Presses with Open Readings for Full-Length Poetry Manuscripts


This is a wonderful resource, just forwarded to me by my good friend Marilyn McCabe. It takes so long to do this kind of research, and it’s pure gold when someone who does it then goes on to share it. Thank you, Tom Holmes!

Originally posted on The Line Break:

In the past, I have created such lists as all the Small, Independent, and University Press Poetry Book Publishers (which was up-to-date as of 3-6-10 with 687 presses) and all the Journals with “Review” in Their Title, Who Accept Poetry, and Who Have a Website (which was up-to-date as of 2-29-12 with 344 journals.) The first lists I made were Poetry Book Contests with Spring & Summer DeadlinesPoetry Book Contests with Fall & Winter Deadlines (scroll down), and Poetry Chapbook Contests (scroll down).

Now, it’s time to start a new list, and I’ll keep it here and I’ll update it as I can. Currently, these are the only ones I remember or that other kind people have reminded me of. The list will grow, and if you know of any open readings, please note them in the comments and I’ll add them to the list…

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My Coolest Shirt now available for purchase. Congrats to W.T. Pfefferle!

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A New Way to Publish

So at The Word Works we have a unique imprint that is just gearing up for submissions. The catch? Only those who volunteer time at nonprofits that have a literary component to their missions can submit. In March and early April, nonprofits can nominate their volunteers and The Word Works will invite those folks to submit a mansuscript by May 1. The Hilary Tham Capital Collection then publishes two of the books each year, inviting a new judge each year to make the selections. For information or the nomination form, email

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Chapbook Madness

At the end of each semester I have my poetry students create a way to share their work publicly, either as a blog or as a chapbook. First we look at scads of groovy chapbooks that I have collected over the years, old and new, made by artist-bookmakers and by fellow students, well-known examples of the book-maker’s art and kitchen-table specials. We look at first-edition T. S. Eliot and Robert Frost; we look at last semester’s poetry students; we look at early efforts by the writers we have studied in the course. I show them numerous examples of chapbooks that evolved later into full-length books. We pass around chapbooks that unfold like puzzles; that can be read from either end; that incorporate visual art, that include CDs, that are bound with leather, cardboard, cloth, tin, tyvek, bark; that cost $10,ooo to produce or that cost, pretty much, nothing.

Luckily for us, the angelic staff running the behmoth at the campus copy center can format a manuscript into a saddle-stapled booklet, and the student only has to choose font, arrange page layout, print the ms, and present a simple cover design. Some students (once they’ve seen the rusty staples on the older chapbooks) opt to saddle stitch with linen thread. Some create elaborate covers and we have the copy center produce just the text booklet. While we only create enough for the class and a couple of friends, students leave knowing that any Kinkos or Staples can enlarge the print-run.

But we also look at the blog as a way to share work. Students can quickly brainstorm the pros and cons. On the downside, suddenly anyone in the world can see (and possibly steal) your work. On the upside, anyone in the world can see (and possibly appreciate and even respond to) your work. Speed, cheapness, ease, and “never go out of print” are other advantages that students notice.

I don’t introduce the blog option until I am sure everyone has fallen in love with chapbooks, and thus we reenact the movement in publishing of the last 20 years: some remain fiercely loyal to the actual pages in their actual hands, while others of the poetry-loving community realize that there is, oh yes, a magic to sharing your work online. Accessible to anyone, from anywhere in the world? To a writer who by the very nature of the beast works in such solitude, the idea of connecting beyond the backyard or the workshop is intoxicating. One of my students this fall shared that his blog had been visited by someone in Germany only an hour after he had created it. He had a reader! A stranger!

But one of the most moving things for me is watching them truly fall in love with the book as an object. Maybe it takes having someone assign you the task of sharing your work publicly, having then to imagine your own words inside a book, but very quickly they feel it: the cover, the page, the sequence, the binding, the table of contents, the titles, the page breaks, the proofreading, the font… These each take on an identity. A weight. Meaning. Beauty. The Book.

I am pretty sure that as long as there are poets around, the book cannot die.

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Post-gig Depression for the AWP Attendee?

Funny. I get post-gig depression after a reading, but never do I feel anything but madly energized after the circus of the AWP Conference and Bookfair. Living in the boondocks, I have to make this battery-charge last all year.

From the minute I pull up to the underground loading dock and start to recognize the faces of other vendors, to the final frenzy of box-packing and checkout four days later, I drink in the aura as deeply as I can with every breath, conversation, glance, laugh, and coveted cover art image. So many had good news (my books is out! I’m a finalist! a poem in X journal! an agent! a fresh angle on an old problem!) and so few were there merely to rant or to inveigle. My cup, however insatiable it is the other 11.9 months of the year, ranneth over.

This year at the elevator (poof) I bumped into Judy Halebski, whose chapbook I bought at my very first AWP. I loved it so much that I reviewed it, predicting that it would soon bloom into a full-length collection, and it did, so that the very next year when we ran into each other, she was shining with the good news; Space=Empty was out. Since then, her second book has also been published, Space/Gap/Interval/Distance.

And the reading I had proposed was a joy: Poets Look Back on Their First Books: a 20th Anniversary Celebration of Fred Marchant’s Tipping Point. Audience members commented afterward that the sense of mutual support and community were palpable, the warmth and integrity of the poets (Fred, with Nick Flynn, Laura McCullough, Joan Houlihan, and David Rivard) so invigorating. I felt the same way, and am strengthened for the year of work ahead by the presence of so much goodness there.

Some complain about the pushpushpush of Po-Biz: so much work and so little reward. Objectively, I know what they mean. I am terrible at the self-promotion the world of poetry calls for, and yet I just can’t feel the sour disappointment that poetry’s relative famelessness causes for many. With tireless colleagues like Karren Alenier (my partner in crime at The Word Works) and innovative colleague presses like Lisa Bowden’s Kore (with whom we shared a kick-ass reading), I feel the miracle, instead, of being part of a living, breathing organism that is this strange beast: poetry managing to stay alive, vital, and necessary in the land of malls and cell phones.

No depression here! Only gratitude and a certainty that I’m in the right place at the right time. I hope the rest of you feel the same.


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The Contest Season…Season of Love

When I closed the online submissions manager for the 2012 Washington Prize from The Word Works, having just trolled through hundreds of entries to make sure no one left incriminating acknowledgments pages or bios embedded, having emailed a few poets who forgot to submit their reading fee, having double-checked with readers to make sure they were ready to tackle a new bundle of aspiring books… I sat and wondered how we do it.

At the AWP conference this year, the strange plight of poetry in America was driven home again. More attendees than ever. More tables groaning with hot-off-the-presses writing than ever. Poets stopping by our booth to discuss their work, to browse and buy ours, to ask about our contest. Poetry readings so numerous the head spun, so audience-dense the heart beat with hope…

And yet. Almost all poets and most publishers of poetry work for free, funding our passion with other day-jobs. Tiny numbers of Americans read what we produce. Presses and journals go out of business every day. The media assures us the book itself is dying.

But poets keep writing, and poetry publishers keep looking for new work, keep trying to connect the writers to an audience.

Denise Duhamel quipped in a Rattle interview once that poetry is the last true art form because we can’t sell out. The reason for that? Nobody’s buying. So we can pursue our art in a pure environment, uncorrupted by filthy lucre, by the temptation to bend our art to the market.

At the “Write This” festival this spring in Troy, NY, one publisher pointed out that in some ways this is a wonderful time. If you love poetry, just start a press. Just start a journal. Just start a reading series.

We all nodded wisely: set your own standards. Contact the poets you love. Choose your medium. If you don’t have a rich aunt and can’t snag any of the rapidly shrinking grant money, what about POD? chapbooks? an online ‘zine? broadsides? a reading series? a coffeehouse night? an open mike? Nominate yourself, step in, and give away all the time and energy you want, in the name of the greatest art form known to our species. The angels will love you for it. The poets will love you for it.

Your neighbors may find you bewildering and your family may roll their eyes at the postage, the toner cartridges, the late nights, the disappeared weekends… But you know what you’re doing, and you’re doing it out of love.

This is my shout-out to the many volunteers who keep poetry alive and yes, even thriving. The writers, the readers, the editors, the judges, the promoters, the teachers, the students. At the moment, I’m especially grateful to all those who work so hard on the Washington Prize, a process I’ve been shepherding for a few years now. Twenty people give their time–days and days–to read and reread manuscripts, critique them, to slowly over the months narrow the pool until just one book emerges as “Da Winnah.” It takes a village to publish a book of poems, and I’m forever in debt to the denizens of this particular hamlet.

Wherever you live, there are similar people at work. Say thanks from me, would you?

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Richard Carr’s House of Poetry

By Barbara Ungar and Nancy White

After thirty years of writing poetry without publishing a book, Richard Carr, age forty-six, won a poetry version of the Triple Crown: three book prizes within a year—The 2007 Vassar Miller Prize from University of North Texas Press, the 2008 Gival Press Poetry Award, and The Word Works 2008 Washington Prize—with a fourth book also accepted Backwaters Press. How did he do that? Since then, he has gone on to publish more books, and looks not to stop anytime soon; check out his stunning ONE SLEEVE from Evening Street Press (2011).

As friends comparing notes in 2008 after our first stints as contest judges, we were amazed to find we had, in two separate “blind” contests, chosen the same writer. We asked Carr to discuss with us his decades of writing and the changes that finally propelled him to a new voice, a new focus—and to his astonishing publishing spree. In retrospect, his life looks like X-treme Poetry Boot Camp, a recipe for producing intensity. It’s also a series of choices and “saves” that aspiring writers could benefit from studying.

Like most poets, he began early, in solitude, as a teenager. He wrote in his room in a big Victorian house on the edge of town—Blue Earth, Minnesota, out on the prairie. “It had windows looking west across a pasture and into the woods, but no heat. I remember sitting on the end of the bed, looking into the dresser mirror, writing poems—about trees, I think.”

Reflection characterizes his writing for the next twenty-five years, when, he says, “between periods of failing in and out of school, I looked into mirrors and wrote hundreds and hundreds of poems, whole books of poems, some long, some very short, and they were free verse poems, or rhyming, or spatial, or anything and everything, and some were miniscule and some were grand, and all were written looking into the mirror.”

Always a bit of a renegade, as a math major, Carr cut class to read Milton in his dorm room—aloud, the complete works, in three languages— and as an MFA student he feels he studied philosophy more than poetry. The son of career professionals, he describes his own work history as “patchy, alternating between computers and dishwashing, teaching and bartending.” Although he grew up in a house full of books (reading everything from Dante to Tolkien, Japanese poetry to science fiction, Greek tragedies to Blake and Bly), in his 20’s and 30’s he cultivated a motorcycle-riding, bartender Zen persona. And kept reading. Everything.

In 1993 he landed a book deal—“a collection about trees and pastures and looking into mirrors”—but to his dismay and even embarrassment (hadn’t he, as anyone would, told all his friends and family the thrilling news?) that fell through when the press went out of business.

Next at Bowling Green he took the MFA path, but didn’t cotton to it. “I was not ready to take advice, and since I didn’t connect very well with my teachers, I came away with no professional contacts. I take the blame, however. I frequently went to class drunk. One time, while offering an intoxicated critique of someone’s poem, I tipped over backwards in my chair—got up, kept talking. Sometimes I make a humorous anecdote about that; other times I am simply horrified.”

But there were mentors over the years—Jonathan Sisson and Bill Coggin— and Carr remembers their talks with gratitude, also noting “the big impact that a few well placed bits of practical advice can have, not to mention the vote of confidence.”

In and out of school and his many jobs, he always wrote poems. And then the watershed, a midlife crisis at thirty-nine: “The usual, I guess: broke up with my longtime girlfriend, lost my job, my home, my family (on her side), half my friends, a Steinway piano, a very large motorcycle, my precious, precious power tools, and pretty much everything else.”

Perhaps now we come to the culprit, addiction. Overall, decides Carr, “Probably the real hindrance to having earlier success, in writing or other career efforts, has been addiction—drugs and alcohol—and depression, combined with social incompetence and pathological shyness.”

In the wake of his losses, “without work, and especially without relationships,” Carr couldn’t find his footing. “That was the worst feeling, that existential barrenness. I was completely empty, directionless, derelict and, for a depressingly long time, heartbroken. Living in a motel room on the highway at the edge of town, I drank and smoked heavily—lifting a lifelong habit to smoldering, volcanic heights—until my money ran out.”

Salvation beckoned when two friends stepped in, offering work and a place to stay. Carr got a grip. “I quit drinking and smoking—at the same time, cold turkey.” He moved back to Minnesota, began teaching as an adjunct in the Minneapolis area, and most importantly, he chose poetry. “I cut myself off from almost all social activity, and made space around myself, big space, living alone, walking daily, writing daily.”

He calls it “the big turning point in my life—my Twin Towers crisis—which required me to decide who I am and what I want. I chose poetry. Finally. Poetry has been the one constant in my life, and I have finally committed myself to it. I have no other intention, no other worldly objective, but to write poetry. Other interests and activities will come and go, as they always have, but I mean to build and dwell in only one house now, only the house of poetry.” Indeed, when Ungar met him in Minneapolis to continue this interview, she was reminded of the focus, isolation, and intensity of Emily Dickinson.

In the next four years following his recovery, he wrote five books of poetry. And the poetry erupting from this new life was, truly, new for him. Instead of being driven by the depression which has haunted him and “which drove me inward,” he began “really for the first time looking outward consistently, carefully, and sympathetically.”

“I quit looking into mirrors—and started writing about other people, and then as other people, starting with the son of a famous (fictitious) mixologist in MISTER MARTINI, followed by HONEY, written from a young woman’s perspective, and culminating in the full-on persona poems in ACE. I can only speculate, really, but I think these three manuscripts rose in the contest ranks because they are coherent, complete collections that tell a story.”

Denise Duhamel, who’s never met Carr but agreed to write a blurb after reading the manuscript for ACE, confirms that narrative cohesion helps create the book’s appeal. She also sees his work as part of an invigorating trend of “genre-blurring and poets taking on larger projects.” Beyond narrative, elegance of form charges the book, she says, and she “was really drawn to the grittiness of the characters.”

The adoption of a “truncated sonnet” form (a free verse structure of two quatrains, with optional final couplet) caught Ungar’s eye, too; Carr calls them microsonnets, each serving as a chapter in the development of HONEY.

Carr’s ability to weave a tale hooked the panel awarding The Washington Prize. “It’s that rare thing in poetry,” said one judge, Steve Rogers, “a page turner.” As a fellow judge, I (Nancy White) agree. All the finalist manuscripts contained poems that compelled utterly, but only one manuscript, as a whole, had that grip on the reader all the way through.

Is the secret, then, the triumph of “Negative Capability” and narrative over the author’s ego? Carr elaborates: “I wouldn’t write anything at all if it didn’t help me understand myself and my predicament in the universe. My ego is still there; I remain reflective. And yet by walking in someone else’s shoes, I am suppressed, to a degree, and the resulting poetry is less self-conscious, self-pitying, self-regarding—all of which mar my earlier work.”

In the end, “maybe waiting is not such a bad thing.” After all, he says, it’s not the early influences, or which MFA program is chosen, or the presence or lack of mentors: “Poets still make themselves, as they always have, through reading and practicing.”

And how does publication feel, now it’s finally come? “I didn’t know it until I got it, but I needed that validation, someone outside of family, friends and colleagues to say, ‘Your writing is good; it’s important; it should and will be published.’”

First the word from Backwaters Press; they wanted STREET PORTRAITS. “A certain amount of hooting and hollering” naturally ensued. Within days of Carr’s signing a contract with Backwaters, The University of North Texas Press called. When he heard that Naomi Shihab Nye had selected MISTER MARTINI for their Vassar Miller Prize, it seemed “a poetry deity had reached down from the heavens and touched my forehead with her finger. I felt the jolt of it, a rush of happiness as though I had received a blessing that could never be taken away or turned to ill use or diminished in any way.”

MISTER MARTINI came out in April, 2008, and in May the phone rang again. Gival Press calling, to say Barbara Ungar had chosen his book HONEY. This time, says Carr, he was speechless. “Ask the editor and publisher Robert Giron—I barely managed ten words.”

He likens the experience to a time he got lost hiking in the Swiss Alps. “I lost track of how far I had gone, what route I had taken. I halted, but a powerful urge to go forward—my curiosity to see the top, the true summit—pulled me upward as though there were a rope around my neck constricting while I hesitated. Suddenly I felt afraid and alone, and for a long time I couldn’t decide which way to go. Likewise with HONEY. I was bewildered.”

Two months passed. In August, Karren Alenier phoned Richard from the judging table in D.C. “On the other end, it wasn’t just the editor or publisher—it was the whole editorial staff! I could hear everyone in the background. They cheered! They applauded! It was like a surprise party and I was the guest of honor. That was really gratifying.”

Carr clearly feels a sea change in his relationship to the world, one he’s still adjusting to. “All my publishers have been hugely generous and enthusiastic regarding my work, and for me, that’s a big part of getting published. Holding the physical book in my hands is a delight, but the esteem of editors and publishers is beyond bounds. I didn’t understand that at first. It becomes their book too, and your hopes are their hopes, and they love the poems truly, much as you do, and no one else is going to have this kind of relationship with your book. It’s intimate, like family.”

Considering that in his poems Carr prowls the dark alleys of family-forged, family-twisting pasts, that’s a satisfying resolution to his story. Of course he moved right on to writing books five, six, and beyond; of course he plans to keep writing. But in spite of his fabulous rash of acceptances, he sees no silver bullet, cautioning fellow contest-entrants “not to copy a certain style or form or procedure.” He himself had to “let go of youthful themes and forms,” but each writer develops uniquely. His only certain advice we have heard before: “to persevere, to focus on the thing you love, to hang on, be strong, abide.”

Carr’s story may reinforce the fantasy that “getting discovered” lurks just around the corner. But it also highlights that, as Duhamel says, “all writers are wounded in some way, or maybe more attuned to loss.” It’s what we make of the loss and the waiting that matters. Just the right smelting of self and other, of story and form, of study, perspective, practice, history, discipline, reading, perseverance, and passion—and sure, it could happen to anyone.

We still suspect it helps to be talented, too.


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