Writer and editor Carol Smallwood recently sent me the wonderful news that her new book of poems titled Compartments: Poems on Nature, Femininity and Other Realms was just published by Anaphora Literary Press.
Before I tell you the market information for that publisher and two others, I'd like to congratulate Carol and encourage you to buy her book of 89 poems, which are tantalizingly grouped under the headings of nature, femininity, society, science, home, school, town and mortality.
As Carol states in the preface:
I've always regarded writing poetry as beyond me until realizing I had nothing to lose by exploring this greatly admired world... Compartments is a serious and whimsical blend of free verse, phantoms, sestinas, triolets, villanelles, chinquapins, and other forms.
Most, she adds are short as in Prologue:
I Read That Between
the highest mountain
and the deepest ocean
measures twelve miles
We, by volume 89-93%
water, live in between
In a review of the poetry, Dr. Christine Redman-Waldemeyer, founder and editor of Adanna Literary Journal and author of Gravel (Muse-Pie Press), states:
Carol can envy and love what is wild. She can shed light on what is cultivated and domestic where there is rain and gray sky. She does not disappoint and will keep your ear tuned to what is outside your window and what enters.
Promised Publishing Info
While helping Carol to spread her good news, I've just listed three new markets you can check out:
Anaphora Literary Press
This small publisher began as an academic press in 2009 when it published the Pennsylvania Literary Journal. Within the last year, Anaphora has published a dozen book-length works of fiction and nonfiction. The press is actively seeking book-length submissions in the following areas:
• short story collections
• nonfiction (academic, legal, business, journals, dissertations, biographies and memoirs)
The press splits the profits 50/50 with writers, who do not have to pay anything to have the book published, which is what it means to be published by an independent press, rather than to be self-published, in which case the author pays part or all of the publication costs. Interestingly enough, Anaphora uses Lightning Source and distributes books via Ingram.
For further details, check out the submissions guidelines.
Adanna Literary Journal
According to the website, "submissions to Adanna must reflect women’s issues or topics, celebrate womanhood, and shout out in passion."
The submissions guidelines state the journal, which is published in hard copy, accepts poetry, short stories, short plays, essays, book reviews and interviews.
R.G. Rader began this press in the 1980s. The website states the publisher is known for:
...the publication of award-winning poetry and poets and has developed a reputation for being open to all styles and genres of the poetic voice, including haiku, experimental work, spoken word poetry and confessionalist, narrative, academic, philosophical, formalist, or other contemporary styles and genres. If it is good poetry, with technical proficiency and emotional appeal, Muse-Pie takes it seriously.
Currently the press does not accept unsolicited book-length manuscripts, but does encourage writers to check back or request to be placed on an email list in order to receive announcements about contests that can apparently lead to publication.
The press is, however, seeking submissions for its two on-line poetry journals, the first of which is Shot Glass Journal (submissions).
The second is The Fib Review, which specializes in the Fibonacci poem, or poems that "adhere to the Fibonacci number sequence whether in syllable count, word count or any other experimental genre yet to be created."
Still don't understand? Fortunately the publisher explains:
For those unfamiliar with the Fibonacci Sequence, it is a mathematical sequence in which every figure is the sum of the two preceding it. Thus, you begin with 1 and the sequence follows as such: 1+1=2; then in turn 1+2=3; then 2+3=5; then 3+5=8 and so on. The poetry sequence therefore consists of lines of 1, 1, 2, 3, 5, 8, and so on with each number representing the number of syllables or words that a writer places in each line of the poem. As a literary device, it is used as a formatted pattern in which one can offer meaning in any organized way, providing the number sequence remains the constancy of the form.
The subject of the Fibonacci poem has no restriction, but the difference between a good fib and a great fib is the poetic element that speaks to the reader. No longer just a fun form to write as a math student, the poets who write good Fibonacci poems have replaced the 'geek' with the poet.