four poetry collections. Two collections were released this year: ego to earthschool (NeoPoiesis Press) and the DNA of NHL (Ekstasis Editions). Rox is currently Editor/Creative Director for NeoPoiesis Press.

1 - How did your first book or chapbook change your life? How does your most recent work compare to your previous? How does it feel different?
i'd been writing since high school but never published anything until my early 40s when i recorded a poetry CD (spiritual demons) and printed the poems in a booklet with some of my drawings. when that project was complete i wanted to appear and disappear at the same time. i felt like i said what i wanted to say but wasn't sure what to do with it. three years later the project felt like a 20-year-old snapshot of another person. it made me think deeper about publishing. the finality of finishing something and seeing it in print. a daunting thought. my first book came out 10 years later when i was 51. everytime i first see something of mine in print i pat myself on the back for a few minutes, and then all i think about is writing a better book.

my most recent books have become more personal, almost memoiresque. i'm writing about my family, places i've experienced, and people who've influenced my life. i feel i'm a stronger, more precise, more playful, more musical writer. my hearing has become more accute. my camera has helped me see. improved intuition has offered me another dimension. i feel as though i can go anywhere, meet anyone, and discover something pleasurable to write about.

2 - How did you come to poetry first, as opposed to, say, fiction or non-fiction?
my older brother ran away from home at 16 and left me his record collection which included Bob Dylan's Greatest Hits. my grade 10 English teacher played Dylan Thomas recordings. i had a wonderful grade 12 English Lit teacher who turned me onto Donne, Pope, Byron, Shelly, Wordsworth, and Blake. many wet and wintry lunch periods i used to sneak off to my high school library and read Leonard Cohen. my mother let me out of the house to attend Jimi Hendrix, Donovan, The Doors, Neil Young, The Mothers of Invention, Phil Ochs, and Joni Mitchell concerts. At university, my favourite professor was a Whitman-Emerson-Dickinson-Poe specialist. Of course, i read novels and plays as well, but nothing spoke to me with the power, immediacy, and wisdom of poetry...except maybe, my father's Duke Ellington records and Van Gogh's drawings.

3 - How long does it take to start any particular writing project? Does your writing initially come quickly, or is it a slow process? Do first drafts appear looking close to their final shape, or does your work come out of copious notes?
if i have no ideas for a new project i just start and see what appears. because i write every day it doesn't take me long to notice a direction. first drafts are written longhand on 1/4 page pieces (recycled manuscripts cut and made into pads of paper) with no line breaks. one big run-on fragment. it looks like chaos but i already have the rhythm in my head. then i bring that to the screen and it takes shape. my work usually comes from draft after draft after draft after... many kicks at the can. adding, subtracting, taking word inventory, letting the ingredients marinate, turning it over and over, reading it aloud at different times of day, and other poetic tools. i rarely use notes and don't keep a journal. i use stream of early morning consciousness and copious editing.

4 - Where does a poem usually begin for you? Are you an author of short pieces that end up combining into a larger project, or are you working on a "book" from the very beginning?
Buddha said, "all life is suffering," but to me all life is a poem. part of the art of life comes in finding the unseen poems. my first book was a collection of smaller pieces from many years. my second book had a theme (desire). my third book i found a structure after the orphan poems were collected. my fourth book has a theme (hockey). i'm currently working on three collections which have themes decided on from the beginning. poems start in the heart when logical mind is quiet and i connect to the universal field. creativity is cosmic love. i connect with my heart and expand outward into something greater than myself.

5 - Are public readings part of or counter to your creative process? Are you the sort of writer who enjoys doing readings?
when i'm editing a poem i usually read it outloud to see if it has music (rhythm and tonal color). sometimes a melody appears. i enjoy that part of the process. readings are a mixed bag for me. i love the idea of reading, then i hate all the nervous energy preparing for a reading, especially how edgy i feel a few hours before a reading. then i enjoy the reading itself (usually), i dig the adrenaline rush after, and even the end of the evening driftdown is sweet. all in all, i usually learn something more about my poems when i'm forced to prepare for a reading. so, yes and yes.

6 - Do you have any theoretical concerns behind your writing? What kinds of questions are you trying to answer with your work? What do you even think the current questions are?
although i've read critical books and/or essays by bp nichol, Steve McCaffery, Carl Peters, Lance Strate, Adeena Karasick, Malcolm Cowley, Darren Wershler-Henry, Marshall McLuhan, and many Paris Review interviews, i'm not motivated by or deeply concerned with intellectual theories about poetics. i prefer to read and write poetry. when i write i don't think i'm answering questions. i don't think i have the answers to questions. i believe i help balance myself, and hopefully others, in an entertaining/illuminating fashion by examining (to name a few) the paradox of existence, love, family, humanity, entertainment, commerce, impermanence, environment, communication, pollution, privacy, paranormal, sport, money, drugs, religion, sex, and death.

7 – What do you see the current role of the writer being in larger culture? Does s/he even have one? What do you think the role of the writer should be?
the writer's role is to illuminate in an entertaining way. to examine all subjects, not to tell people what to do, but to help them work through their own daily existence, and maybe even move a reader to action. or not. perhaps there isn't a role. perhaps it's all only ego-showbiz. in that case, i'm vastly underrated. (soft shoe interlude) but seriously, i believe the heart of the role is to assist, at best, to inspire & help stimulate others.

8 - Do you find the process of working with an outside editor difficult or essential (or both)?
i enjoy the editing process and the more experience i have the more essential it becomes to me. I've been working with poet, teacher, counselor Jeff Pew for over 10 years, bouncing poems off him. sometimes one or three a day. he can call me on my indulgences, lazy writing, and help me find the better capper. lately, my NeoPoiesis editor Dale Winslow has become an indespensible sounding board. she pushes me to kill my darlings and improve the keepers. I've also worked with poet/novelist John Oughton and American poet Jim Bertolino, both valuable and steep learning curve experiences. i've had sessions with a couple more editors (who shall remain nameless) and although they didn't pan out, i always learned a great deal. that's the main thing: be teachable and never stop learning.

9 - What is the best piece of advice you've heard (not necessarily given to you directly)?
my father would not accept excuses. there was no such thing as not enough time. make time, he'd say. when life handed us a blow he'd tell us, you gotta learn to roll with the punches. he didn't suffer whining and was fond of saying, life doesn't get better for the complainers.

10 - What kind of writing routine do you tend to keep, or do you even have one? How does a typical day (for you) begin?
i begin my day by writing as soon as i open my eyes. pad of paper and selection of free hotel or bank pens bedside. i stay in bed until i've written something i like. sometimes i write another draft or sometimes i write another poem. depends on what i have to do that day, but if the ink is flowing i stay in bed for two or three hours. then i get up and make tea or coffee and edit what i've written. sometimes the edit session is longer than the intial writing session. i do like to edit. did you know Stanley Kubrick's favourite part of movie-making was editing?

11 - When your writing gets stalled, where do you turn or return for (for lack of a better word) inspiration?
if my writing is stalled, i give it a rest. i pick up my camera and go on a walkabout. or noodle on my guitar. or read a book, watch a movie. when nothing comes it's usually because i'm trying too hard. let trying go. eventually something of interest pops into my head. no  expectations. and the writing begins to flow.

12 - What fragrance reminds you of home?
rainforest, english bay, and sandalwood

13 - David W. McFadden once said that books come from books, but are there any other forms that influence your work, whether nature, music, science or visual art?
everything i notice informs my work. sometimes i find poems in my junk mail. but i admit, music is my number one influence. not necessarily any particular piece or specific composer, but the elements of music. i keep abreast of the news. sometimes the composition of a painting or photograph can inform the composition of a poem. lately, i've been looking at my family history. often just hanging out and overhearing snippets of conversation inspires.

14 - What other writers or writings are important for your work, or simply your life outside of your work?
meeting and reading and listening to and reading with bill bissett changed my life. everyone should be so lucky to have a living breathing working mentor. due to his generosity and friendship, my heart and poetic awareness has experienced accelerated growth. i return to Blake, Whitman, and Samuel Beckett. just as important is a life outisde of writing. i stay active in the world with my sons, travel, photography, co-designing book covers with Milo Duffin, and editing for NeoPoiesis Press.

15 - What would you like to do that you haven't yet done?
tour left bank vineyards in Bordeaux, meditate at Bodh Gaya, read from my hockey book (the DNA of NHL, Ekstasis Editions) in the Hockey Hall of Fame, kayak Haida Gwaii, write a rock n roll memoir, learn to scuba dive, take my boys to New Orleans, build a recording studio, and eventually, meet my maker.

16 - If you could pick any other occupation to attempt, what would it be? Or, alternately, what do you think you would have ended up doing had you not been a writer?
music recording producer (ala George Martin, Todd Rundgren, Brian Eno, Glyn Johns, Daniel Lanois, Rick Rubin, Nigel Godrich...) or a plumber. i've always admired how plumbing holds civilization together.

17 - What made you write, as opposed to doing something else?
as a kid i was an introvert. and dyslexic. in early grade school i was put in the stupid kid group. we weren't really stupid but because we couldn't read we were made to feel that way. when my mother found out, she bought a collection of beginner books and worked with me until i was competent. from then on i made sure i read more books than anyone in my class. overcompensation complex. as an introvert i spent a lot of time in my room reading and drawing and later writing. so i imagine my interest in writing all stems from my early difficulty learning to read.

18 - What was the last great book you read? What was the last great film?
i don't take the word "great" lightly.

my previous favourite translation was by Witter Bynner, but this Hamill version is poetic and powerful in most wonderful ways.

great movie: BUCK (director Cindy Meehl, 2011)
i'm a fair movie buff and began to understand the art of film at university through my best friend, Bruce Preston, a serious film student. we dove into everything Fellini, Hitchcock, Bunuel, Goddard, Tarkovsky, Bergman, and Kubrick. seems odd to me i picked a conceivably schmaltzy documentary about a wounded-child horse-breaker. In my defense, i'm pretty sure watching this film could teach us something about teaching, child-rearing and simply how to all get along. also, the scenes when Buck goes into action are more riveting than anything i've seen Spiderman do.

19 - What are you currently working on?
i'm busy trying to garner some reviews for my two 2017 poetry collection releases.
ego to earthschool (NeoPoiesis Press) and the DNA of NHL (Ekstasis Editions).
anyone interested in a review copy, please let me know.

I've also got three collections marinating in the juices of word and time. every now and then i take a peek and a taste to see if they're aging well. sometimes i even add a new poem for recent perspective. the themes are New York City, what's become of America, and death.

Saturday, September 16, 2017

Rusty Morrison, Book of the given




Exposing the seen: a book of snapshots

Beware nostalgia’s elaborate snare – its tempting surfaces of gloss will tighten time around us. Each morning, I hold aloft an infant image of us, as you baptize her new again. Let stillness fall from her, I chant, ripen her vulnerability. The revival music you are playing on our old jukebox is luring an unusual number of souls from my secret neighborhood.

I only recently picked up a copy, so I’m a bit late to the game on Berkeley, California poet and publisher Rusty Morrison’s collection Book of the given (Las Cruces NM: Noemi Press, 2011). Composed as a kind of call-and-response, she alternates, five against five, short lyric sequences against trilogies of self-contained prose poems, writing on intimacy, sex and the pure landscape of the interior, all while moving through and with lines by the late French philosopher George Bataille (1897-1962). I’m fascinated by the way that Morrison incorporates Bataille’s lines, and Morrison’s lines move in a combination of music and water, an uninterrupted, continuous lyric flow that is quite lovely to imagine read aloud. In my copy, an underlined passage from “Sentenced by the script: Bataille” reads: “Eroticism as seen by the objective intelligence is something / monstrous, just like religion.” Earlier in the same sequence, I’m also struck by: “The way my hand must remove its layer of invisibility / to touch your face. I want to touch it. / To make that want, to meet it / is something monstrous, just like religion. Eroticism and religion [.]” Attempting to look up information on the book online, I wonder: why did this book not receive more attention?

I am nearly sick with child-haste.
Where have I put her this time? Doll in a box. Doll
in my lips, belly, breasts?
She’s gone.
What will I offer you now? Nervous as a kneeling supplicant
at the bishop’s door. Bishop
in both of us, brooding, turning
his eyes round me as though I were the trick of perspective.
Every object I am
is the rupturing it is built on

– still you don’t understand, though I come dressed
in several hints. My little song-skirt, call it
rhythm-to-tear-its-own-seams with,
set to the tone poem of odorous ripening. I make you
a little noise in my throat, under-heard,
which increases its intensity in proportion to

my feigned disinterest. (“Assembled by the script: Bataille”)


Friday, September 15, 2017

12 or 20 (small press) questions with Juliet Cook on Blood Pudding Press



Blood Pudding Press initially derived from Juliet Cook being intensely passionate about poetic creative expression, but not being a fan of light-hearted, semi-normal, semi-clichéd, lightly comedic poetry, which seemed akin to vanilla snack pack pudding in her mind.

She tends to prefer more bloody, visceral, intense, emotional, personal, quirky poetic expression.
She and Blood Pudding are open to a variety of different poetic styles, as long as they're not too light-hearted, bland, dry, or plain old silly. And as long as they don't interpret human bodies as nothing but pieces of meat.

On a personal poetic level, in addition to being the editor/publisher of Blood Pudding Press (and its spooky little sister, the online blog style lit mag Thirteen Myna Birds), Juliet Cook is also a poet/writer and sometimes creates abstract painting collage art hybrid creatures. She sometimes likes to think of herself as a bloody contradictory stuck pig/female hybrid, oinking out oodles of poetry with black, silver, purple, and red explosions. You can find out more on her website at www.JulietCook.weebly.com.

1 – When did Blood Pudding Press first start? How have your original goals as a publisher shifted since you started, if at all? And what have you learned through the process?
I started Blood Pudding Press in October 2006, aiming towards being a small individualistic independent poetry press. My goals have not substantially shifted, but parts of my processes have changed. At times, I have needed to apply more focus towards making sure I keep my own creative drive in the true direction it is drawn towards.

A few years ago, I had a time of feeling worried that my press wasn't getting enough attention or achieving enough success (in part, because some other small presses I was aware of seemed to have a competitive streak and enjoyed bragging about their escalating success - and their success seemed to outweigh mine, so I somewhat questioned my own approach), but then I realized that I WAS achieving what I was aiming for - semi-reasonably yet creatively managing to handle a very small, independent poetry press that publishes a few artsy, hand-designed poetry chapbooks per year, but does not allow that work to become too competitive feeling or to take total precedence over my own poetry. Instead of completely overwhelming myself, I tend to take turns shifting bits of my creative focus - my time, attention, and energy towards reading, writing, submitting, and publishing.

Over the years, I've learned some good things and some bad things about different parts of the literary community, just as there are good things and bad things in other parts of life. Sometimes when I see bad aspects of the literary community though, it can bum me out considerably more than seeing such issues elsewhere, because I prefer to think of poetry land as non-mainstream, individually expressive, truly creative, open-minded, and genuine - rather than the parts that seem overly competitive, overly confrontational, overly judgmental, mean-streaked, and wanting sides to be taken rather than individualism to be maintained.

2 – What first brought you to publishing?
I realized it was mostly poets who shared the work of and published other poets and that small independent poetry presses tended towards being more focused on individuals. I was aware of a few other small independent poetry presses run by one woman, so I decided I would try to start my own. 

I'd had it in the back of my mind for a little while, but what ended up being a driving inspiration was that I'd created a chapbook length collection that I felt strongly about (a small series of poems focused on Laura Palmer of Twin Peaks) - and rather than submitting that manuscript elsewhere for years, I thought I could publish it myself, as a first attempt with my own small press.

3 – What do you consider the role and responsibilities, if any, of small publishing?
Being willing and able to place some of your creative focus upon more than just yourself; being willing and able to direct time, effort, and genuine creative energy towards helping to publish, promote, and share unique collections of poetry from a few other writers that you feel strongly about. Creating a small but meaningful contribution to the independent literary landscape.

4 – What do you see your press doing that no one else is?
Some other small independent presses do this too, but a few of the unique aspects of Blood Pudding Press are that I hand-bind my chapbooks with ribbon or yarn binding and the entire editing, publishing, printing, and hand-designing process all happens inside my own home.

5 – What do you see as the most effective way to get new books out into the world?
I don't consider myself to be a widespread expert about what is or is not most effective, but at least I invest some heart-felt energy and effort into the process of getting some new books into the world, in my own little limited way. My independent small press publishing process includes giving the author some free copies of their own book, and spending time and energy promoting the book.

6 – How involved an editor are you? Do you dig deep into line edits, or do you prefer more of a light touch?
I don't think of this as a light touch, but I don't edit other people's poetic content very much. I choose to publish poetry whose style I already love the way it is, so I don't feel the need to edit lines much at all. My editing basically just involves formatting, publishing, and promoting. I also sometimes design my press's cover art by myself, with perspective and approval from the author.

7 – How do your books get distributed? What are your usual print runs?
I primarily distribute them myself. My initial print run is usually less than 50 copies of a new chapbook. I print and design 13 free copies for the poet whose chapbook it is, 1 copy for me to keep, a handful of review copies, and  a handful of sale copies. Once I sell out of my initially printed/designed copies, then I can print and design more, since I do it all at home. I also print and design extra copies if I'm attending a small press event.

My main distribution source is the Blood Pudding Press etsy shop at https://www.etsy.com/shop/BloodPuddingPress

8 – How many other people are involved with editing or production? Do you work with other editors, and if so, how effective do you find it? What are the benefits, drawbacks?
I'm a one woman gig, in terms of my press's choices and the editing, printing, designing, hand-binding, mailing, and promoting of the Blood Pudding Press chapbooks.

I do let the authors offer suggestions on the cover art for their chapbooks, and check the innards of their chapbook before publication, and I sometimes have the cover art for a chapbook designed by someone else.

Ideally, the authors will help to promote their own chapbooks too.

9– How has being an editor/publisher changed the way you think about your own writing?
I don't think it's changed my point of view on my own writing very much, because ultimately my own writing is my own writing and it will fit into some presses and not fit into others, depending on various factors, primarily stylistic factors, or so I hope.

Perhaps working as an editor has caused me to view other editors as more humanistic. As regular human beings with individual strengths and weaknesses. I basically view other editors/publishers as their own unique human beings, same as me. I'm not a fan of editors/publishers who seem to over glorify themselves or act like superior experts.

The way I see it, we're all creative beings filled with different ideas and styles and experiences, but any poetry editor who comes across as some expert-like boss who acts like they should be in charge of more than their own press is not my cup of coffee. And anyone with a non-genuine agenda can shove it down someone else's drain.

To me, the type of people who like being in charge of others seem more akin to corporate bosses rather than creative individuals.

Everyone should feel free to share their own genuine creativity and their own experiences, but don't act like some sort of god or goddess about it. In my opinion, if you want to act like some export-like boss, then maybe you should do so in a more money-based, competitive, corporate realm than poetry.
 
10– How do you approach the idea of publishing your own writing? Some, such as Gary Geddes when he still ran Cormorant, refused such, yet various Coach House Press’ editors had titles during their tenures as editors for the press, including Victor Coleman and bpNichol. What do you think of the arguments for or against, or do you see the whole question as irrelevant?
Does this mean publishing my own writing ANYWHERE while I'm an editor or publishing my own writing through my own press while I'm an editor?

There's no way I'm not going to attempt to have my own work published ANYWHERE while I'm an editor. I don't understand or relate to the reasoning behind that approach.

As far as publishing one's own work through one's own press, I think that's up to each individual poet and press. When I initially started my Blood Pudding Press, I published several of my own poetry chapbooks and also included myself in some collaborative chapbooks. Also, I initially solicited most of the other authors I published. After some time elapsed, I shied away from publishing myself though my own press and started running small annual contests, in order to discover the poetry chapbooks I chose to publish each year.

Even though I haven't published myself through my own press in recent years, I will admit it's still  a turn off for me to hear other poets/editors (especially if they're poets I've published before) sarcastically jabbing at poets who have published themselves through their own small press.

To me, that sort of sarcasm comes across as an overly judgmental, snobby, snarky, superior, I'm better than you sort of approach to life and I wish that wasn't a part of poetry land.

In my opinion, poetry land should be creatively open-minded and not have a snarky right and wrong sort of approach to anything.

11– How do you see Blood Pudding Press evolving?
I'm aimed towards staying open minded to seeing what happens with the press, as long as I can keep it small, unique, genuinely creative, and non-stagnant feeling.

12– What, as a publisher, are you most proud of accomplishing? What do you think people have overlooked about your publications? What is your biggest frustration?
I'm most proud that I started the press to begin with and then kept it going, without becoming too overwhelmed. I'm proud that I've maintained my own personal goals, my own sort of process, and my own creative choices for the press. I'm proud of everything I've chosen to publish, whether or not a publication got the sort of attention I thought it deserved.

Since I'm such a small press and don't want to expand the press much further, I occasionally feel a tiny bit bothered that few people seem aware of how long my press has actually existed - and that I will occasionally be compared with presses that have existed for a shorter time than mine, as though I got my style from them, even though they didn't even exist when my press began.

Sometimes it frustrates me how random it seems that some of the chapbooks I publish seem to generate a decent amount of attention, whereas others do not, even though I try my best to put a similar amount of time and energy into promoting every chapbook I've chosen to publish.

Occasionally, it bums me out a bit when a writer I've chosen to publish doesn't seem to want to put much effort into helping to promote their own work.

Also occasionally, I've gotten overly frustrated at myself for feeling like I don't seem to be having quite as much success compared to other small independent presses, but then I just have to get my brain out of its competitive mode, because my competitive mode is inadvertently directing me towards an area that is not very relevant to me. I know my own slow pace and creative process and there's really no particularly good reason to compare myself to anyone else, press-wise or otherwise.

13– Who were your early publishing models when starting out?
When I first started Blood Pudding Press, I remember being given some very helpful pointers and formatting feedback from Kristy Bowen, whose Dancing Girl Press was relatively new at that time. She and I had connected via a blog site called xanga, where I had connected with quite a few poets in the earlier 2000s. Even though that was more than ten years ago now, I still very much appreciate her willingness to openly share how she published the innards of her chapbooks, because that's what got me started figuring out how to publish the innards of mine.

14– How do you utilize the internet, if at all, to further your goals?
The internet is where the Blood Pudding Press shop exists and is also my primary promotional outlet for Blood Pudding Press.

The Blood Pudding Press shop is it at https://www.etsy.com/shop/BloodPuddingPress

The Blood Pudding Press blog is at https://bloodyooze.blogspot.com/

The Blood Pudding Press facebook page is at https://www.facebook.com/BloodPuddingPOETRY/

15– Do you take submissions? If so, what aren’t you looking for?
I don't accept Blood Pudding Press submissions on a never ending, ongoing basis. In recent years, I've had a short reading period (usually a month long or less) during which I am accepting chapbook manuscript submissions, in one way or another. I do regularly accept submissions for Blood Pudding Press's spooky little sister, the online blog style lit mag, Thirteen Myna Birds.

As for what I'm NOT looking for, I'm not looking for poetry that treats women's bodies like changeable objects or poetry that indicates the writer hasn't even taken a peek at my guidelines.
           
I dislike it when authors try to randomly push their work at me, even though they've never expressed any interest in my press, other than as a possible home for their own particular writing.

16– Tell me about three of your most recent titles, and why they’re special.
The first 2017 Blood Pudding Press poetry chapbook, Cutting Eyes from Ghosts by Ariana D. Den Bleyker reveals mental and physical discrepancies and disabilities that can haunt a body and brain like dark ghosts.

It is available from the Blood Pudding Press shop here - https://www.etsy.com/listing/512469489/new-cutting-eyes-from-ghosts-by-ariana-d?ref=shop_home_feat_2

The second 2017 Blood Pudding Press poetry chapbook, Thirsty Bones by Sarah Lilius offers emotional political statements about the female body. How it can be viewed and treated like a toy, victimized, abused and then just overlooked or ignored. How it can live on, fight back, and will not be silenced and will not feel obligated to keep its own experiences or genuine feelings or individual self a secret. 

It is available from the Blood Pudding Press shop here - https://www.etsy.com/listing/522718674/new-thirsty-bones-by-sarah-lilius-2017?ref=shop_home_active_9

The third 2017 Blood Pudding Press poetry chapbook, Fuck Cancer Poems by Michael Grover is not yet published, but will be within about a month (forthcoming in September 2017) and offers its own uniquely personal emotional political statements about being a middle-aged, middle-class poet dealing with the various trials of cancer in this day and age.

That collection will be coming very soon and then there will be more...