Sometimes the speed and volume of the language overflows its container. Or, since my poems are voice-driven, I often think: what (plat)form does this speaker require to deliver their speech? Sometimes they need the emphatic disruption to logic provided by line breaks and stanzas, sometimes the furious liquid state of prose.
InThe Dead Girls Speak,I conceived of the poems as coming over an erratic connection. Like a worm line from the underworld, running through the soil alongside roots. A landline! That led to sparser poems than I usually write. They declare what they need to and ring off.
[…] You enter a poem and wander around inside it. There’s not necessarily a rule about how to proceed through it. You neither start at its beginning, nor finish at its end. You inhabit it, you climb its stairs, and maybe it’s haunted, maybe it’s housing exhibits, maybe it’s filled with memories. It’s a time machine; it preserves a live and multi-sensory intensity. It has a pulse. The poem is an organism one can inhabit. Maybe like a mother, or a monster. Maybe like a planet, a universe, something with a lot of fibers. A phenomenological space that could otherwise only exist in its moment as connective tissue between sentient figures.
—Danielle Pafunda interviewed about The Dead Girls Speak in Unison at Bayou Magazine
You missed the chance to nab this one-of-a-kind artwork (lucky collector!), but you can still dig into these photos and Nikki’s artist statement:
“‘Cavity Sam’ is the name of the patient, according to the original directions to the game ‘Operation.’ Uncle Sam is on the operating table rotting from the inside out from his lies, delusions, and deceits, is the keeper of a terminal illness called manifest destiny, called colonialism, called capitalism. Through generations of persecution in this global circle jerk career of hate Uncle Sam projects his own dehumanization onto his victims, and in the end who here is the real caricature, stereotype, and fetish object?” —from the artist’s statement
Do you follow us on Instagram? We post regularly there, a mixture of books (our own and those we’re reading), design, nature, and (vegan) cooking. When we’re making the chapbooks, we always show you some of the process.
The background colors & textures for these covers were individually printed on a gelli plate with blue and green soy inks, then the lino-cut key was applied in gold paint, the title stamped in ink with rubber type, and finally the author name added in colored pencil. For poems about automatons, they are very handmade.
We are delighted to announce we will be publishing these six chapbooks in the 2019 Bloof Chapbook Series!
Ana Hurtado
Dakotah Jennifer
Kristina Lugn
Elizabeth Clark Wessel
Douglas Piccinnini
JJ Rowan
Katie Jean Shinkle
Ana Hurtado Miedo al Olvido: Poems from an Uprooted Girl
Ana Hurtado is a Venezuelan writer who grew up in Ecuador. She earned her MFA at Iowa State University in 2017 and currently teaches rhetoric and creative writing in Universidad San Francisco de Quito. Her work has been published by Strange Horizons, Uncanny Magazine, The Apex Book of World SF: Volume 5, and others. Her chapbook Miedo al Olvido: Poems from an Uprooted Girlis forthcoming from Bloof in 2019. Website: anahurtadoro.wixsite.com/anahurtado. Find her on Twitter:@ponciovicario
Dakotah Jennifer Fog
Dakotah Jennifer is an eighteen-year-old black writer currently attending Washington University in St. Louis. She started writing at eight and has loved it ever since. While working on self-publishing her poetry and an essay collection, she has been published in the Grief Diaries, interned for the JMWW literary magazine, and was on the Long List in the Fish Publishing Flash Fiction contest. Jennifer writes about race, class, and gender, stretching her emotions into tangible things. She strives to write things that grow. Her chapbook Fog is forthcoming from Bloof in 2019. Website: dakotahjportfolio.com
Kristina Lugn, translated by Elizabeth Clark Wessel Seeking an Older, Well-Educated Gentleman
Kristina Lugn (b. 1948) is the author of eight collections of poetry and eighteen plays, the former artistic director of the Brunnsgatan Fyra theatre in Stockholm, Sweden, and a member of the Swedish Academy. She’s also the winner of the Selma Lagerlöf Literature Prize (1999) and the Bellman Prize (2003). A chapbook of her poems called Seeking an Older, Well-Educated Gentleman, translated by Elizabeth Clark Wessel, is forthcoming from Bloof in 2019.
Elizabeth Clark Wessel is the author of four chapbooks of poetry, a founding editor at Argos Book, and the translator of numerous novels from the Swedish, including most recently What We Owe by Golnaz Hashemzadeh Bonde. Originally from rural Nebraska, she spent many years living in New York and Connecticut, and these days calls Stockholm, Sweden home. She has translated a chapbook of poems called Seeking an Older, Well-Educated Gentleman by Kristina Lugn that is forthcoming from Bloof in 2019. Website: elizabethclarkwessel.com
Douglas Piccinnini Victoria
Douglas Piccinnini is the author of Victoria (Bloof, forthcoming in 2019), Blood Oboe (Omnidawn, 2015) and Story Book: a novella (The Cultural Society, 2015). Recent writing has appeared with Denver Quarterly, Fence, Lana Turner, Nat. Brut, Seattle Review, Tupelo Quarterly,Tammy,Verse, and the Volta—among other publications. Currently, he lives in Lambertville, NJ and works as a chef and consultant. Website: www.douglaspiccinnini.com
JJ Rowan a simple verb
JJ Rowan is a queer poet and dancer living in Southern Oregon’s Rogue Valley, looking for the places where the written line and the lines of the moving body intersect. Their poems, hybrid work, and VisPo have appeared in Phoebe, the Hunger, Dream Pop Journal, and others. Their collaborative sonnets with Nate Logan were recently published in where is the river and in the chapbook mcmxciv. (Shirt Pocket Press). Their chapbook a simple verb is forthcoming from Bloof in 2019.
Katie Jean Shinkle Rat Queen
Katie Jean Shinkle is the author of three full-length works, most recently Ruination (Spuyten Duyvil, 2018). Her poetry, prose, and criticisms can be found in Flaunt Magazine, the Georgia Review, Denver Quarterly, New South, the Collagist, Washington Square Review, and elsewhere. She serves as associate fiction editor of ANMLY, co-poetry editor of DIAGRAM, and is an Assistant Professor of English at Central State University in Wilberforce, OH. A chapbook called Rat Queen is forthcoming from Bloof in 2019.
Additionally we will be reissuing—due to popular demand!—one of our previous handmade chapbooks in a new hardcover artist book edition!
Nikki Wallschlaeger I Hate Telling You How I Really Feel
Nikki Wallschlaeger’s work has been featured or is forthcoming in the Nation, Georgia Review, Brick, Witness, American Poetry Review, Poetry, and others. She is the author of the full-length collections Houses (Horse Less Press 2015) and Crawlspace (Bloof 2017) as well as the graphic chapbook I Hate Telling You How I Really Feel from Bloof Books (2016). She lives in the Driftless region of Wisconsin with her family. Bloof will be publishing a hardcover art-book edition of I Hate Telling You How I Really Feel in 2019. Website: nikkiwallschlaeger.com
Subscribe to reserve your copies
We’ll be posting excerpts from each of these chapbooks in the next few days, so please check back for more. Can’t wait? You can subscribe to the 2019 series now, to reserve your copies of these limited-edition handmades. (They tend to sell out quickly, so in some rare cases we may sell out of a particular chapbook before individual preorders have a chance to open.)
The announcement of our 2019–2020 chapbook lineup is imminent. We’re just waiting for one final confirmation before the big reveal.
(And yes, we’re still reading books. Those will be announced separately as soon as we are able. We’re reading as fast—but as considerately!—as we can.)
Please pardon our appearance as we migrate the site to WordPress and refresh the look and content. This is a long-overdue update, but we will be back ASAP to announce our new chapbook lineup.
This blog should stay stable until we’ve completed the transition, but the rest of the site may disappear or look odd as we work.
