What Toast? Reprinted at Cahoodaloodaling

Cahoodaloodaling has published a themed issue entitled The Animal Becomes Us. The call asked for a wide interpretation of the theme, and I sent Milquetoast’s origin story, the preface piece of Theater of Parts. This piece was originally printed in Gargoyle, and I’m happy for it to share space here with other beasts, including a piece from Sally Deskins and Laura Madeline Wiseman. You can read “What Toast?” here.

Interview at Les Femmes Folles

In the month of November, my friend and colleague Nicole Tong curated a series of interviews with writers at Les Femmes Folles: Women in Art and she was kind of enough to include me. LFF is a curated spotlight on women (ish in my case) artists in any media. Les Femmes Folles is run by Sally Brown Deskins, an artist I greatly admire, informed and inspired by Wanda Ewing.

Nicole’s series included myself, essayist and short fiction writer Kirsten Clodfelter, travel writer Amy Gigi Alexander, and poet Allison Wilkins.

Nicole and Sally were also kind enough to reprint one of my cable shopping poems, which Stirring: A Literary Collection has nominated for a Pushcart. You can read my interview here, in which I discuss gender and Gazing Grain Press and national parks and cable shopping poems and breaking systems down and:

http://femmesfollesnebraska.tumblr.com/post/104084653092/nicole-tong-interviews-poet-editor-and-fiber

“Not This” up at Wicked Alice

Today, a sequence of my poems went up at Wicked Alice. This sequence comes from my book manuscript Theater of Parts, and the form is based on two other sequences in the book, some of the poem-things that claim to be dramatic forms.

I’m so grateful to be in Wicked Alice, and I’m pleasantly surprised to have found a home for this sequence. I have so much respect for the editor, Kristy Bowen, and I love and respect when I am welcomed to publications that are women-centered.

You can read the sequence here.

These are my first poems to make it out into the wider world. It’s quite a way to jump in, as the intimacy of the speaker here aims to counteract the distant speaker elsewhere in the project. Productive discomfort. Problematic academic voice. Lots of good stuff. <3M