Publication Date: August 15, 2026

Paperback, 42 pages 

ISBN: 978-1-966677-55-0

Drawing on a range of poetic strategies, Susan Eisenberg grafts onrushing news accounts onto the page. With haunting imagery, the poems of Fault Line stress test how the political and moral landscape, friendships, and language itself become altered by the catastrophic destruction in Palestine. The collection closes with a bit of hope from Jenin.

Praise for Susan Eisenberg & Fault Line

These straight-talking, truth-seeking poems, as they fill in the blanks, remind us that what we think we know is shaped by what has been left out of a self-justifying script. Grieving for what they bring to light by looking where we aren’t supposed to go and knowing who we aren’t supposed to know, these ethically grounded poems give statistics embodied human shape, expose the perversion of official naming, and, in the astonishing “Unlearning Deafness,” reveal what can block even open-air calls to prayer.   

 — Eleanor Wilner, Chancellor of the Academy of American Poets

 Susan Eisenberg’s razor-sharp, powerful poetry gives voice to the anguish and horror that swirls and metastasizes through this ongoing history: Gaza, Jenin, the Naqba, the countless dead and wounded, the  bulldozed homes, the trees, the children … a “devastation so shocking so fast / I failed to keep up.” Even irony loses its irony as self-serving justifications spill “like cyanide.” This courageous collection of poems has us join her in protest but also in perseverance: Jenin’s watermelon seeds do germinate, she tells us.

 — Linda Dittmar, author of Tracing Homelands: Israel, Palestine, and the Claims of Belonging 

 For years, Susan Eisenberg, an electrician by trade, has written tough-minded poems about the working-class experience. Now, she turns her clear-eyed vision to the dehumanization and devastation of the Palestinian people. Seeing that dehumanization and destruction from a deeply empathetic Jewish perspective, she writes: “How could a God who / commanded, Thou shalt not steal / promise land not His?” Being a poet above all, she finds her metaphor with her hands in soil, planting thirteen watermelon seeds from Jenin on the West Bank. When nothing grows, to her consternation, her friend advises patience: “They are from Jenin. They don’t give up easily.”  And fourteen plants sprout. The parallels with the cultivation of empathy — and poetry — are unmistakable. The collection closes with an Arabic translation of the same poem, proving that Susan Eisenberg still knows the meaning of the word “solidarity,” and can teach us all. 

 — Martín Espada

 About the Author

 Poet, visual artist, and oral historian, Susan Eisenberg is author of the nonfiction NYT Notable Book, We’ll Call You If We Need You: Experiences of Women Working Construction and five previous books of poetry — Stanley’s Girl, Perpetual Care, Blind Spot, Pioneering, and It’s a Good Think I’m Not Macho. Among the first women in the country to become a licensed union construction electrician, she has read her poems at the ILO in Geneva, Switzerland, and the U.S. Department of Labor; her mixed media art installation, On Equal Terms, exhibited at the AFL-CIO. Honors include the Virginia Quarterly Review’s Emily Clark Balch Prize for Poetry, the Joe Hill Award, and the University of Michigan Center for the Education of Women’s Twink Frey Visiting Social Activist fellowship. A Resident Scholar at the Brandeis Women’s Studies Research Center, she is Poetry Editor of Labor: Studies in Working Class History (Duke). Raised in a three-generation household in Cleveland, she lives in Boston. 

Publication Date: July 15, 2026

Paperback, 56 pages 

ISBN: 978-1-966677-49-9

Written by a collective of five female poets, Carnivores & Other Lovers explores poetry written not as an anthology but collectively. Each poem shares elements, thoughts, and language from each of the five poets. This volume melds all voices into one, giving the reader a blend of five psyches into one voice.

Praise for Carnivores & Other Lovers

Enter these pages with delight and dread! For you risk being swallowed whole, chewed up and digested by the creative juices of five brilliantly different spirits, working together. Five poetic artists – or is it artistic poets? –have woven their unique visions and words to create a sixth entity, a verbal quilt made of ideas, hopes, dreams, desires, sorrows, pain and love.  They are joyous as well as thoughtful and provocative.This is a book to keep by your bedside, to wake up to, to sleep with and perhaps to cry over. A book that offers many shades of fragrance."

—Manjula Padmanabhan, author of dystopian novels and plays (The Island of Lost Girls, Harvest) & winner of The Onassis Prize

Carnivores & Other Lovers made me feel full and hungry at the same time. With a distinctly feminine point of view that veers into domineering and nurturing in equal measure, the poets in this collection offer the reader a chance to consume a spectrum of binaries, to imagine a world where everything is the truth, even the ones that oppose each other. The language of these five poets is introduced via the pulse of earthly organisms, a blood that eventually pools into our strongest, most beloved organ by the final page. Rich with rhythm and sensation, Carnivores is a meal both nourishing and empowering.

—Jasika Nicole, queer artist, writer & actor (Fringe, The Good Doctor, Scandal, Punky Brewster)

In Carnivores and Other Lovers, Elizabeth Eve (E.E. King) conducts the poetic voices of Linda D. Addison, Andrea Goyan, Consuelo G. Flores, and Elizabeth Wong into a sonic orchestra of feminine resistance, desire, and consumption with the passion of a ferocious devouring love. The sonic coherence and primordial truth entwined in each of these poems is unrelenting and unforgettably transcendent.

—Jamal Hodge, 2x Bram Stoker Award & Nebula Award Nominee, Everything Endless, The Dark Between The Twilight 

The lawyers for the criminally poetic have been at it again. And what a carnivorously delectable feast they have created. As before, King provides the prompt, and the ensemble of talent does what they do best. Enhance… With this group of writers and their magnitude of sheer talent, there’s no mystery to me how their combined thoughts result in such a profound connection.

—Cindy O’Quinn, Bram Stoker Award® winning author

This collection of five poets, who may not have started out as poets, proves that poetry is in everyone and should be extracted like gold from our depths. A prompt, a story, a feeling... all this can produce such gems as what’s on these pages. I’m for poetry no matter how it happens. If anything, we need poetry more than ever.  Politics, belief systems, the mass media – they’ve all failed us. But poetry stays true. I love these voices. Keep speaking out in the real “tongues” of spirit. Silence today is criminal.

—Luis J. Rodriguez, author of Borrowed Bones & My Nature is Hunger, former Poet Laureate of Los Angeles

About the Authors

Linda D. Addison, the author of six Bram Stoker Award-winning collections, including Everything Endless, written with Jamal Hodge, and How To Recognize A Demon Has Become Your Friend, recipient of the HWA Lifetime Achievement Award and SFPA Grand Master of Fantastic Poetry. Her site: www.LindaAddisonWriter.com

Consuelo G. Flores is multidisciplinary artist, playwright and Culture Bearer who’s known for her altars during the Days of the Dead season. She’s curated exhibitions and produced educational programming in the cultural, literary, media, and visual arts sectors and is thrilled to be a magpie with this talented group of women. www.instagram.com/consuelog.flores/46

Andrea Goyan is an award-winning author. She is a grateful bird among the flock of Magpie Poets behind this collection of poems. Her debut novel The Catalyst is available where books are sold. You can find many of her stories for free on her website Andrea Goyan. Follow Andrea on Bluesky or at Mutations & Manuscripts| Substack.

E.E. King is an award-winning painter, performer, writer, and naturalist - she’ll do anything that won’t pay the bills, especially if it involves animals. Ray Bradbury called her stories, “marvelously inventive, wildly funny and deeply thought-provoking.” Her art has been collected internationally. Her novels include Dirk Quiby's Guide to the Afterlife and Gods and Monsters, recommended for Nebula2026 reading. Check out paintings, writing, musings, and books at: www.elizabetheveking.com and read newstories and see new paintings Daily @elizabetheveking.substack.com

Elizabeth Wong is a Los Angeles-based playwright known for melding comedy and social issues. Her plays include Kimchee & Chitlins, Letters to a Student Revolutionary, and Tam Tran Goes To Washington . She’s also a theatre director, tv sitcom writer, multi-media artist, essayist and professor at Boston Conservatory@Berklee. She’s found in Wikipedia and at www.elizabethwong.net. She’s a proud member of the Dramatist Guild and Writers Guild of America. Follow Elizabeth at @elizabethwong648 or @elizabeth.wong8

Publication Date: August 15, 2026

Paperback, 72 pages 

ISBN: 978-1-966677-52-9

Praise for David Ebenbach & The AI Suspects It Might Be a Hungry Ghost

 David Ebenbach’s latest collection, The AI Suspects It Might Be a Hungry Ghost, is a clever exploration of the larger human forces behind AI. Like the “hungry ghost” which can never be satisfied, “… AI is the culmination/of the human project.” In that way, the poems are less about technology and more a self-reflective commentary on the human condition. That intention is made apparent by the titles of the poems, which give AI impossible attributes, but that’s the point of these brilliant poems. Occasional short nature poems are dispersed throughout the manuscript, reminding us of AI’s limitations and the ways in which wonder is something only we can experience. This book is amazing.

 —Marjory Wentworth, former poet laureate of South Carolina

 David Ebenbach’s new book brilliantly explores artificial intelligence, probing the technology with a humanist's keen eye. Each poem cuts through hype and buzz with humor, sympathy, and imagination. Ebenbach’s phrases turn in surprise, outrage, and discovery, drunk with language, taking the reader on a wild tour of the emerging technology. Lines will make you laugh or shudder with dread and recognition.

 —Bryan Alexander, author of Universities on Fire

 Brain as “Sponge the weight of God,” in Ebenbach’s “The AI Feels Apogee” now my brain taking the gentle hooks offered, poem by poem, in a cadence calling rhythms that know the body. Ebenbach as the drummer setting hook after welcome hook into origami cortex. 4/4 7/4 5/8 more. In his tempo, his hands molt our hands as hook and hook with lines become vectors in starless space hyperdimensional where semantic search is Braille on lips and everything the shape of questions I need. Thank you for The AI Suspects It Might Be a Hungry Ghost.

 —Dawan Stanford, Design Thinking 101 Podcast, President of Fluid Hive 

About the Author

David Ebenbach writes. He’s been writing ever since he was a kid, when he kept his whole family awake by banging away on an enormous manual typewriter, and he’s never wanted to stop.  The author of books of fiction, poetry, and non-fiction, his work has picked up awards along the way, including the Drue Heinz Literature Prize, the Juniper Prize, the Patricia Bibby Award, and more. Born and raised in the great city of Philadelphia, these days David does most of his writing in Washington, DC, where he lives with his family— because he uses a laptop now, he doesn’t keep them awake with his typing—and where he works at Georgetown University, promoting inclusive, student-centered teaching at the Center for New Designs in Learning and Scholarship, and teaching creative writing and literature at the Center for Jewish Civilization and creativity through the Master’s in Learning, Design, and Technology Program. 

Note that David’s last name is pronounced EE-ben-bock. (It kind of rhymes with the delicious Korean dish called bibimbap.)

Publication Date: July 15, 2026

Paperback, 84 pages 

ISBN: 978-1-966677-50-5

The poetry of Jan Minich in The Color of a Cougar takes us from Ohio (“the change of a season, /  autumn in Ohio I haven’t seen / in twenty years, I had forgotten / how fragrant the trees are”) to the Utah canyonlands (“In here Sweetie and I are alone. / A jay is calling from the junipers /  and the chipmunks / have been teasing her all evening”). These poems show us the loneliness, yet satisfaction, of solitude as an antidote for grief: “but I have these mountains, / this solitude that never waivers / and comforts me on cold nights.” That a life well lived may, in the end, be lived alone, and that self-reliance, especially in grief, can save the human spirit.

 Praise for Jan Minich & Color of a Cougar

Steeped in time and experience, Minich writes poems enjambed by image, emotion, history, and conversation. Poems that wend their way through forests and furniture, coves and canyons, baited hooks and black gloves, birds and berries and murderers. Poems with the soft approach of padded feet, the brutal grip of claw and teeth. The poem “Youth, with its hopeful / hopeless conundrum of survival in a time of climate change, / joy filtering into the sandy soil.” The light and sensuality and complexity of “Hanging Gardens.” The chilling historical violence of the Bloody Benders. The dark and troubling nature of human nature in “Ruins,” “Prey,” and “Recess.” Minich channels the characters in this collection of poems to hit a nerve, to staunch complacency. To tell the story of a time in human history when poetry is the only way to tell it.

 —Star Coulbrooke, Inaugural Poet Laureate of Logan, Utah, author of Both Sides from the Middle

Jan Minich plays the long game in his new poetry collection Color of a Cougar. It’s an exemplar of patience and persistence, each poem—even the short ones—going beyond memory or anecdote to find endurance in form. His voice, often elegiac and projecting a vision of our hardscrabble moral predicament, is nonetheless unfailingly affirming. In Minich’s restorative vision, the natural world and the human community, the living and the dead, find solace and survival in the confirmation of the spirit. In “Fortune Teller,” the poet imagines the undertow, “taking me out then pulling me back / to be renewed in the breakers / in the moonlight still farther out,” reminding us that devotion to craft makes the poem, and diligence of prosody is the stuff that makes it eternal.

—Richard Hedderman, author of Still Life with Workboot.

The poems in Jan Minich’s Color of a Cougar live in liminal spaces, and their speakers and personae are at home in the dark, as in “Poland, Ohio”: “After the sun sets and the light / is gone, we feel our way / along the fallen tree / to the other side”. Fittingly, it is a book of memory, both personal and mythic, and of hauntings; the poems meditate on the impermanence of human presence in the world. There are places, it tells us, “Where it’s possible to remain / only if one takes an oath of silence / to the stillness waiting there.” This beautiful collection serves as a reminder and a guide, to the remaining, the oath, and the stillness. 

—Lisa Bickmore, Utah Poet Laureate

About the Author

Jan Minich grew up near fields, ponds, and lakes in Ohio. He has an MFA from the University of Iowa, and a PhD in American Literature and Poetry Writing from the University of Utah. He taught literature at College of Eastern Utah/Utah State University for many years and directed their Wilderness Studies Program. Always drawn to water and the outdoors, Jan summers in Bayfield, Wisconsin, where he cruises Lake Superior in a small boat, and in winter, hikes Utah’s canyons. He lives in Wellington, Utah, with his wife poet Nancy Takacs and their two dogs.

Publication Date: July 15, 2026

Paperback, 40 pages 

ISBN: 978-1-966677-53-6

Plumb Lines, the new poetry chapbook by Edison Jennings, takes a hard look at the hard life of small-town Appalachia. These poems move between the demise of a derelict church (“As for the church, no one had attended service there in over sixty years so no one was sure what genus of church it was...”),  and the hopefulness of the local Head Start (“Meanwhile the children sleep, still beautiful...”).  This poetry, sad yet beautiful, opens our eyes to small town tragedies both personal and communal. Jennings captures life in his world, and makes it our own.

Praise for Edison Jennings & Plumb Lines

 Edison Jennings’s chapbook, Plumb Lines, is a tapestry of pain and violence, of loss and memory. The writing is direct and fierce, refusing to avoid disturbing truths. The poet’s gift of language is strong, the voice, certain, definitive – placing the reader inside shifting locations: from a wolf’s cave to burned-out church to Head Start classroom to “snow-baffled streams” – revealing the depth of Jennings’s craft, showcasing his mastery of narrative and lyrical forms. There’s an exploration of what remains after loss, after the violence, which is a marvelous but tragic thread working through the poems. Plumb Lines is a powerful work grounded in the grit and ache of life that readers will carry with them – “in a secret pocket…in the false heel of a shoe, or sewn beneath the skin” – long after the book is finished.

—Sam Rasnake, author of Fallen Leaves and A Thread to Follow

The poems in Plumb Lines by Edison Jennings are both mythic and conversational, balancing experience of the sacred and the grounded. They emanate from a meticulous attention to form and especially diction, every word in place, his voice speaking to you as if directly, head cocked or eyebrows raised. Storytelling comes with twists of humor, irony, and pathos to render images indelible—from ashes buried in a maple to a frail man in bed, from children poised between the safety of Head Start and what the world offers outside the sanctuary, to wolves killed by Daniel Boone and crew. And more.

—Felicia Mitchell, author of Trail Magic

Edison Jennings’ finely crafted, insightful new book, Plumb Lines, explores the meaning of “America, that most shocking poem,” from “Napa Valley manse to West Virginia meth lab,” finding cruelty and tragedy but also hope. The title is from the Bible’s Book of Amos, where God puts down a plumb line to show that justice will not be compromised. From the story of how Daniel Boone and his companions killed a wolf and then “cleaned their beautiful rifles,” to the story of a racist murder that stays hidden until “a missing child revealed the township’s dull bucolic a deceit,” these stories are unforgettable, complex and wise, and leave us readers seeing our world—and our country—in a fresh light, sometimes disturbing but always cleaving to the plumb line of justice.

—Robert Thomas, author of Sonnets with Two Torches and One Cliff

At the bottom of a plumb line is a weight, the bob, that enacts or makes visible the perpendicular, the straight-up-and-down. It is a simple tool that enables a skilled craftsperson to make a structure that might enclose or shelter or preserve almost anything.  Edison Jennings is such a craftsperson. When you enter his poems, you see he knows what he’s doing; you understand you are in the presence of a poet acutely aware of the burden of being alive. From inside the sadness that is life, his art erects a shelter, which helps make it possible to go on.

—Robert Wrigley, author of The True Account of Myself as a Bird

About the Author

Edison Jennings lives Southern Appalachia. His poetry collection, Intentional Fallacies, is available at Broadstone Books and elsewhere.

Publication Date: June 15, 2026

Paperback, 80 pages

ISBN: 978-1-966677-48-2

Robert Schultz’s poems speak of love lifelong (“There comes a final parting, our time run out / In this lovely world where time presses”) and eternal (“We’ve taken a photograph of the birth of stars / before Earth.”) In Fear of Heaven he questions how long is eternity? “Eternity is not a long time, / but is time’s opposite-flash / that violates the speed of light.” Time is both daily and cosmic, an unfathomable void but also our most precious gift. “Every morning now when I step / out into the green world, it is as if / my last day, not because it is likely / to be, but because it is one day / certain.” Fear of heaven is the fear all share of losing our earthly paradise.

Praise for Robert Schultz & Fear of Heaven

In Fear of Heaven, Robert Schultz takes his readers into the big themes with a lightness of touch. Schultz’s subjects are found in the near and dear, as well as in the far and nearly unfathomable— in family, a long marriage, and his own garden’s wisdom, as well as in the James Webb telescope’s piercing visions. In this book there are potent nods to nature, and life’s inescapable ephemerality emerges in luminous moments in poems such as “Dusting” and “Winter Smoke.” Though evocative of biblical concepts and language, Schultz’s voice is humanistic when in a haiku he declares, “I pass quickly now / into words, like this white rose / imperishable.” To take the poet at his own words on words, in the included essay, the purpose of poetry is “to carry us out of ourselves and into another’s world.” We meet each other everywhere in this poet’s tender, elegiac voice.

—Cathryn Hankla, author of Return to a Certain Region of Consciousness: New & Selected Poems

These poems balance continuing jolts of mortality with visions of the timeless. Fear of Heaven incorporates touches of humor and subtle irony in songs of wonder, in a range of forms: sonnet, couplets, haiku, rhymed and unrhymed lyrics. Schultz conveys with vivid alertness the mysteries of the cosmos and the mysteries of dailiness, connected by a thread of autobiography. The concluding essay on the “primordial” in poetry probes deep into our awe of the gift of language, memory, witness, and bonds of human love.

—Robert Morgan, author of To Honor the Imagined Whole

About the Author

Robert Schultz is the author of nine books in three genres, including a novel, The Madhouse Nudes, and a work of nonfiction, We Were Pirates: a Torpedoman’s Pacific War. He has taught at Cornell University, The University of Virginia, Luther College, and as the John P. Fishwick Professor of Literature at Roanoke College.

Publication Date: August 15, 2026

Paperback, 118 pages 

ISBN: 978-1-966677-44-4

Bent Cedar Mountain takes us deep into the Appalachians (“They drove past the gas station /  ...for five more miles of gravel / up Bent Cedar Mountain, / flanked thick with mountain laurel.”) and deeper into the lives of Grace and Nohl (“his wife held the boy’s body / close, held him for too many / minutes – until the silence in the room felt like something that would fill their lungs.”)  A novel in verse, this work by Julie Hensley traces the sad, poignant, and often violent lives of its protagonists, “craving the weight of her hips, the scent of her unwashed hair, some sign / she is still real and alive, still his wife.”  Caught between tradition and progress, their marriage unfurls like a fiddlehead fern in the mountain spring.

Praise for Julie Hensley & Bent Cedar Mountain

Julie Hensley’s Bent Cedar Mountain is a brilliant and beguiling poetic enacting novel-in-verse. This one is a fiery and fluid winner, a fascinating narrative lyric recalling iconic American works like The Blainville Testament by the great poet/novelist Sydney Lea. Incredibly, Bent Cedar Mountain delivers a plot-driven poetic in scintillating passages, vignettes demanding our engagement in rendering the lives impressing one another in the land rich with life and loss, a “boy // was born without breath // shadows ringing eyes // tight as fists, lips bruised-violet // and cavernous as the mouth of a fish…” Hensley carries us through the era with precise fascinations, “First the ocean rush // of the fetal heartbeat,// then rising suddenly from the gray // continents hovering //on the screen, her baby, // floating in the current // of her resolve // measuring…” Brings us to be intimate with “bark husked by the frantic // scratch of the dog's claws…against the dusky curtain of the injured // autumn sky…Whereas men's voices are jubilant // as they confer around a large paper- // covered table, wielding sharpened knives // and their own body weight to separate // the pig's skin and pull it toward the spine. // With their goggles and rubber gloves, // they have the look of mad scientists…” And she delights us in exceptional craft and deft wielding of content and subject through an intense poetic, steeped in a ragged and velveted home place. This book is at once delightful and a great escape. A must read, share, and return to read again. What a feat!

­—Alison Hedge Coke, author of Look At This Blue

A marriage is a lot like a farm. It can be a place of tenderness—or it can be a place of cruelty. Reader, in your hands is a parable about how that choice sometimes gets taken from us, a careful tale that shows abuse takes hold quietly, through small, hidden brutalities that accumulate until you wake up one day so afraid there’s nothing left to find but courage. Writing with lush detail and exacting empathy, Julie Hensley proves with this collection that she is one of Appalachia’s premiere storytellers. Bent Cedar Mountain will break your heart.

 —Rebecca Gayle Howell, author of Erase Genesis

 About the Author

Julie Hensley is the author of three previous books, Five Oaks (Lake Union Publishing), Landfall: A Ring of Stories (Ohio State University Press), and Viable (Five Oaks Press). She is also the author of two chapbooks, Real World (Artists Thrive) and The Language of Horses (Finishing Line Press). A Professor at Eastern Kentucky University and core faculty member in the Bluegrass Writers Studio Low-Res MFA Program, she lives in Richmond with her husband, the writer R Dean Johnson, and their two children.

Publication Date: June 15, 2026

Paperback, 84 pages 

ISBN: 978-1-966677-43-7

 In One Hundred Texts to the Mother of Beauty, Gerald Wagoner writes of love, both physical and spiritual, framed by special intimate environs. “Every kiss a taste of spring water, so cold your eye teeth ache.” Wagoner’s poems are crafted as messages to his muse, the Mother of Beauty, addressed by many names, among them Klio for order and Urania for the cosmos, each inspired by a unique voice. “Heavenly Urainia, by whose grace go I. Sing the quickening of quarks: the weak force, the strong force, the gravity of it all that gathers us together.”

Praise for Gerald Wagoner & One Hundred Texts to the Mother of Beauty

In a hundred invocations, entreaties, connections, contentions, and yearnings, Gerald Wagoner writes of encounters with the elusive and enlivening other—manifesting as muse, engenderer, and persistently possible paramour ever-altering in her proximity, These lithe, imagistic missives conjure both common life and abiding myth, with settings from the Gowanus Canal to waking dreamscapes of desire. One Hundred Texts to the Mother of Beauty gives us lyrics that at once classical and romantic—paeans to the desired inspirer, enthrallments to the passions of poetry.

—David Groff, author of Live in Suspense

Gerald Wagoner’s One Hundred Texts to the Mother of Beauty is both ecstatic and expansive, a dreamscape that touches on every myth I can think of that binds the creative powers of human effort to the divinely inspired eroticism of supernatural beings and their love. I loved getting lost in these tiny missives of desire, creation, devotion, and supplication. Wagoner’s touch is feather light, though his voice carries the weight of his art’s urgency.

—Jason Schneiderman, author of Self Portrait of Icarus as a Country on Fire 

One Hundred Texts is a modern-day scroll depicting the many layers of love we only secretly acknowledge.

—Kristine Esser Slentz, author of Face to Faces

Sometimes in this book, there’s an almost-babble, like that of the lovelorn, a descent and ascent into the vortex of language attempting to say what love is and where it goes and lives and takes us prisoner. But this poet’s experience as a sculptor, his awareness of this Earth upon which we build and create keeps us just this side of beauty, with enough patience to detect “a faint whiff of the whispering night.” Sometimes he turns snitch, involves us all in the brazen effort to find the love he’s after—“the city was there, a commotion of wanting.” And we find we can’t deny, not a word of it.

—Mervyn Taylor, author of Unpainted Houses.

About the Author

Gerald Wagoner is the author of When Nothing Wild Remains (Broadstone Books, September 2023) and A Month of Someday, (Indolent Books, March 2023). Hischildhood was divided between Eastern Oregon and Montana where he was raised under the doctrine of benign neglect.  He has a BA in Creative Writing from the University of Montana and an MFA in sculpture from SUNY Albany. Wagoner exhibited regularly, and has taught Art and English for the NYC Department of Education. He currently lives in Brooklyn.