AJB Spring 2012 Newsletter & Catalog

Alice James Books

Spring 2012

INSIDE From the Director’s Desk

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New Titles

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Author Interview Stephen Motika

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News and Events

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Maine Nonprofit Day

Donors

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2011 Celia Gilbert Fellow

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The Alice Fund

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Word Search

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Alice Asks Matthew Pennock

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spring n e w s l e t t e r

A lice J ames B ooks

2012

poetry since 1973

Volume 17, Number 1

AJB STAFF Carey Salerno

Executive Director Meg Willing

Managing Editor Debra Norton

Bookkeeper

COOPERATIVE BOARD MEMBERS Nicole Cooley, President Laura McCullough, Vice President Matthew Pennock, Treasurer Monica A. Hand, Secretary Catherine Barnett Tamiko Beyer Stephen Motika Angelo Nikolopoulos Suzanne Parker Peter Waldor Anne Marie Macari, Alice Emeritus Ellen Doré Watson, Alice Emeritus

INTERNS Laura Cowie Benjamin Gadberry Nicaela Giglia Devany Chaise-Greenwood Kate Johnson Jamie Phillips

Front cover from Murder Ballad (05/2012) Image credit: “Nachtszene Gross,” Michael Hutter Image of Alice James pf MS Am 1094, Box 3 (44d) By permission of the Houghton Library, Harvard University

Dear Friends, Welcome to our spring newsletter! Spring means new books at AJB. Two of these books are brilliant debuts from the 2010 Kinereth Gensler Awards—Western Practice by Stephen Motika and Sudden Dog by Matthew Pennock—and the other is the winner of the 2011 Beatrice Hawley Award, Jane Springer’s fanciful second book, Murder Ballad.

As always, we’re keeping busy at AJB and this season is no exception. In early February, we were chosen as one of thirteen nonprofits within the state of Maine to participate in Nonprofit Day at the State House (see pg. 9), a day-long event for the public, state senators and representatives, and nonprofits to celebrate the contributions nonprofit organizations —and our partners—make to the Maine economy and quality of life. It was a really fun day for us, and we had a great time reacquainting people from all across the state with the press.

We also attended this year’s AWP conference in Chicago in March where approximately 10,000 people were registered attendees, and we had countless wonderful moments catching up with Alices and old friends and making new friends too. 2011 authors had book signings at our bookfair booth, and even Amal al-Jubouri, author of Hagar Before the Occupation, Hagar After the Occupation, flew over from London for her book-signing. Laura Cowie, who was this year’s Celia Gilbert Fellow, did an outstanding job this year, so be sure to check out our interview with her (pg. 11). Thank you to all who came by to support the press!

At the director’s desk, I’ve been keeping myself (not to mention Anne Marie Macari and our wonderful assistant, Kate Johnson) especially occupied preparing the forthcoming anniversary anthology. We’re getting very eager about our 40th in 2013: it’s going to be a big birthday year for Alice James! I know many of you are excited about our impending “over the hill” status too, so feel free to touch base about all the ways we can commemorate the occasion together.

Also in preparation for our 40th anniversary, we’re going to be rethinking the platform for our catalog and newsletter. Our hope is to transition them from the current print editions to a strictly online format. This change will aid the press’s finances and save some trees too!

Be sure we can get AJB news to you in the future by sending us your email address. We value your readership and friendship, so let’s be sure to stay in touch.

Yours in poetry,

Carey Salerno, Executive Director

new titles

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Matthew Pennock is a graduate of the undergraduate poetry writing program at the University of Virginia and received his MFA from Columbia University. His poems have appeared or are forthcoming in such literary journals as Western Humanities Review, LIT, Denver Quarterly, and New York Quarterly.

Short Lease Shelter: a place where nothing never happens, manmade shade.

We become impenetrable, encased in stone. Foolish, just how a land bird on a boat is bad luck.

Small stowaway panics in the hold where no fresh water stands unmarred of sea spray or antifreeze.

Lucia Gajda

It’s the saddest thing, something wild caught unaware in a strange place.

Sudden Dog April 2012

Matthew Pennock

Praise for Sudden Dog:

“An array of marginalized, criminal, ashamed, hurt, and unwashed figures— dogs, hyenas, coyotes, Hephaestus, insomniacs, alcoholics, spurned lovers—stalk Pennock’s book, hell-bent on their antiheroic journey. Part ghost-town carnival midway, replete with jokes and rope tricks, part Greek tragedy, part quotidian plumbing and domestic mire, part ardent lyricism and hope, Sudden Dog balances its cynicism with authentic, fully human dignity.”

—Lisa Russ Spaar “‘It’s only America,’ writes Matthew Pennock. ‘We watch it unravel like a fourth act without direction.’ And so in Pennock’s fine first collection, we find a country of war and surveillance, an economy of boom and collapse and a consciousness built of fragments assembled, admired, broken again. Sudden Dog is a troubling, moving, and memorable book, that returns—strangely and via estrangement—to love.”

—Mark Wunderlich

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new titles

Jane Springer’s first book, Dear Blackbird, won the Agha Shahid Ali Poetry Prize (University of Utah Press, 2007). Her other awards include an AWP Intro Prize, the Robert Penn Warren Prize for Poetry, NEA fellowship, and a Whiting Award.

She received her PhD from Florida State University in 2008 and now teaches poetry at Hamilton College in upstate New York where she lives with her husband John Powell, their son Morrison, and their two dogs Walter Woofus and Georgia.

Her poems have appeared in or are forthcoming at Fugue, The Oxford American, and The Southern Review.

Mules When they told us Don’t speak until spoken to, we grew ears the size of corn.

When they forced us to eat everything we swallowed their hurt whole.

When they hit us for drawing on the wall we painted doors that opened behind curtains.

For generations they lived like this. Wanting badly to save us—not knowing how.

Robin Caudell

& all the while we found love in unlikely places: In the ravaged church of our bodies & our faces, refracted in their long faces.

MURDER BALLAD May 2012

Jane Springer

Praise for Murder Ballad:

“Not since I read James Agee’s A Death in the Family have I been so compelled to stare into the eyeballs of chiggers and mildew. Jane Springer is on a thin reed in the present moment reciting incantatory poems. May I plainly say, ‘What a goddamn beautiful book this is.’”

—Jane Miller “I have a feeling Jane Springer met the devil at the crossroads.

There’s not a note she can’t pluck, and the music is like no one else’s: rich as the red clay of Georgia, startling as a raccoon’s bite, ‘crazy as a shithouse rat’ and cool as sweet tea on a sultry afternoon. There’s some nittygritty here, hauled up from the freezer chest on the porch, unearthed like a mastodon that’s been buried far longer than we can imagine. And there is tremendous vitality and sublimity in this ‘dark county of the heart’ where her music comes from. Whatever devilish bargain has been struck, it has been a boon to all parties. Hallelujah for us all.”

—D. A. Powell

author interview

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Stephen Motika was born in Santa Monica, California. He is the editor of Tiresias: The Collected Poems of Leland Hickman (2009) and the author of the poetry chapbook, Arrival and At Mono (2007). His articles and poems have appeared in Another Chicago Magazine, BOMB, The Brooklyn Review, Eleven Eleven, The Poetry Project Newsletter, among other publications. His collaboration with artist Dianna Frid, “The Field,” was on view at Gallery 400 at the University of Illinois, Chicago, in 2003. A 2010-2011 Lower Manhattan Cultural Council Workspace Resident, he is the program director at Poets House and the publisher of Nightboat Books.

Sun In we in amber

sandy wood speaks

tongue road ways news papers

through

how the ache of beauty makes you sick glasses sparkle

fire side dry lick of facing

animals

luminescent

down a circumference

ran along lake shore not yet

icy

WESTERN PRACTICE An Interview with Stephen Motika

In a recent dialogue with Stephen Motika, AJB asked the author about the inspiration for his debut collection. Here, he speaks of the artists and musicians influential to his poetry and the lives and landscapes of California captured in Western Practice.

Alice James Books: Many of the events described in your book occurred before you were born. In fact, the era you write about culminates with the year of your birth. Could you explain your connection to this time period?

Stephen Motika

STEPHEN MOTIKA: The two long poems in the book, “City Set” and “Delusion’s Enclosure” engage artistic production in the long twentieth century. “City Set” is about the arts scene in Los Angeles, with special focus on the visual artists working in the city from the mid-1950s through the 1970s. I grew up in Los Angeles, in a family of art lovers. My grandmother was especially engaged in the arts community and my uncle studied painting at UCLA in the 1960s. As a child, I knew about the most visible artists, such as David Hockney, Edward Kienholz, and Richard Diebenkorn. In the process of

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author interview

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working on this poem, I learned about a lot of I hadn’t been familiar with, including many assemblage and conceptual artists, from Allan Sekula and Maria Nordman to John Outterbridge and Noah Purifoy. I wanted to explore the richness and diversity I had discovered in a poetic form. “City Set” is like a carnival, filled with scores of different characters and scenes. “Delusion’s Enclosure” follows the life of the composer Harry Partch, tracking his movements across California, where he lived for most of his life. In writing this poem, I was also interested in thinking about landscape that’s been lost to (sub)urban growth and development. Partch roamed across a California that was very different from the place I grew up in. The short, lyric poems at the beginning of each section reflect my experience in the present. I think these poems represent my dual interest in both an urban poetics and the pastoral. Although these poems are set in the present, they’re certainly elegiac, dealing with memory and figures from the past.

April 2012

AJB: Living in New York, are there any “practices” you would identify as “Eastern?” If you wrote a collection of “Eastern Practice(s),” how would the poems differ?

MOTIKA: I think the sense of time is very different here.

In the Northeast, our civilization goes back for several hundred years, so there’s a sense of generations and history.

I think of Susan Howe’s engagement with the work of the 18th century theologian Jonathan Edwards as being a very Eastern project. In the final poem in my book, I mention the travels of Juan Crespi, a Spanish missionary who explored California a couple of decades after Edwards completed his most important work. So you get a sense of the difference.

Any and all history is complicated and challenging. One of the things that most interests me about the Eastern United States is the long tradition of natural scientists and botanists, from the Bartrams through John Burroughs.

Instead of looking to the arts, perhaps I would work on the natural scientists for my book on Eastern Practice.

I wanted Western Practice to be about California artists, their lives and their work. I was inspired to write about my home

state after reading Richard Cándida Smith’s The Modern Moves West: California Artists and Democratic Culture in the Twentieth Century, an incredible study of post-war California cultural history. It was also a way to engage with the place I came from.

AJB: Your poem, “Delusion’s Enclosure” is a long poem based on the life and work of Harry Partch. When were you introduced to his work? Was the draw to him and his work immediate?

MOTIKA: I first discovered Partch’s work when I was in college; I remember when Bob Gilmore’s biography came out in the late 1990s. It wasn’t until I saw a restaging of Partch’s Delusion of the Fury on Partch’s instruments at Japan Society in New York in 2007 that I became really curious.

His life and work were immediately compelling. I was awed by his innovation and vision, but also his gumption and steadfastness. Partch spent a lot of time trying to educate people, but also a long time looking for recognition. He was nomadic by nature, but also felt slighted by institutions and critics. So I was interested in how he worked first against, and then later within, the contexts of the university. I also wanted to reclaim him as a queer figure, something that’s often overlooked. His sexuality caused him great pleasure and pain, and I think the strong emotions shaped the direction of his work.

I

“

hope that other readers of these poems will discover the music of the page.

”

AJB: Harry Partch not only modified existing instruments, but also focused on building new, unique instruments to realize his musical inspiration. Do you relate to this process of manipulating form to communicate poetic inspiration?

MOTIKA: Yes, I do, but don’t subscribe to a system the way Partch did his 43-tone scale. It’s wonderful to invent something new, but it can also be confining. Partch’s work is revolutionary, but became defined by the terms he invented.

I’m interested in manipulation and play, but not the heavy burden of having to educate and promote the system I invented. Partch carried the modernist imperative, so wellarticulated by Ezra Pound’s dictum “make it new,” and felt great pressure to transform his music into what Wanda Corn calls the “Great American Thing.” I think the modernists felt the tension between wanting to invent and produce great works. I’m more interested in the process, the road

t

author interview

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(continued)

to the work, and am quite content with the notion that the end result will fall far short of what I thought it might be.

For me, so much of the creative work happens well before I even start putting words down on the page. I love the idea of the artist who’s worked on a project for a decade to only present a museum with an empty attaché case. I’m all for innovation, but want to make sure I can still break the rules I’ve invented.

AJB: Are there any other poetic or musical voices that you find especially inspiring?

MOTIKA: During the process of writing this book, I discovered the richness and dynamism of the poetics community in the San Francisco Bay Area. The book’s two epigraphs come from major Bay Area experimental writers, Lyn Hejinian and the late Leslie Scalapino. This book also engages poets of an earlier generation, including Etel Adnan, David Bromige, Kathleen Fraser, Bob Kaufman, Joanne Kyger, Lew Welch, and Philip Whalen. It was written in the shadow of the poets of the Berkeley Renaissance, especially Robin Blaser, Robert Duncan, and Jack Spicer. Younger poets from the region, including George Albon, Bruce Boone, Stacy Doris, Susan Gevirtz, Rob Halpern, Robert Hass, Brenda Hillman, Jane Hirshfield, Kevin Killian, Cedar, Sigo, Juliana Spahr, and Brian Teare inspire these pages.

I also found the work of Forrest Gander, C.S. Giscombe (now living in Berkeley, but based for many years in central Illinois and Pennsylvania), Leland Hickman, Susan Howe, Ann Lauterbach, Akilah Oliver, Martha Ronk, and Cole Swensen to be helpful.

AJB: Your use of line breaks, negative space, and punctuation create a very interesting visual space on the page. When you read your poems aloud do you attempt to translate the interesting visual effects of the poems on the page?

MOTIKA: Yes, I do. I think of my work as a score and try to translate the visual page into a sonic one. I’ve long been interested in the page as a visual plane, but only became confident in the aural aspects of the spacing on a page while in graduate school. I remember showing Marjorie Welish my poems, and she immediately asked me how the page was scored. I had been intuiting the cadence, but had not thought about how others might interpret it. I hope that other readers of these poems will discover the music of the page.

AJB: Given your desire to convey your poems in this musical way and the ever-increasing popularity of cross-genre art, have you ever experimented with combining written word with music or visual art?

MOTIKA: I was lucky enough to collaborate with the Chicago-based artist Dianna Frid on a project called “The Field” in 2003. For this installation, she created sculptures of a dozen asteroids, while I developed the nomenclature for each asteroid. I also presented ancillary materials and a curated a reading room that suggested an archive. The process of working on this project freed me to find a poetry and poetics that dovetailed with my aesthetic and intellectual interests. I also, as evidenced by Western Practice, wanted to write about artists and their work. I have many ideas for other projects engaging the visual arts and/or sounds components, but am not sure what will happen next.

AJB: If someone you didn’t know well asked you what Western Practice was “about” what would you say?

MOTIKA: I’d tell them that it’s my California book. I wanted to write a California book after reading Eleni Sikelianos’ The California Poem. My book is nothing like hers, but as she writes “These/ are the researches of Eleni,” I would happily state, “These/ are the researches of Stephen.”

THE 2012 KINERETH GENSLER AWARDS Open to poets residing in New England, New York state, or New Jersey for an unpublished manuscript of poems. ~ For guidelines visit our website www.alicejamesbooks.org ~ Winners become editorial board members, recieve $2,000, publication, and distribution through Consortium.

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news and events

Robin Becker’s poem, “Villanelle for a Lesbian Mom,” was included in Villanelles Everyman Series. The anthology Collecting Life includes her poem, “The Miniaturists.” In October of 2012, she will be reading in LITFEST, an annual literary celebration at Old Dominion University.

Eric Camalinda’s collection of short stories, entitled People are Strange, was named a finalist for the Black Lawrence Prize and is forthcoming in Spring 2012. Camalinda will be completing a residency at Fundacion Valpariso, Spain in the spring of 2013.

Cindy Cruz has poems forthcoming in the following forums: Blackbird, Denver Quarterly, Kenyon Review, The Literary Review and Puerto del Sol. Cruz will be reading and teaching at the Frost Place Converence June 24-28. Her second collection of poems, The Glimmering Room, is forthcoming in fall 2012 from Four Way Books.

Joanna Fuhrman’s poems are forthcoming in Bone Bouquet, Volt, and New American Writing. An 8-page full color reproduction of a section of her collaboration with the visual artist Toni Simon will be in the 100th issue of Hanging Loose Magazine. Fuhrman is headlining the Second Annual New York City Poetry Festival on Governors Island in NYC in July.

Alice Jones has poems forthcoming from Apogee Press. She recieved the Lyric Poetry Award from the Poetry Society of America. Jones will be reading from Plunge with Stephen Motika at Diesel, A Bookstore in Oakland, CA on Thursday April 26 at 7p.m.

Sarah Manguso’s book-length essay, The Guardians: An Elegy was published by FSG in February 2012.

Alice Mattison’s new novel, When We Argued All Night, will be published in June as a paperback original by Harper Perennial. Her short story “The Vandercook” will appear this spring in PEN/O. Henry Prize Stories 2012.

Laura McCullough has work forthcoming in The American Poetry Review, Painted Bride Quarterly, and Green Mountains Review. Her upcoming

book of poems, Rigger Death & Hoist Another, will be published by Black Lawrence Press. McCullough was the editor of An Integrity of Aloneness: The Poetry of Stephen Dunn, forthcoming from the University of Syracuse Press. At AWP 2011, she led a panel called “Ethos, Logos, and Pathos: Who is the Speaker in this Poem?” McCullough read at Atlantic Cape Community College in New Jersey on March 27.

Shara McCallum published a book from United Kingdom Peepal Tree Press in October of 2011, The Face of Water: New and Selected Poems.

McCallum will be reading and offering a workshops at the following events: April 25-30 Bocas Literary Festival in Port of Spain, Trinidad; May 14-18 University of West Indies, Mona Campus in Kingston, Jamaica; July 18 or 25 Urban Word & Bowery Poetry Club, New York, NY. Idra Novey’s second book of poems, Exit, Civilian, was selected for the National Poetry Series by Patricia Smith and will be published April 2012. The book launch for Exit, Civilian will be at A Public Space in Brooklyn on Saturday, April 21. Novey will also be reading at the following venues: Brooklyn Writers Space Reading Series on April 27, P.O.D. Reading in Park Slope on May 3, Barnard Translation Conference on May 5-6, Community Bookstore on September 27, and at The Lit House at Washington College on December 4. For more details visit: http://www.idranovey.com/news.

Willa Schneberg has poems forthcoming in the following anthologies: In the Black/In the Red, Helicon Nine Editions, and Before We Have Nowhere to Stand Israel/Palestine: Poets Respond to the Struggle, Lost Horse Press. She recently completed a new manuscript entitled A Good Time to Die.

Susan Snivley has co-produced, written, and narrated My Business is to Sing, the third in a series of films about Emily Dickinson. The film will premiere at Amherst College on Thursday, June 7. Previous films are available from the Emily Dickinson Museum on DVD. Snivley has recently given a talk in Salem (1/24/12) at the Salem Athenaeum on Emily Dickinson’s love affair with eminent judge Otis Phillips Lord––the subject of the novel she is working on. Snivley retired from Amherst College in 2008, and now works as a guide and writer for the Dickinson Museum.

news and events

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(continued)

Mary Szybist has a new book, Incarnadine, forthcoming from Graywolf Press in early 2012. Szybist will be teaching at the Tin House Conference this July.

Coming Fall 2012

Ellen Doré Watson took part in the Berkshire Festival of Women Writers on March 7 and 16. On April 14 from 9 a.m. to 5 p.m. she will be teaching a class called “Shaking Loose/Shaping Up: Helping Poems Happen & Finding their Form” at the Old Santa Barbara Mission. On April 15, she will be reading in The Mission Santa Barbara Poetry Series at 1 p.m. She will also be reading on April 21-22 at the LA Times Festival of Books (time and venue to be announced).

Tantivy

Donald Revell Available September 2012

Suzanne M. Wise has poems appearing in recent or current issues of Green Mountains Review, Bone Bouquet, Catch Up, and Ploughshares.

John Woodward’s third book of poems, Uncanny Valley, was published in March, 2012, by Cleveland State University Poetry Center. Woodward’s wife (poet/pianist Oni Buchanan) has commissioned a new piece of music for piano, spoken text, and electronic samples from composer John Gibson to serve as a setting for one of the poems from the book. The pair will be performing this piece at universities and concert series across the country in fall 2012 and spring 2013. Visit http://www.arielartists.com/programs/ uncanny-valley for more information.

Dark Elderberry Branch: Poems of Marina Tsvetaeva

A Reading by Ilya Kaminsky and Jean Valentine Available November 2012

Black Crow Dress

Roxane Beth Johnson

Available December 2012

Attention Alices Don’t see your news listed but have some you want to share?

Be sure you’re included in the Fall 2012 Newsletter by contacting the AJB office today. write to us

ajb@alicejamesbooks.org or call

(207) 778-7071 We want to hear from you!

Lit from Inside: 40 Years of Poetry from Alice James Books

Edited by Anne Marie Macari and Carey Salerno Available January 2013

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maine nonprofit day On February 2, 2012, Alice James Books took part in Maine’s Ninth Annual Nonprofit Day alongside twelve other nonprofit organizations. AJB displayed posters, books, and other materials in the Hall of Flags at the Augusta State House with the goal of creating awareness about the vital role nonprofit groups play in our society.

The theme of the Ninth Annual Nonprofit Day was “Partners in Prosperity,” a sentiment that expresses the economic importance of nonprofit groups and their place as the “backbone of rural communities in Maine.” Thanks to the work of dedicated sponsors and volunteers, Alice James Books and other such nonprofit organizations are able to serve their communities in ways that big businesses cannot.

Carey Salerno shares our most recent titles—and some homemade breakfast treats—with an interested visitor.

In order to protect and improve the quality of life in Maine, nonprofits like Alice James Books work diligently to promote culture, art, science, technology and the environment. Nonprofits are responsible for 17% of the state’s Gross Domestic Product and they employ one in seven Maine workers. The Maine state government faces many difficult decisions in 2012. The volunteers and staff of Maine’s nonprofit network demonstrate the necessity of the nonprofit sector for healthy communities. As we persevere through this new year, it becomes all of our responsibilities to maintain awareness of the conditions in which we live— in Maine and beyond.

Visitors to the AJB Booth find out more about Alice James Books’ vital role in Maine’s nonprofit community.

Alice James Books has been a member of the Maine Association of Nonprofits for a decade, proudly demonstrating progress and prosperity with every annual appearance. Among those present at the State House on February 2, 2012 was Representative L. Gary Knight, a huge proponent of nonprofit appreciation. At the event, he showed his support by saying, “Nonprofits are a integral part of Maine’s economy and community living… they embody who we are in Maine—we help our neighbors and make Maine a better place.”

Carey Salerno and Representative L. Gary Knight at Maine Nonprofit Day.

donors

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AJB thanks the following individuals for their generous contributions to the press from 2011 to present* Institutions The National Endowment for the Arts The Frank M. Barnard Foundation Anonymous Sponsors: $2500 or More David Harvey Patrons: $1000-$2499 Madeline Deininger Anne Marie Macari Peter Waldor and Jody Miller Benefactors: $500-$999 Celia Gilbert Donors: $250-$499 Catherine Barnett Dick Motika and Jerrie Whitfield Stephen Motika Nina Nyhart James Tilly Brian Turner Anonymous Contributors: $150-$249 Robert Ellis Harriet Feinberg Erica Funkhouser Ruth Giampietro John and Kathy Harden Matthea Harvey Theo Kalikow Lesle and Dan Lewis

Edward and Alice Mattison Sherman and Julie Mayle Jason and Julie McDougall Jane Mead Janine Oshiro Davin Rosborough and Eric Hupe Cornelia Veenendaal Supporters: $75-$149 Mary Anderson Diane Ashman George Blecher Bob Brooks Jeannine Dobbs Rachel Contreni Flynn Rebecca Gambito and Solomon Verdes Forest Gander Mimi Gilpin Stacy Gnall Sarah Skinner Gorham David and Joan Grubin Joan Joffe Hall Hugh Hennedy Nancy Jean Hill Maurice Hirsch Alice Jones Ann Killough David Kirby Ruth Lepson James Longenbach Shara McCallum and Steve Shwartzer Elizabeth Motika Bill Rasmovicz

Donald Revell and Claudia Keelan Bill Roorbach Idra Rosenberg and Leonardo Novik Beverly Salerno Carey and Dan Salerno Laurie Sewall Betsy Sholl Sue Standing Sean Thibodeau Ellen DorĂŠ Watson Readers: $1-$74 Lisa Acri Liz Ahl Robin Becker Thomas Bell Suzanne Berger Rachel Berghash Susan Bodine Henry Braun Nancy Bryan Ronald Cohen Stephen Cohen and Abbe Blacker Richard Day Carl Dennis Bonnie Dickinson Norita Dittberner-Jax Prescott Evarts, Jr. Mary Feeney Daniel Gensler Frank Giampietro Dobby Gibson Michael Glaser Henrietta Goodman

Jim and Erica Haba Rhonda Hacker Chris Hansen-Nelson Mary Herman Michele Jaquays Roxanne Beth Johnson Joan Larkin Sydney Lea Jeffrey Leong Andrew K. Lewis Ricardo Alberto Maldonado Sarah Manguso Jynne Martin Helena Minton Nora Mitchell April Ossmann Angela Palmisono Ruth Ann Quick David Radavich Cynthia Ravinski Martin Robbins-Pianka Michael and Cynthia Savage Neil Shepard Jody Stewart Craig Teicher John Thelin Tom Thompson Mona Toscano William Wenthe Eleanor Wilner Margot Wizansky

*If you do not see your name listed but have donated to AJB or have found an inaccuracy, please accept our apologies and notify us right away by calling or emailing.

AJB makes every effort to keep this list current and accurate up to the time of publication.

Wow! Together

we raised over

$20,000 for this year’s annual appeal! ~

Our

sincerest thanks for your generous support.

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2011 celia gilbert fellow

Alice James Books congratulates Laura Cowie on being the recipient of the 2011 Celia Gilbert Fellowship which was founded in honor of Alice, Miriam Goodman, who contributed greatly to the press during her time with us. This fellowship enables an exceptional UMF student to travel with the press to the AWP Conference as our press assistant.

COWIE: AWP was unlike anything I’d ever experienced before. For one weekend ten thousand writers took over the city, shedding their introverted shells and coming together as a community. It was both overwhelming and completely wonderful to be surrounded by so many likeminded people.

AJB: What was it like to meet some of the AJB authors whose work you have become familiar with during your internship here?

Susan Morse

Alice James Books: Laura, would you tell us a little bit about yourself and your interests?

LAURA COWIE: I am a third year Creative Writing and English major here at the University of Maine Farmington.

Along with working at Alice James I hold a number of eclectic jobs––I’m a scenic technician in the university’s theaters, a freelance personal assistant, a gelato-scooper, and a singer. In my fleeting free time I like to volunteer with the Western Maine Young Writers Workshop as well as run, knit, and read.

AJB: What prompted you to seek an internship here at Alice James Books?

COWIE: After completing a semester assisting a local author in organizing his book tour, I realized I was very interested in entering the world of publishing. Seeking out an internship with Alice James Books was a no-brainer.

AJB: What has been the highlight of your experience at AJB? COWIE: Attending AWP, without a doubt. It has been the highlight of my internship and my experience in the university’s Creative Writing program thus far.

AJB: In February, you traveled to Chicago, Illinois where you helped set up and oversee the Alice James Books booth at the AWP Book Fair. What were your initial impressions of the conference?

COWIE: At first it was very intimidating, meeting poets I recognized from the backs of book covers. But every Alice I met was incredibly down to earth. By weekend’s end Amal al-Jubouri and I were chatting and manning the table together!

AJB: What was your most memorable experience from the 2012 AWP Conference?

COWIE: One night I got off the elevator to find a soiree had sprung up in the lobby of my floor. I joined in and had an enlightening discussion about graduate school and poetry with a woman I’d just met. Upon talking more we realized we were not only neighbors in the hotel but in our lives in Maine as well. Her name was Annie Finch, the director of the Stonecoast Writing Program at the University of Southern Maine. We’ve been in touch ever since. Ours was the epitome of the many serendipitous connections that really defined the conference for me.

AJB: Do you have any advice for future fellowship recipients?

COWIE: Rest up and travel ready for the most exhilarating weekend of your writing life.

AJB: What are your plans for the future?

COWIE: My time in Chicago reaffirmed my commitment to working in the professional publishing world and continuing my education. But after earning my BFA next spring I plan to volunteer abroad, immerse myself in new cultures, and maybe even get some writing done.

the alice fund

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stay alive. “ Just That’s all I ask.

About The Alice Fund The Alice Fund’s mission is to ensure the long-term financial stability and realization of the strategic goals of Alice James Books. The press is wholly committed to investing the vast majority of any “profits” or “gains” from a given fiscal year directly into The Alice Fund. Though many donors choose to give to both, funds raised for The Alice Fund and our Annual Fundraising Appeal remain separate from each other.

Fund Management Policy

Each year up to 5% of the fund may be distributed to our cash reserve/contingency portion of The Alice Fund to Alice James Books as income for ordinary operations or for special projects.

Fund Investment Policy

Our investment policy is decidedly conservative. AJB currently distributes funds evenly between cash (for contingency/quasi-endowment use), CDs, and moderate growth mutual funds.

About Our Strategic Goals

All nonprofits plan for growth and aspire toward greatness. Here’s what the Alice James Cooperative Board is committed to: • Hiring full-time marketing, publicity, and development personnel • Publishing up to 8 titles per year, including the AJB anthology and books from our two new series: The Kundiman Poetry Prize and the AJB Translation Series • Continuing to publish emerging and established poets • Accelerating the growth of The Alice Fund

THE ALICE FUND

...preserving the legacy of

AJB’s deepest thanks for the gifts made to The Alice Fund by the following founding contributors

:

Alice

• Anonymous • David and Margarete Harvey • Rita Waldor

Henry

• Financial Benefits Research Group

William

• Brown & Brown Metro Insurance • Anne Marie Macari • Valley National Bank • Peter Waldor

Robertson

• Consortium Book Sales and Distribution • Katherine and Joseph Macari • Anonymous • Privett Special Risk Services • United States Fire Insurance Company

Your gift to The Alice Fund

Wilky

• Bernstein Global Wealth Management • Lee Briccetti • Kathleen Sheeder Bonanno and David Bonanno • Chubb Group • Carmela Ciurarru • Beverly Davis • Christina Davis • Anonymous • Fireman’s Fund Insurance Company • Franklin Savings Bank, Farmington Branch • Peter Gelwarg • Joan Joffe Hall • Jan Heller • Philip Kahn • Ann Killough • Nancy Lagomarsino • Ruth Lepson • Lesle Lewis • Diane Macari • Anonymous • Idra Novey • April Ossmann • Jean-Paul Pecqueur • Bill Rasmovicz • Lawrence Rosenberg • Carey Salerno • Thomson-Shore, Inc • Jeneva & Roger Stone • Lisa Sherman & Martin Stone • Marla Vogel

”

—Jane Kenyon on AJB, 1994

A lice J ames B ooks

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13

ajb word search Read the paragraph below about AJB and find the words in bold hidden in the word search. Words can be forwards, backwards, up, down, and diagonal. Good luck!

Alice James Books was founded in 1973 in Cambridge, Massachusetts initially to provide women with a greater representation in literature and to involve the writer in the publishing process. The press is named after Alice James, the sister of William and Henry James. As a cooperative poetry press, Alice James Books publishes manuscripts through two poetry contests, the Kinereth Gensler Award and the Beatrice Hawley Award. In addition, Alice James partners with Kundiman and publishes books chosen through their annual Kundiman Poetry Prize. Alice James Books is excited to introduce our spring 2012 titles: Western Practice by Stephen Motika, Sudden Dog by Matthew Pennock and Murder Ballad by Jane Springer.

a r p g p s c y r t e o p e

c u g e r r w a d e r u r e

e i o p e n n o c k b u n s

l n p t s p p i o l t n e t

c a i j s h r c i a b g m p

a r a a s t t s r n d a o i

w r p m a t h e p i l b w r

d a e e v i t a r e p o o c

a e b s n i g b a e c b e s

l l a b e y mp n k o o k s s g e n s p l l c n r e a n u i mk a s n d i m l g c t i c e g o d r r nmn p e i i u p s i l k u t u n a mm

alice asks

14

alice asks...

Matthew Pennock

Alice James Books: If you could travel back to any time period, when would it be and what would you do there?

Lucia Gajda

MATTHEW PENNOCK: I’d go back to the latter half of the 18th century. I’d love to see America in its infancy, prove my suspicion that they behaved just as badly as we do now.

Then, I’d challenge Ben Franklin to a drinking contest and, after I win, I’m going to slap Eli Whitney and whisper sweet nothings into the ear of Dolly Madison.

AJB: If you were only allowed one book for the rest of your life, what would it be?

to sing on a boat (preferably still at the dock) and say cool things like “here’s to swimming with bow-legged women.”

PENNOCK: What a sad question, such a mean question. I’m going to cheat and say my collected works of Shakespeare. I assume I’m stranded on a desert island in this question, so from a survival perspective, it makes a serviceable weapon, also a hard, yet passable, pillow. After all that, I guess I get to read some good plays and poems.

AJB: What is on your desk right now?

AJB: Tell us about a dream you had recently.

PENNOCK: I dreamt I was babysitting my best friend’s 1 year-old daughter in the middle of a pizza party. Only I couldn’t eat because no one would hold the baby, and then (I’m not lying or embellishing this), she spit up on my face.

A few people rushed over and cleaned her off, but not me. I had to continue on at the party with baby vomit on my face, asking for someone to help. Then I woke up. Interpret as you will.

AJB: What song is stuck in your head right now?

PENNOCK: “Danse Macabre”, by French composer Camille Saint-Saëns.

AJB: If you could be any character from a film, who would you be and why?

PENNOCK: Captain Louis Renault from Casablanca. I would have said Robert Shaw’s salty, shark-huntin’ sea captain, Sam Quint, from Jaws, but considering he gets eaten by the title character, I don’t really want that to happen. I just want

PENNOCK: Receipts, spare change, a broken dashboard hula girl (ineffectively super-glued), pocket lint, unopened mail, and other detritus that spills forth when I arrive home.

I don’t usually write at my desk. So it tends to be a limbo, of sorts, for things I mean to organize or fix.

AJB: If AJB looked in your refrigerator, what would we find?

PENNOCK: Not enough food. I’m an impoverished foodie, so I tend to buy ingredients as needed. I like my vegetables and fruits fresh. So my fridge is usually empty except for Greek yogurt, cold water, and half-used jars of preserves that never get thrown out.

AJB: What is your favorite late-night snack?

PENNOCK: Häagen-Dazs’ White Chocolate Raspberry Truffle.

AJB: Describe your dream alter ego.

PENNOCK: I often imagine another me out there who made different choices. I think everyone does that.

Somewhere in central Virginia, I have a Doppelgänger who went to law school or business school, makes a good living, sits on his porch in the evening, and coaches little league baseball. He never thinks about poetry, and thinks New York City is just too much.

Alice James Books Become an Alice James Books Subscriber Today!

When you choose to be an Alice James Books subscriber, AJB will automatically mail you each new book we publish (6 books a year), so you’re guaranteed not to miss a title. The cost is $65/year (two seasons of books, including shipping)—that’s about 50% off the cover price! Take advantage of this great offer now. Call us at 207-778-7071, email ajb@alicejamesbooks.org, or visit our website to enroll. www

. a l i c e j a m e s b o o k s . o rg

an affiliate of the University of Maine at Farmington

ALICE JAMES BOOKS

has been publishing poetry since 1973 and remains one of the few presses in the country that is run collectively. The cooperative selects manuscripts for publication primarily through regional and national annual competitions. Authors who win a Kinereth Gensler Award become active members of the cooperative board and participate in the editorial decisions of the press. The press, which historically has placed an emphasis on publishing women poets, was named for Alice James, sister of William and Henry, whose fine journal and gift for writing went unrecognized during her lifetime.

spring 2012 CATALOG NEW titles

Western Practice Stephen Motika

“While there’s a dreamy Venusian quality to Stephen Motika’s poetry, it’s also driven by a care and clarity that animates its landscapes. Western Practice is a book that deserves attention for its rich intersections of projective acrobatics and coming-of-age memory-textures, conjuring the roar of the Pacific at every turn of the line.”

—Lisa Jarnot “If twentieth century California artists established a tradition of speculative innovation, then Western Practice ushers visionary West Coast poetics into the twentyfirst. Motika’s ingenious ear renders place prosodic; his ‘baroque leaps’ tender a sprung rhythm that turns history into ‘a theory at map’s edge.’ The ‘mystic/gather’ of this music gives Motika’s ambitious projective praxis visual beauty and structural rigor. Open this book—’crawl inside & lie down against the future.’”

—Brian Teare

April 2012 ISBN: 978-1-882295-91-3 paper • $15.95

“How to approach a microtonal notation of a life? Within a diverse field of spacing, Motika’s poem ‘Delusions Enclosures: On Harry Partch (1901-1974)’ scores a biography of the sounds of words and phrases written by the composer himself in and among the poet’s own. In a way, notes. And a fine debut.”

—Marjorie Welish

Sudden Dog

Matthew Pennock “‘It’s only America,’ writes Matthew Pennock. ‘We watch it unravel like a fourth act without direction.’ And so in Pennock’s fine first collection, we find a country of war and surveillance, an economy of boom and collapse and a consciousness built of fragments assembled, admired, broken again. Sudden Dog is a troubling, moving, and memorable book, that returns—strangely and via estrangement—to love.”

—Mark Wunderlich “An array of marginalized, criminal, ashamed, hurt, and unwashed figures—dogs, hyenas, coyotes, Hephaestus, insomniacs, alcoholics, spurned lovers—stalk Pennock’s book, hell-bent on their antiheroic journey. Part ghost town carnival midway, replete with jokes and rope tricks, part Greek tragedy, part quotidian plumbing and domestic mire, part ardent lyricism and hope, Sudden Dog balances its cynicism with authentic, fully human dignity.”

—Lisa Russ Spaar

April 2012 ISBN: 978-1-882295-92-0 paper • $15.95

Murder Ballad Jane Springer

“I have a feeling Jane Springer met the devil at the crossroads. There’s not a note she can’t pluck, and the music is like no one else’s: rich as the red clay of Georgia, startling as a raccoon’s bite, ‘crazy as a shithouse rat’ and cool as sweet tea on a sultry afternoon. There’s some nittygritty here, hauled up from the freezer chest on the porch, unearthed like a mastodon that’s been buried far longer than we can imagine. And there is tremendous vitality and sublimity in this ‘dark county of the heart’ where her music comes from. Whatever devilish bargain has been struck, it has been a boon to all parties.

Hallelujah for us all.”

—D. A. Powell “Jane Springer’s poems are dazzling, devastating and utterly original—sound-rich, sensual, sensational— you will be carried away.”

—Naomi Shihab Nye

NEW titles

May 2012 ISBN: 978-1-882295-93-7 paper • $15.95

AJB lation Trans s e S rie

Hagar Before the Occupation Hagar After the Occupation

poems... offer “...these not just enormous

Amal al-Jubouri Translated by Rebecca Gayle Howell with Husam Qasai

pleasure but understanding.

November 2011 In English and Arabic ISBN: 978-1-882295-89-0 paper • $17.50

”

—Barbara Hoffert, Library Journal starred review

2010 Kund iman Prize Winn er

me and Nina

Monica A. Hand January 2012 ISBN: 978-1-882295-90-6 paper • $15.95

“

. . . like ‘two souls in a duet.’

—Library

Journal

”

Pier

Janine Oshiro September 2011 ISBN: 978-1-882295-88-3 paper • $15.95

masterful “A truly first book.

—Cole Swensen

”

fall 2011

Shara McCallum

Heart First into the Forest

lie down too

978-1-882295-86-9 $19.95 (paper w/ cd)

978-1-882295-87-6 $15.95 (paper)

978-1-882295-85-2 $16.95 (paper w/ flaps)

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Lesle Lewis

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Nicole Cooley

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978-1-882295-84-5 $15.95 (paper)

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Subtotal Maine residents: add 5% sales tax Shipping via US Priority Flat Rate Mail: $5.00 for first 2 books Shipping via Media Mail : $2.50 for first 2 books, $0.25 each addl.

Tax-deductible contribution: Total:

Thank You! Alice James Books 2 3 8 M a i n S t r e e T • Fa r m i n g to n • M E 0 4 9 3 8 w w w. a l i c e j a m e s b o o k s . o rg

TOTAL