Saturday, October 05, 2013

dgp news & notes

Much has been happening behind the scenes as we prepare to launch a slew of chapbooks this month (fall offerings and some stragglers from summer) including books currently underway from Lisa Marie Cole, Nissa Holtkamp ,Kristin Fitzsimmons, Eireanne Lorsung, JSA Lowe, Amber Nelson,  and Leia Wilson.  November has quite a few others coming as well we've yet to start working on just yet but will very soon. And then of course, we're nearing the end of the year and onward to 2014, our big 10th Anniversary year.  I'm still making my way through the final batch of submissions and making final decisions from the summer reading period, but I promise you what we have taken is all sorts of awesome I'm continuing to offer sneak previews at the Facebook page.). Submissions also just closed for the typewriter anthology [carriage return], so I'm looking forward to delving into those in the next few weeks.

Recent releases since our last update included Shanita Bigelow's artwork-accompanied Whatever Clarity is Necessary, as well as Kate Falvey's What the Sea Washes Up, which featured a beautiful cover design courtesy of Michael Kellner.  We also launched two books by Tuscaloosa entrenched poets (I've found that there seems to be really exciting stuff coming out of that MFA program in particular)  Katie Berger and Laura Kochman.  We also have a new chapbook courtesy of Abigail Waltrausen, In Memory of Category,  who describes her series as:

" a collection of poems about tools and viewfinders, the mind’s ways of interpreting the world by tailoring nature and industry around each other. The mind is a master curator, and the objects that inhabit these poems orbit universal preoccupations: sex, commerce, sights, apocalypses. My project is to find these themes in the fading and obsolete object. The antiquated tools for cataloguing and experiencing the world, things from claude glasses to stereographs to gunter’s chains to astrolabes, inspire from their places in cabinets of curiosity and museums of early Americana. Just as these places accumulate objects, I map the euphony of verbal "artifacts" from my reading in my long-time practice of keeping a commonplace book where I copy striking images and sounds. I write both with William Carlos William’s words "no Ideas but in things" ringing in my ears and with an abiding love of early explicators of all "things" -- the metaphysical poets. "


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