For National Poetry Month this year, I read three poetry chapbooks that revolve around memory. Childhood memory, historical memory, the body’s learned memory, how place or sound or smell or language or popular culture evokes memory—the chapbooks here all touch on one or more or many of these themes.
This month, I read work from both genderqueer and transgender writers. Inspired by recent tweets, blog posts, and press releases supporting works by these writers, it seemed a good opportunity to spotlight these three chapbooks.
This month, I read three award-winning chapbooks—which happen all to have been written by women.
DoubleCross Press makes gorgeous letter press chapbooks. But these aren’t just pretty faces; it’s what’s on the inside—poetry, poetics and "prose-ish" pieces—that counts. This month, I review three of them.
This month, I review three poetry chapbooks from three different women’s voices that are important, that you should read.
Genre, in a post-Dylan-won-the-Nobel world, is worth considering on a variety of levels, and often when people hear “chapbook,” they assume automatically the speaker means a short collection of poetry. Publishers, though, also print chapbooks of prose.
Sometimes, place is an obvious theme or motif in a work, while other times it informs a work in a subtler but still necessary way.
For August, I read three chapbooks that dealt with ideas of past, present, and future in both overlapping and contrasting ways. They also each somehow dealt with ideas of spaces that became place for the writers, though sometimes these places were more about time than physical geography.
While publishing online can mean that a text is more easily widely circulated, the dedication that goes into presenting a chapbook online often goes unsung. For July, I read three e-chapbooks, and each of them had stunningly beautiful covers and design that enhanced the reading experience.