The editors of Noemi Press are excited to announce the winners and finalists for the 2017 Noemi Press Book Award in Poetry.
Winner: UNMANNED by Jessica Rae Bergamino
We will be also publishing Inland Empire by Leah Huizar
Orient by Nicholas Gulig
Ochre/Orpheus by Meredith Stricker
Bodega by Su Hwang
STET by Dora Malech
We Are Too Big for This House by Sara Borias
The editors of Noemi Press are excited to announce the winners and finalists for the 2017 Noemi Press Award in Prose.
Winner: The Itch by Kate Colby
Lyrebird by Meredith Clark
Fluid States by Heidi Czerwiec
Beast Grief by Marie Conlan
Echo Park by Ryan Ridge
Body/Language by Anne Riesenberg
NoNo by Jenny Wu
The editors of Noemi Press are excited to announce the winners, finalists, and semi finalists for the 2016 Noemi Press Book Award in Poetry.
Winner: Indictus by Natalie Eilbert
Finalist: Careen by Grace Shuyi Liew
We will be also publishing Gentry!fication: or the scene of the crime by Chaun Webster and A Problem and Some Space by Hannah Ensor
The Devil’s Workshop by Xavier Cavazos
Hagia Animalia by Sara Biggs Chaney
Medusa Reads La Negra’s Palm by Elizabeth Acevedo
The Leaving Impulse by Rachel Martin
Manipur by Robin McLachlen
The Historians of Redundant Moments: Novel in Poems by Nandini Dhar
Northern Ledger by Kate Partridge
Probable Garden by Bronwen Tate
Saints and Cannibals by Robert Lunday
Winter Swimmers by Carolyn DeCarlo
Woman, Yielding by Andrea Blancas Beltran
un/documented—kentucky—songs by Steven Alvarez
The editors of Noemi Press are excited to announce the winners, finalists, and semi finalists for the 2016 Noemi Press Book Award in Fiction.
Winner: The Ladies by Sara Veglahn
Finalist: The End of Peril, the End of Enmity, the End of Strife, A Haven by Thirii Myo Kyaw Myint
There Are Other People In The Dark, Though by Michael Shelichach
TSK by Caroline Picard
Partners And Strangers by Michael Don
Trouble Will Save You by David Crouse
Polyester Vocabulary by jill darling
The Perception of Partially Occluded Objects by Stephen Tuttle
The Moon Below by Nathan Oates
When The Time Came by Gabriel Houck
Strike a Prose: Memoirs of a Lit Diva Extraordinaire by Tim Jones-Yelvington
The Offing published eight poems from Lost Privilege Company. Take a look there for a sample, then come back for the rest.
The hybridity of Starlight in Two Million lends itself at least in part to assisting in Catanzano’s depiction of 4th person narration. In particular, her poetry (“U+F+O+L+A+N+G+U+A+G+E”) suggests a sense of malleability and nonspecificity, power in disruption and deviation from the linear hierarchy. Take for a specific and more focused example, the TAZ (temporary autonomous zone) located “where the poetic imagination is free to reign.” The site of poetry is a catalyst for a chain reaction that moves outward, uncoiling, asking questions that produce yet more questions. Inquiry expands into infinite space and non-linear time: “In TAZ the practice of framing a rule as a ruin makes even more ruins, as anyone familiar with the latest studies has been informed.” The prose form overlaps with the poetic, the hybridity presenting scientific inquiry within a framework of imaginative speculation and the powerful disruptive force of deviation from traditional form.
Starlight in Two Million: A Neo-Scientific Novella is a spacetime ship that travels. Unlike ships of the sea or rockets to outer space, my book moves by warp drive. What this means is that my book achieves travel through space and time by being stationary while moving spacetime around it. This is how ships move when traveling at warp drive in Star Trek, and scientists are now exploring warp drive for travel in our solar system and beyond.
In May 2015 Jace Brittain and Rachel Zavecz interviewed me about my third book, Starlight in Two Million: A Neo-Scientific Novella (Noemi Press, 2014). The book combines narrative fiction — in which three characters, two of whom are named for Greek concepts, join forces to stop a war — with lyric poetry, visual poetry, and memoir. We discuss the book’s cross-genre form, ’pataphysics, quantum poetics, fourth-person narration and the fourth dimension, and more. In addition to talking with me about Starlight in Two Million, Jace and Rachel wrote a collaborative review of the novella for the online arts magazine, Queen Mob’s Teahouse.
The editors of Noemi Press are excited to announce the winners, finalists, and semi finalists for the 2015 Noemi Press Book Award in Poetry. We received about 400 poetry submissions this year and thank all the writers who submitted for trusting us with their work.
Bone Confetti by Muriel Leung
Natality by E. G. Means
MOUTHS by Claire Marie Stancek
We will also be publishing finalist Vanessa Villarreal’s manuscript Beast Meridian in the Akrilica series.
They Go In Pairs by Samuel Ace
Arcadia, Indiana (a tragedy) by Toby Altman
You Can Take It Out by Cheryl Clark Vermeulen
Red of Split Water-A Burial Rite by Lisa Donovan
Century Worm by Todd Fredson
Actual Echo by Matthew Mahaney
A Turkish Dictionary by Andrew Wessels
The editors of Noemi Press are excited to announce the winners, finalists, and semi finalists for the 2015 Noemi Press Book Award in Fiction. We received about 300 fiction submissions this year and thank all the writers who submitted for trusting us with their work.
Uncountry: A Mythology by Yanara Friedland
A Manual for Nothing by Jessica Anne Chiang
Gary Oldman Is A Building You Must Walk Through by Forrest Roth
Patchwork: Stories by Cynthia Hawkins
Waters to Swim in Before We Die by Meredith Luby
ANSWERING MACHINE: a novel out loud by Edward Herring
The Rolodex Happenings by Dennis James Sweeney
Project MADAM by Evelyn Hampton
A More Active You by Meagan Cass
These Are Our Demands by Matthew Pitt
One of the most fascinating traits of Beilin’s prose is the way that words tumble into each other, dissolving their distinctions into portmanteaus: “‘Just drive,’ Olivia told her mother, and Mrs Knox — who was usually too frail, sick, and tired, to drive, or love — drove.” Elsewhere repetition and assonance causes clotting: “Beth kneels, devout to it, devout to kneeling, but needing reasons.” Descriptions of female anatomy in particular are characterised by a constant drift towards the figurative: Olivia’s hand is “a small splayed bouquet of bones”; a breast is “the weight of bread forgetting itself”; the clitoris is “a rooster’s drip of throat,” “a rodent’s red liver,” “the flower of guts,” “the bedraggled lung of something waterous, a barracuda’s ripped reason for breathing, hanging in the open, with rancid coral hueing.” Like Antigone as a child, rolling around in a park, flashing her underwear, The University of Pennsylvania seems to speak “in a language parallel to language.”
Five new books, including Incidents of Scattering by Karen Lepri, reviewed by Matthew Ladd at West Branch Wired.
When art and pain collide, a perfectly complicated and beautiful book sometimes emerges. Such is Julia Cohen’s I WAS NOT BORN, her third and latest work. It is a lifetime achievement and commingles poetry, transcripts of therapy sessions, letters, meditations, and text messages (all of which are poetry really) with a tremendous psychological and emotional impact.
Read the rest at Tupelo Quarterly.
Vogel describes her early experiences of reading and writing as “a bridging between [her] voice and [her] body,” as a kind of communion. “Language slowed the world for me,” she recalls, “it gave me a sense of tactility, a skin to encase my thinking.” Vogel’s visceral experience of language is palpable in Between Grammars; there is a sense of tactility ever-present. Beyond the philosophical exploration, reading this book is as much a sensory experience as an intellectual one, the text shot through with light, sound, and touch.
Armendinger is a master at using fragmented language with precise purpose. His poems experiment with language and form—this collection includes a poem delivered in the form of an instant messenger conversation, and a poem placed as a footnote within another poem—but never read as mere avant-garde posturing. Instead, Armendinger again and again finds new ways to use defamiliarized language to access the unsayable.
It’s a rare and wonderful thing to find a poet who can so powerfully, vividly, and gracefully engage with the problems of language and the world. The Ghost In Us Was Multiplying is a vital book: experimental, substantial, fragmented, unified, unsettled, and unsettling, Armendinger’s work is key reading for all those who care about what our broken words can do.