INSIDEA Note from Carey 1

New Books 2

Author Interview 4Reginald Dwayne Betts

News and Events 7

AJB Donors 9

From the Cooperative Board 10Ellen Doré Watson

Our Interns 12

A Journey in Photographs 13Brian Turner Abroad

Alice Asks 14Daniel Johnson

ALICE JAMES BOOKSSPRING 2010

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Alice James Bookspoetry since 1973

AJB STAFF

Carey Salerno Executive Director

Julia BouwsmaManaging EditorDeanna Kaiser

Editorial Assistant

COOPERATIVE BOARD MEMBERS

Peter Waldor, PresidentJoanna Fuhrman, Vice PresidentMihaela Moscaliuc, Treasurer

Daniel Johnson, SecretaryCatherine Barnett

Nicole CooleyAnn Killough

Anne Marie MacariLaura McCullough

Idra NoveyBill Rasmovicz

Ellen Doré Watson

INTERNS

Kate ChianeseElizabeth Kelley

Emily Palmer

Volume 15, Number 1

Front Cover: from Shahid Reads His Own Palm(May 2010), Labyrinths of a Palm

Reader’s Dream,Victor Ehikhamenor

Dear Friends:

I write to you in the midst of our fi rst, gorgeous spring weather, the sun beating through my window and light fl ooding my offi ce; it lasts now into the early evening and wakes us in the morning, seemingly more earnest. And now, there exists a sense of what is more natural, affable, survivable.

I thought to begin this note by giving my sincerest thanks to you, our dear and generous friends and readers. This year has been a fi nancial struggle for all of us, a time of uncertainty, doubt and hardship, but you came together to help AJB overcome. We fell short of our fundraising goal of $25,000 this year, but did pull together to raise $19,000 for the press. I continue to be humbled by your support and readership―thank you. I also look forward to our success in the next appeal year.

With this in mind, I want to share some more delightful news, which is that the press had a record year in book sales. I’m so pleased to announce that, with this added and unanticipated income, we’ve clearly leapt into the black! Now the board will be able to accomplish a long-awaited fi nancial goal: to contribute a portion of this revenue to The Alice Fund. Doing so puts the Fund over the $100,000 mark, which is truly a milestone for the press, a fulfi lling symbol of our growth and vitality as an organization.

Inside this newsletter, you’ll fi nd us up to our old tricks. We have an amazing interview with Ellen Doré Watson, our fi ery, longest-standing editorial board member. Ellen has accomplished much in both her poetry career and through her board membership; she truly is one-of-a-kind. I hope you enjoy her thoughts on board membership, the state of the press, and her current work in poetry, among other things. I am so proud and grateful for her dedication to Alice James. She is a poet, a translator, a pistol, a friend, and AJB thanks her deeply for her years of dedication and service.

Also within these pages, you’ll fi nd exclusive photos shared by Brian Turner as he travels the globe on his Amy Lowell Poetry Travelling Scholarship. His new book, Phantom Noise, kicks off our stellar spring 2010 season with its commanding 7x9 trim, bold presence, and fi erce poetry.

Then, two more fantastic spring authors: our debut poets Daniel Johnson and Reginald Dwayne Betts. You’ll fi nd them present in these pages too. Daniel gives up his undying wit on the back page, laying out his quirk, while Dwayne kills us with a thought-provoking and inspiring Q&A.

I urge you to add these spring books to your bookshelves; they are true stunners inside and out. These AJB poets are strong with forceful styles and voices that sing right into our hearts. I trust you’ll keep them with you, as I have, celebrating each poet as an impactful artist and friend.

Enjoy the pages within, seeking inspiration in the light of this spring we share.

In poetry,Image of Alice JamesMS Am 1094

By permission of the Houghton Library, Harvard University

Brian Turner earned an MFA from the University of Oregon before serving for seven years in the U.S. Army. He was an infantry team leader for a year in Iraq with the 3rd Stryker Brigade Combat Team, 2nd Infantry Division. Prior to that, he was deployed to Bosnia-Herzegovina in 1999-2000 with the 10th Mountain Division. His poetry has been published in Poetry Daily, The Georgia Review, and other journals. He received a USA Hillcrest Fellowship in Literature, an NEA Literature Fellowship in Poetry, the Amy Lowell Poetry Travelling Scholarship, the Poets’ Prize, and a Fellowship from the Lannan Foundation. His work has appeared on National Public Radio, the BBC, Newshour with Jim Lehrer, and Weekend America, among others. He teaches at Sierra Nevada College.

Praise for Phantom Noise

“Staring hard through a calibrated sight, this former infantry team leader… reveals the particular music of death and violence and military service, and these poems unfold with his eff ort to fi nd meaning, to be decent, and to be alert to the suff ering all around.”

―ForeWord Reviews

“Turner’s debut, Here, Bullet (2005), was likely the most discussed debut of the decade… It’s a hard act to follow, but Turner manages well…”

―Publishers Weekly

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� ere is this ringing hum thisbullet-borne language ringingshell-fall and static this late-nightringing of threadwork and carpet ringinghiss and steam this wingbeatof rotors and tanks these brokenbodies ringing in steel humming thesevoices of dust these years ringing rifl es in Babylon rifl es in Sumerringing these children their gravestonesand candy their limbs gone missing theirstatic-borne television their ringingthis eardrum this rifl ed symphonic thisringing of midnight in oil and gunpowder thisbrake-pad gone useless this muzzle-fl ash singing thisthreading of bullets in muscle and bone this ringinghum this ringing hum this ringing

pHANTOM nOISE

new books 2

April 2010 Brian Turner

Phantom Noise

Daniel Johnson

Daniel Johnson was born in Salem, Ohio. His poetry has appeared in a variety of journals and anthologies including Best American Poetry 2007, The Iowa Review, and I Have My Own Song for It: Modern Poems of Ohio. Johnson is founding executive director of the youth writing center 826 Boston and, for over a decade, has taught writing in public schools, hospitals, and prisons. He lives with his wife, Ebele, in Boston. To experience more of his work, visit www.danielbjohnson.com.

Praise for How to Catch a Falling Knife

“Fans of poets as disparate as Troy Jollimore, Dean Young and Billy Collins will love Johnson’s How to Catch a Falling Knife—a mournful but wry homage to a childhood in the Rust Belt, to the subtle dangers of family, to overpowering love, to so many things. Johnson’s voice is clear, distinct, and he creates an indelible world that could not have existed without his verse.”

—Dave Eggers

“Daniel Johnson’s debut book has an inventive exuberance of imagery that is startling and ominous. He gives us a beautifully unpredictable account of the everyday dangers among which body and spirit must move. And he celebrates the everyday, too, with great generosity of spirit and an energetic love of our baffl ing, irrepressible, unbearable lives.”

—Reginald Gibbons

Poured into the drain, the dregs of wine.Wiped down, the mini blinds and toilet seat.

Boxed up, our shoes and taxes, my insect collection, your wedding dress;

our paperclips, records, and aspirin bottles, knives, salt, plates, books,

and dark room. � is place, another, is almost gone.

But it’s not the treelined street I’ll miss— it’s the bedroom light switch

and the fi lthy nimbus ringing it.

So let the supers paint our bedroom walla sea of pale rose. I refuse.

HOW TO CATCH A FALLING KNIFEApril 2010

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Shahid Reads His Own Palm

Reginald Dwayne Betts is a husband, the father of a young son and a poet. Betts won a 2010 NAACP Image Award. He has been awarded the Holden Fellowship from the Warren Wilson MFA Program for Writers, the Soros Justice Fellowship from the Open Society Institute, a Cave Canem Fellowship and a scholarship to the Bread Loaf Writers’ Conference. His poetry has appeared in such journals as Ploughshares, Crab Orchard Review and Poet Lore. Betts graduated from Prince George’s Community College in Largo, Maryland and the University of Maryland in College Park. His memoir, A Question of Freedom, was published by Avery/Penguin in 2009.

an interview with Reginald Dwayne BettsReginald Dwayne Betts

� ere is a drowned man who will tell everything, his headburied in a sentence, his head fullof feathers and nothing, of fl owers and fi sts, the broken backs men hide with bed covers, the lies wrapped in dust balls, and what happens when no one is looking in the middle of the silence, beforehe speaks, is your chance. Walk away.� ere is nothing good in his words:only stories of what happenswhen men have power in the dark.

Alice James Books: Did your interest in poetry begin before or during prison? How has your relationship to poetry changed over time?

REGINALD DWAYNE BETTS: I came to poetry while in prison, but saying that misses part of the point—the truth is, I came to poetry at a time when the sense in my world was failing. I was a kid, sixteen years old, in a place ruled and ruined by violence. Poetry, for me, brought light into that world and gave me a medium from which to try to understand this. Understand, I’m coming into manhood in a place that destroys men, and so, I’ve always felt like the poem, and all it does, helped me make sense of insanity.

AJB: What compelled you to choose poetry as opposed to any other medium?

BETTS: I’m not sure I chose poetry over any other medium. I write essays, I wrote a memoir, I’ve dabbled in fi ction. And still, I am a poet, and I think that identity marker means more to me than saying I’m a novelist, or an essayist—it has something to do with a precision with words and a stance towards the community that doesn’t exist in exactly the same way for people working in longer forms. � e poet (my idea of the poet) demands an audience, a space to have their words in the air. I once heard Etheridge Knight say that he’d rather read his poems aloud than publish books, if he had to choose, and if I had to choose, I’d like to think I’d say the same thing. (� ough I’m not always sure.)

May 2010

new books 4

A Head Full of Feathers

continued on page 5

Our AJB interns recently sat down to ask Reginald Dwayne Betts some questions about his poetry and he gave us an insight into his writing, life, and views on social activism.

AJB: You describe the important technical elementsof your poetry as “repetition and sound: because the poem is song, and dance.” � is invokes a celebratory feeling, an interesting juxtaposition with the subject of prison. Does this speak to your philosophy on life, or was it a way to cope with the experiences you had in prison?

BETTS: Well, I think that repetition and

sound, the play upon the two, can also convey a sense of anger. It all depends on how those things function with the other elements of the poem. I think about the vocabulary of these poems. � ere is a certain harshness in it, and that harshness creates the juxtaposition you speak of—a juxtaposition that has been a tradition in black music and literature for some time. � e skill is in knowing that more than one note exists and playing more than one note at a time.

AJB: We noticed that much of your poetry deals with language in a positive light, as though the speaker were using language as the tool to overcome an obstacle. However, the poem, “A Head Full of Feathers,” deals with language and how it can do harm. How do you view these dualities within your poetry?

BETTS: It’s hard for me to answer that question. I tend to ap-proach each poem as an individual piece, and so even though the language is often recurring, it’s always with an attempt to funnel that language into a piece that works alone and in concert with the poems around it. Usually, the speaker’s intent is to speak, but what’s under that are the ways in which I (the poet) want to manipulate the language in a way that works on a more subcon-scious level. � e positivity you speak of comes from that, and I’d have to say the lack of positivity comes from that as well. But sometimes, the language is just brutal and sometimes it’s not.

AJB: Who is the “drowned man” in “A Head Full of Feathers?” What is the signifi cance of this character?

BETTS: In this book, I wanted image to do a lot of work. � e “drowned man” really is one of those images. � e atmosphere of the entire manuscript is prison, and the reality is that everything gets drowned in prison. So the adjective is looking to capture the essence, or some of the essence, of what prison means.

AJB: You seem very passionate about youth empowerment and social justice work: what connections do you draw between poetry and social activism?

BETTS: None, or multiple. On one hand, poetry in America, as it manifests itself in the public lives of people, in the ways in which it has something to say about paying rent, or going or not going to the war, is not a factor in the lives of people I know. Nathaniel Mackey talks about poetry and politics being separate, in the sense that a poem will not get a vote passed, will not get the health care bill passed. I tend to agree with that and tend to think that my social activism is really a diff erent beast than my poetry. My problem, issue, is that I believe poetry can exist in the world of social activ-ism, in the world of politics. I think that it can be more infused in the ways folks live their lives. I infuse poetry in what I do—but I recognize that its infl uence is less about a product that the poem will account for, and more about the poem leading to this artistic, cultural awareness—to this sense of life being more nuanced than politics alone. Poetry makes me aware of that, and as I am aware of that, I am able to be more fully engaged as an activist.

AJB: What is the diff erence for you between writing a poem as you’re experiencing prison and writing it in retrospect?

BETTS: Not sure if there is one. I guess in prison I was less aware of the larger public audience. I was out to write something that would speak to my folks in the cells around me. And even if I didn’t read the poem to them they were still my audience. Now, maybe, I feel more like folks I know are my audience, because it’s more likely that someone will read something I write and take it as a way to misrepresent some idea, thought, feeling, sense of what prison is. Ultimately though, I’m after the truth—however it looks, and that hasn’t changed.

author interview (continued)5M

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came to poetry while in prison, but saying that misses part of the point—the truth is I came to poetry at a time when the sense in my world was failing.I“ ”

AJB: Is your time in prison a subject that you will continue writing about? How intrinsically connected is your poetry to your biography?

BETTS: No more than someone writing about the world. Prison in my poetry functions in a number of ways—clearly it’s place, but I also like to think it operates as character, as psychological space. It operates as a kind of jackleg muse. Not always biography though—the songs I sing are rarely, if ever, drawn completely from my life—in fact, I’d say they are never only my life. I’m like Whitman, I contain multitudes, and the poetry refl ects that. (� ough that refl ection is often masked by the recurrence of the “I.”)

AJB: You have fi ve poems in your book titled “Ghazal.” What is it about this form to which you connect? How does it pertain to some of the themes in your poems?

BETTS: � e ghazal is also about lineage. I began reading the ghazal with the work of Agha Shahid Ali and really found myself hooked long before I tried to write one. � ere is a recognizable subtleness to the form. A recognizable complexity. When you write one well, it calls attention to itself without having the poem be the poet. I like that, the anonymity its disjunctiveness lends. But it’s also about getting away from the narrative and getting into something else, something purposefully disjunctive and yet communal. � en there is a play to the form, there is an acknowledging that sometimes rules, strictures, serve us well.

AJB: Did your experience cause you to completely lose faith in the justice system, or do you still have hope?

I have faith and hope in people. � e justice system is a failure waiting to be corrected—we’ll see if we fi x it. � en too, there are many many crimes that have to stop happening. It’s complicated.

AJB: Are there certain things from your experience in prison that you just could not bring yourself to articulate? At what point is language elusive?

BETTS: Not sure if language is ever elusive. � e fun part of poetry is the chase to articulate. � e hard part is knowing that the things you can’t articulate in poetry are often the same things you can’t articulate in prose.

AJB: What advice would you give to young writers who may have gone through similar experiences as you?

BETTS: Read. Same as if they weren’t in prison. Read ten times as much as you write.

author interview (continued) 6

The Kinereth Gensler Awards

Open to poets living in New England, New York, or New Jerseyfor an unpublished manuscript of poems.

For guidelines visit our websitewww.alicejamesbooks.org

Winners become editorial board members, recieve $2000, publication,

and distribution through Consortium.

Congratulations to our

2010 Beatrice Hawley Award Winner

Lesle Lewisalso chosen for publication:

Stacy Gnall&

Shara McCallum

look for their books in Spring 2011

news and eventsKazim Ali’s

poems will appear in Colorado Review, Barrow Street, � e American Po-etry Review, Hayden’s Ferry Review. Orange Alert: Essays on Poetry, Art, and the Architecture of Silence is forthcoming from the University of Michigan Press Poets on Poetry Series this fall. He has recently attended readings at NYU, New School University, University of Albany, Nassau Community College, and the University of Michigan, and this summer he will teach at the Squaw Valley Community of Writers Poetry Workshop.

Robin Beckerhad nine poems appearing in � e American Poetry Review in the 2009 November-December issue, two poems in the 2009 Baby Boomer Issue of Prairie Schooner, and will also have nine poems in the Summer 2009 issue of Prairie Schooner. She participated in the Association of Writers and Writing Programs Annual Conference in Denver in April, a reading for Prairie Schooner’s Baby Boomer issue, and a reading for Sisters: An Anthology from Paris Press. Robin Becker will be teaching a poetry and prosody workshop at the Fine Arts Work Center in Provincetown in June, 2010.

Reginald Dwayne Betts’sforthcoming memoir, A Question of Freedom, will be released in paper-back in May. He participated in the African American Read-In at Jeff erson Middle School, the Los Angeles Image Awards, the National Association of Colleges in Florida, the Patrick Hayes series at the College of William & Mary, readings at the University of South Carolina, New York University and Historical Society of Washington, visited the Montgomery Jail with Ethelbert Miller, and attended the AWP conference.

Ted Deppe’sfourth poetry collection, Orpheus on the Red Line, was published by Tupelo Press and was launched at the Galway City Museum, along with Annie Deppe’s second book, Wren Cantata, published by Summer Palace Press. Ted and Annie Deppe will host a writing conference as part of their Curlew Writing Conferences in Howth, Ireland on May 15-22. Ted Deppe directs the Stonecoast in Ireland program, in correlation with the Stonecoast MFA program in Maine.

B.H. Fairchild’srecent book, Usher, contains the poems, “Frieda Pushnik”, which won inclusion in the Pushcart Prize 2010 anthology, and “On the Waterfront,” which will be included in � e Best American Poetry 2010. He participated in the Williams Carlos Williams Award readings and the IMAGE Journal panel at the AWP conference.

Joanna Fuhrmanparticipated in the AWP conference in Denver, the Polestar Reading with Michael Leong and Adam Gallari at Cakeshop in New York City, the EOAGH Reading Series, and will be at the In Your Ear Reading with Karen Weiser & Wade Fletcher on May 16. Joanna Fuhrman will be coordinating the Wednesday night readings at the Poetry Project at Saint Mark’s Church this fall.

Allison Funk’sbook, � e Tumbling Box, was published by C&R Press and is available through Amazon and Small Press Distribution. Allison Funk had a residency at the Dora Maar House in Menerbes, France, in Fall 2009. Her website is allisonfunk.com.

Dobby Gibson’sbook, Skirmish, is a fi nalist for the 2010 Minnesota Book Award.

Celia Gilbertread on April 17th preceding the opening of her show “Scraps of Time” at the Shomburg Gallery in Santa Monica, CA.

Henrietta Goodman’spoem, “Two on the Ground,” was included in the Spring 2010 issue of Cutthroat: A Journal of the Arts, after receiving an Honorable Men-tion from Cutthroat’s 2009 Joy Harjo Poetry Award. Her poem, “Canada,” which appeared in Guernica in Spring 2009, was nominated for a Pushcart Prize. Her poem, “Navigation,” will appear in Valparaiso Poetry Review this spring, and other forthcoming poems can be found in Carolina Quarterly. Henrietta Goodman won the 2009 Dorothy Sargent Rosenberg Poetry Prize, and has an interview on the website, commitmentnow.com.

Marie Harrisis a visiting author at elementary and middle schools, reading from her collections, G is for Granite and Primary Numbers, and she is a primary speaker at � e Children’s Learning Center at St. Paul’s School in Concord, NH. Harris’ verse narrative is presented in the production of “Amy Beach in Words & Music,” featuring the North Country Chamber Players, which includes a performance this August at Saint-Gaudens National Historic Site in Cornish, NH.

Lesle Lewis’poems will appear in Bateau, Tygerburning, Talking River, and � e Disco Prairie Social Aid and Pleasure Club.

Margaret Lloydwill be attending the May 6th Collected Poets Series in Shelburne Falls, MA.

Laura McCullough’scollection, What Men Want, was released by XOXOX Press in January 2009. Her review of Stephen Dunn appeared in � e American Poetry Review in April. Her collection, Speech Acts, is forthcoming from Black Lawrence Press on October 1st, her chapbook, Woman and Other Hos-tages, won second place for the Flip Kelly Prize from the Gob Pile Chap-book Series by Amsterdam Press, and new poems will appear in Painted Bride Quarterly and � e Southern Indiana Review. Laura McCullough presented in the Stephen Dunn Poetry Retrospective, attended the AWP conference in Denver, and participated in both � e Richard Stockton College of NJ Panel and � e Community College Creative Writing Classroom. She will have an interview with Andre Dubus III this sum-mer with the Writers Chronicle, and she is Poetry Editor for the online journal, Serving House, and editor for the upcoming anthology, A Better Way to Be Alone: � e Mind and Poetry of Stephen Dunn.

Mihaela Moscaliuchad three poems with an introduction by Gerald Stern under “Emerging Authors Series” in World Literature Today. She is the guest poetry editor for Connotation Press: An Online Artifact this May, and she has a poem and interview on thenervousbreakdown.com. She participated in the AWP conference in Denver, in an off -site AJB reading at AWP, and a reading at Fairhaven Bookstore in NJ. She will be at the Middletown Arts Center on May 27 and � e Collected Poets Series in Shelburne Falls, MA, on June 3.

7

$50 fi nances one book’s entry to a post-pub award

$100 fi nances one book’s review mailing

$250 fi nances the average cost of one AJB book ad

$500 fi nances an author book launch

$1000 fi nances the design cost of one AJB book

$2500 fi nances the printing of one AJB book

$5000 fi nances the entire production of one AJB book

news and events 8

Donations at any level can be made to directly sup-port the production of an upcoming book. Donors will be acknowledged in print within the collection of their choice. Donors should indicate the name of the author whose publication they wish to support.

Suzanne Wise’s prose poem, “� e General,” is forthcoming in Quarter After Eight.

Carole Oles’poems are forthcoming in Prairie Schooner and Consequence.

Carol Potter’sforthcoming poem will appear in Field.

Adrienne Su’sthird book, Having None of It, was named one of the Best Poetry Books of 2009 by the poetry editors of About.com.

Jon Woodward’spoems have appeared recently in LUNGFULL!, Sink Review, and New Orleans Review. He read at the Virginia Festival of the Book in March.

Jane Mead’spoems will appear in the forthcoming issues of Passages North and Inscriptions of the Seizure State. She recently read at Portland State University and spent six weeks at a Lannan Foundation Residency.

Lia Purpura’spoems will appear in � e New Republic, Paris Review, Agni, Orion, Sonora, Brevity, Diagram, Ecotone, Iowa Review and � e Antioch Review. Her book published by AJB, King Baby, was reviewed in the latest issue of Pleiades. She has recently read at the College of the Holy Cross and the College of Santa Fe, as well as participated in the AWP conference and Fordham University’s Creative Writing Program Symposium.

Willa Schneberg’spoems will appear in Poet Lore and Drash. She has a poem in the recently released anthology, I Go To � e Ruined Place: Contemporary Poems in Defense of Global Human Rights, and is forthcoming in the anthology In the Black/In the Red. She read with fi ve other writers engaged in human rights work from the anthology, I Go To � e Ruined Place, in Portland, OR. She also presented at Get Lit!, a literary festival sponsored by Eastern Washington University. Give a Gift!

Coming next season

Parable of Hide and Seek

Chad SweeneyAvailable September 2010

Milk Dress

Nicole CooleyAvailable November 2010

Panic

Laura McCulloughAvailable January 2011

donors

Sponsors: $2500 or More

AnonymousDavid Harvey

Patrons: $1000-$2499

AnonymousCelia GilbertAnne Marie MacariPeter Waldor

Benefactor: $500-$999

Matt hea HarveyGloria Robinson

Donors: $250-$499

Catherine Barnett Nina Nyhart Dorothy RobinsonMarc Waldor

Contributors: $149-$249

Robert EllisJoan and David Grubin

WE THANK THE FOLLOWING INDIVIDUALS FOR THEIR GENEROUS CONTRIBUTIONS TO OUR 2009-2010 FUNDRAISING APPEAL

Harriet FeinbergTheo KalikowAlice Matti son

Supporters: $75-$149

AnonymousHugh Coyle and Maynard YostBeverly DavisCarl Dennis Jeannine DobbsLaura EdwardsJoan Joff e Hall Hugh HennedyAlice JonesJames JoslinJames Longenbach Diane Macari Jane MeadIdra NoveyJean-Paul PecqueurJoyce Peseroff Donald Revell and Claudia KeelanBill RoorbachThomson-Shore, Inc.Rita Waldor

Readers: $1-$74

Elizabeth Ahl Lewis AshmanCliff ord BernierRaymond BerryGeorge Blecher Henry BraunLisa BregerRonald CohenJoanna Penn CooperAdam O. DavisAmy DryanskyDenise Duhamel Lynn EmanuelDobby GibsonRenee and Robert GibsonMimi GilpinMichael GlaserJim HabaRhonda HackerBeata Hayton Judy HendrenNancy Jean HillMaurice HirschMichele Anne Jaquays Ruth LepsonJulianna McCarthy

Margarett a Jill McKayKamilah Aisha MoonJudith PachtShelli-Jo Pelleti erCarol Pott erMike PuicanLia PurpuraRuth Ann QuickDavid RadavichJanet RobinsonKimberley Ann RogersBeth Ann Royer Sue StandingJody StewartAlice TaylorMona ToscanoEllen Doré Watson Dara Wier Mary-Sherman WillisEleanor WilnerKen and Lois WismanMarilyn Zuckerman

9

THE MISSION OF THE ALICE FUND is to ensure the long term fi nancial stability of Alice James Books. Goals include publishing more titles per year, more “anchor” authors, and publishing translations. We want to guarantee that AJB will continue to make a signifi cant contribution to literature and that the press continues to thrive!

...Alice James Books is proof of the adage ‘the older you are, the better you get.’ — Publishers Weekly

Alice Fund Donor Levels:

Alice$10,000 or more

Henryup to $10,000

Williamup to $5,000

Robertsonup to $1,000

Wilkyup to $500

“”

Make a Lasting Impression: Call us to discuss your opportunities to give the gift of preservation.

THE ALICE FUND...preserving the legacy of Alice James Books

from the cooperative board 10

Alice James Books: What changes have you seen in AJB throughout the years that you view as positive transformations?

ELLEN DORÉ WATSON: Oh, how we’ve grown!! When I fi rst came on the board, there was no full-time staff , no ad budget, no presence at AWP. � e press had published and was continuing to publish really wonderful writers—for twenty years running—and was deeply respected by those in the know, but it was a bit of a mysterious secret. Formed as a cooperative, in the early years the authors did everything: set type, stuff ed envelopes, they ran the whole show. By the time I came on in 1996, the poets acted as an editorial board and participated in their book design but did little else; the books were shepherded through production by a part-time director, who worked tirelessly (for peanuts), but did not have the budget to do much more than to get the books out into the world. Over the next decade, thanks to the generosity of individual donors and the University of Maine at Farmington, and to a series of skilled and enthusiastic directors and board members, Alice James Books grew to take its place among the premiere “small press” poetry publishers, with a full-time director, a small staff , and a big presence. Our poets, our ads, reviews of our books—demonstrations of AJB’s vitality are everywhere. And the poets on the cooperative board now function not only as advocates for their own books and as members of an editorial board, but are also members of a board of directors of a non-profi t corporation, participating in policy decisions, fundraising, shaping the course of a visible and valued entity in the world of letters.

AJB: Has your role as an AJB board member aff ected the way that you view and create poetry?

WATSON: Dipping into hundreds and hundreds of manuscripts at screenings provides an amazing snapshot of the huge range of poetry being written. Deep reading and discussion of the semifi nal-ists is a bracing sort of “continuing education.” It’s terrifi c to refi ne one’s own criteria for what makes great poetry and also to have one’s predilections challenged, to learn to see things by others’ lights. My enrichment as a reader can’t help but open new paths for me as a writer.

AJB: You are the longest standing board member! What is it about Alice James Books that has captured your attention and dedication?

WATSON: � e community of Alices! I’m extremely happy at Tupelo Press and value the friendships with fellow Tupelonians, but there are fewer and less intense opportunities for them to meet. Over several years of service at AJB, we buddy each other in the editing process, and gather as Alices fi ve times a year, over-nighting at each other’s houses, wrestling with aesthetic and institutional issues, feasting and sharing late-night wine and early-morning caff eine. We become a kind of family.

AJB: What has been most rewarding about being on the board of AJB?

WATSON: All that I described above, plus getting to see book after wonderful book go out into the world and knowing I’ve played a part in making that happen.

AJB: What advice could you give to new AJB board members?

WATSON: At the risk of sounding like an old fart: honor AJB’s history. Let this experience be about more than your own book. Work hard and listen hard. It’s a privilege and a responsibility to be asked to think not just as a poet with deeply-held preferences, but as an editor and caretaker of a national treasure.

AJB: You have certainly immersed yourself in the writing world, from translating poetry, to writing four books, to serving on the AJB cooperative board, to directing the Poetry Center at Smith College. What is it that compels you to continually be a part of such rich and diverse writing communities?

WATSON: I’m utterly fruitcake and also very, very fortunate.

AJB: Do you fi nd that translating poetry enhances your own craft as a poet?

WATSON: Yes: sharpens the tools and opens the eyes.

Ellen Doré Watson

”ur poets, our ads, reviews of our books—demonstrations of AJB’s vitality are everywhere.

“O

We sat down recently with the longest standing cooperative board member, Ellen Doré Watson, to glean

some valuable information about her experience with Alice James Books. Watson has served on the AJB

cooperative board for 12 years. In Watson’s career as a poet, she has published four books, two of which, We Live in Bodies (1997), and Ladder Music (2001), were published by

Alice James Books.

from the cooperative board (continuted)11

AJB: Do you ever feel that something intrinsic is lost in the translation of poetry? If so, how do you reconcile that?

WATSON: Of course things are lost—but if the translation is focused not only on the minutiae of language but also on the essence (heart and sinews) of the piece, then nothing intrinsic need go missing.

AJB: How did you come to be so profi cient in Brazilian Portuguese?

WATSON: 18 months living in Brazil!

AJB: As the Director of � e Poetry Center at Smith College, you must work with many young poets. What kind of advice and mentorship do you try and provide?

WATSON: Write and write and read and write and read and read and write and read and rewrite.

AJB: I understand you also have a background in theater. When you read your poetry, do you approach it as you would in theater? How has theater informed your poetry?

WATSON: One reason I gave up acting is that my body was never as fl exible and expressive as my voice, so while I don’t think the theater background informs my writing, I do love reading (my work or others’) out loud, performing the poem. And the theater stuff comes back when doing translation, which I think of as a performance of the original text.

AJB: How do you manage to balance your creative life with your professional life as an editor of � e Massachusetts Review as well as a board member of AJB?

WATSON: I don’t. I love the editorial work, just as I do translating and teaching at Smith and at Drew and the Colrain Manuscript Conference, but balance?! No such thing. � e only way I managed to fi nish Dogged Hearts (due from Tupelo this summer) was a semester off from Smith. I’m trying to learn how to build in more sustained time for writing. And sending out—that always falls to the end of the list.

AJB: What is your favorite part of the writing process?

WATSON: I love when there’s a draft, or the whiff of a draft, to push around the page. All the diff erent shapes it could take, highways or dirt paths it could go down, ways it could fl y. Even the head-banging and arm-wrestling of it, then the quiet listening and reimagining. � e whole prolonged state of excited possibility!

AJB: Are you a writer fi rst, above anything else?

WATSON: Yes. Words on the brain.

About Ellen:

Ellen Doré Watson directs the Poetry Center at Smith College and serves as poetry editor for The Massachusetts Review. She is the author of four books of poems, including two from Alice James Books, We Live in Bodies and Ladder Music, winner of the 2000 New England/New York Award. Her most recent collection, � is Sharpening, was published by Tupelo Press. Individual poems have appeared widely in literary journals, including The American Poetry Review, Tin House and The New Yorker. She was named by Library Journal as one of “24 Poets for the 21st Century.” Among her other honors are a Massachusetts Cultural Council Artists Grant, a Rona Jaff e Writers Award, and a National Endowment for the Arts Translation Fellowship. She has translated a dozen books from Portuguese, including The Alphabet in the Park, the selected poems of Brazilian Adélia Prado (Wesleyan University Press).

E. ZABALA, AGE 55, MULTIPLE FRACTURES, LOC

Perhaps he is Basque though he doesn’t speak it now.He’s dreaming snow in skeins as they slide him clothedinto the scanner, ice chilly and bright. Outside he knowsnight air weighs warm on skin. Thrown from a horse orfallen from a ladder—how can he not care which? Your name is Edur, you will remember yourself in time.He’s thinking he’s on vacation from Captain Left Brain with his pocket watch and brass words. This is like birds loosened, he’s fording a ragged river, then he’s simply shelling peas on a stoop. He’s absorbing the gardenia.When they reply, no, he is father to no one, he doesn’t hide his heavy cloak of grief. It becomes an apricot tree.In his left hand, he fi nds a nettle; in his right hand, a hand. There is some kissing left in his mouth.

(from Dogged Hearts, forthcoming from Tupleo Press, 2010)

A poem from Ellen Doré Watson

our interns 12

Elizabeth Kelleyis a senior in her last semester at UMF. Once a BFA major, she has opted out in favor of the individualized genre of education, which includes a mishmash of creative writing, gender studies and human ecology. She has a lot of plans for after graduation, all variations on the same theme of adventure and self-discovery (whatever that means). Her only regret about this soon-to-be vagabond lifestyle, is the inability to work up a really good garden plan.

A native of Los Angeles, Kate Chianesemoved to Farmington, Maine, to study creative writing and experience what life is like with weather. Next year she plans to move back to the city to work towards her MFA, but until then she is determined to see a moose. Kate appreciates Tchaikovsky, rats, the smell of plums, and the way people talk.

Emily Palmerapparently hates writing about herself as she has about 20 drafts of bios behind her. She applied to UMF to be a creative writing major, only to decide mere moments later that she was really more of a fan of books and poems than a writer of them. She purposefully does not go to bookstores because she knows that she will buy herself into poverty. She can’t wait until she graduates so that she can take up a hobby; perhaps a strange instrument, or puppet making.

13 a journey in photographsBrian Turner, author of Here, Bullet (2005) and Phantom Noise (2010) recently received the Amy Lowell Poetry Travelling Scholarship. While abroad, Brian took hundreds of photos and shared these with Alice James Books.

A haunting photo from Killing Fields outside of Phnom Penh, Cambodia.

Islands in Ha Long Bay, Vietnam

Above, a statue of Buddah in the ancient kingdom of Ayutthaya, Thailand The Temple of Literature, Hanoi, Vietnam

Brian atop the standing stones of Dartmoor, Devon, England

Above, Brian and his fi ance, Ilyse, get their feet cleaned by fi sh at the Suan Lum Night Bazaar

Boats on the outskirts of Venice, Italy

Alice James Books: If AJB were to look in your refrigerator, what would we fi nd?

Daniel Johnson: When the apocalypse touches down—or when AJB stops by, for that matter—my wife and I will be well stocked with way too many jars of pickled jalapeños.

AJB: If your CD player was broken and would only play one album, what album would you want it to be?

JOHNSON: � e Bach Cello Suites.

AJB: Best fi lm you’ve seen recently? � e worst?

JOHNSON: La Moustache. I never seem to remember the worst because I nod off when it isn’t going well.

AJB: What’s the worst piece of advice you’ve ever received?

JOHNSON: A member of my host family encouraged me to drink water straight from the Río Naranjo while I was studying abroad in Costa Rica. Two parasites later, my gut’s never been the same.

AJB: What’s the most awkward situation you’ve ever found yourself in?

JOHNSON: My brother and I were once off ered fried monkey by the tat-tooed descendants of headhunters at a harvest festival in Borneo. Monkey, if you’re wondering, is hard to get out of your teeth.

AJB: What’s the most random thing you’ve found while gardening?

JOHNSON: I used to grow vegetables at Frankie Machine Garden inChicago’s Ukranian Village. One summer, a jokester secretly planted marijuana in the bowl of the baby blue toilet, where I used to grow petunias.

AJB: f you were stuck on an island with one person and one personal item, with whom would you want to be stuck, and with what?

JOHNSON: My wife, Ebele, and a chessboard.

AJB: Do you have a favorite radio program?

JOHNSON: I’m a sucker for � is American Life. A good friend just appeared on an episode about being detained in the Rubber Room run by the New York City Department of Education. I was a little jealous.

AJB: You’ve lived in a lot of major cities, which was your favorite?

JOHNSON: I’m a displaced Chicagoan. I miss the grit, the mercurial skies, La Pasadita, the Ashland bus, and the way Lake Michigan changes hues a thousand times a day.

AJB: If you could commandeer any vehicle for the day what type of vehicle would you choose?

JOHNSON: � e Italian-built tandem bicycle we keep at the Bigfoot Institute—it’s hell going uphill, but it’s a rush on the downside.

AJB: When was the last time you laughed out loud and why?

JOHNSON: Most days, the students at 826 Boston keep me laughing. � ey write truly brilliant and hilarious sentences like “Her mom was big like all moms are.”

AJB: What’s the best meal you make?

JOHNSON: Panang curry pork, � ai fi sh cakes, whole fried tilapia with basil and chili, green papaya salad, and black sticky rice pudding.

AJB: If you could have a conversation with any deceased poet, who would you choose?

JOHNSON: I’d love to uncork a bottle of good wine with Pablo Neruda sitting seaside in his home at Isla Negra.

AJB: What’s the last book you read?

JOHNSON: Interviews with Francis Bacon by David Sylvester. I always keep that book within arm’s reach of my writing desk.

AJB: What’s your favorite mythical creature?

DJ: � e Mongolian Deathworm.

AJB: So, how do you catch a falling knife?

JOHNSON: You’ve got to read the book.

14

Daniel Johnson

alice asks...

Ebel

e O

kpok

was

ili-J

ohns

on

Alice James Books

www.a l ice j amesb ooks.organ aff i l iate of the University of Maine at Farmington

With a standing order we will automatically mail you each new book published by Alice JamesBooks. You will receive each at 40% off the cover price (plus shipping). Take advantage of this great offer

now. Please call us at 207-778-7071, e-mail us at ajb@umf.maine.edu, or visit our website.

Begin Your Standing Order Today!

ALICE JAMES BOOKS has been publishing poetry since 1973 and remains one of the few presses in the country that is run collectively. The cooperative selects manuscripts for publication primarily through regional and national annual competitions. Authors who win a Kinereth Gensler Award become active members of the cooperative board and participate in the editorial decisions of the press. The press, which historically has placed an emphasis on publishing women poets, was named for Alice James, sister of William and Henry, whose fine journal and gift for writing went unrecognized during her lifetime.

April 2010ISNB: 978-1-882295-80-7

paper l $16.95

Phantom Noise

NEW BOOKS

Brian Turner

Here, Bullet

978-1-882295-55-5(paper) $15.95

also available

Spring 2010 Catalog

“With courage and an uncommon willingness to see the world as it actually is, Brian Turner returns in Phantom Noise with a bullet-borne language in which helicopters hover like spiders over a film of water. His poem “Al-A’imma Bridge” alone proves his mastery, and joins him to the tradition of Wilfred Owen and David Jones, for he is their descendent, his poetic gifts detonated into a spray of lyric force that will mark what is possible in poetry for years to come, a chiseling of agony onto paper and a poignant cri de coeur to the republic of conscience.”

—Carolyn Forché

Second book bybest-selling authorBrian Turner!

“Staring hard through a calibrated sight, this former infantry team leader…reveals the particular music of death and violence and military service, and these poems unfold with his effort to find meaning, to be decent, and to be alert to the suffering all around.”

―ForeWord Reviews

NEW BOOKS

How to Catch a Falling Knife

April 2010ISBN: 978-1-882295-79-1

paper l $15.95

May 2010ISBN: 978-1-882295-81-4

paper l $15.95

Shahid Reads His Own Palm

Daniel Johnson

Reginald Dwayne Betts

“Fans of poets as disparate as Troy Jollimore, Dean Young and Billy Collins will love Johnson’s How to Catch a Falling Knife—a mournful but wry homage to a childhood in the Rust Belt, to the subtle dangers of family, to overpowering love, to so many things. Johnson’s voice is clear, distinct, and he creates an indelible world that could not have existed without his verse.”

—Dave Eggers

“Dwayne Betts’ poems―from the first moment I encountered them—read like revelation. This poet has entered the fire and walked out with actual light inside him. These poems―clear, muscular, musical―are what the light says. I’ve waited for this book for years!”

―Marie Howe

“...fierce talent...surprising and emotionally resonant...”

—Publishers Weekly

“How to Catch a Falling Knife is a perfect title for this book: there is danger, playfulness, impossibilities made possible, and surprise, in varying doses, in every poem! Most of all though, what I end up loving most about these spare, intense poems, is their heart, their urgent, nutty, burning, utterly whole heart.”

—Thomas Lux

2010 NAACP Image Award Winner!

Fall 2009

The Bitter WithyDonald Revell

September 2009 l ISBN: 978-1-882295-76-0$15.95 (paper)

Father DirtMihaela Moscaliuc

January 2010 l ISBN: 978-1-882295-78-4$15.95 (paper)

PageantJoanna Fuhrman

November 2009 l ISBN: 978-1-882295-77-7 $15.95 (paper)

Pennyweight Windows: New & Selected Poems

1-882295-52-8 (paper) $18.95(cloth) $26.95

My Mojave

1-882295-40-4(paper) $13.95

A Thief of Strings

978-1-882295-61-6(paper) $14.95

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A Publishers Weekly “Best Books of 2009” pick!

Go and read it now.”“

—Sacramento News & Review

...fantastic images...”“

—Publishers Weekly

...hard to forget...”“ —Publishers Weekly

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CorT dAyThe Chime (2001)1-882295-29-3 • paper • $11.95

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Theodore dePPeThe Wanderer King (1996)1-882295-08-0 • paper • $11.95Children of the Air (1990)0-914086-91-X • paper • $8.95

Xue diAn Ordinary Day (2002)1-882295-34-X • paper • $12.95

JeAnnine dobbs, KinereTh gensler,& elizAbeTh KniesThree Some Poems (1976)0-914086-11-1 • paper • $3.50

nAnCy donegAn The Forked Rivers (1989)0-914086-89-8 • paper • $8.95

Amy dryAnsKyHow I Got Lost So Close to Home (1999)1-882295-22-6 • paper • $11.95

JoCelyn emersonSea Gate (2002)1-882295-35-8 • paper • $12.95

b. h. FAirChildThe Arrival of the Future (2000)1-882295-25-0 • paper • $11.95The Art of the Lathe (1998)1-882295-16-1 • paper • $14.95

JACQUELINE FRANKNo One Took a Country from Me (1982) 0-914086-37-5 • paper • $4.95

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Allison FunKForms of Conversion (1986)0-914086-65-0 • paper • $12.95

eriCA FunKhouserNatural Affinities (1983)0-914086-42-1 • paper • $8.95

riTA gAbisThe Wild Field (1994)1-882295-01-3 • paper • $9.95

eriC gAmAlindAZero Gravity (1999)1-882295-20-X • paper • $11.95

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ForresT gAnderRush to the Lake (1988)0-914086-79-0 • paper • $13.95

FrAnK X. gAsPArNight of a Thousand Blossoms (2004)1-882295-44-7 • paper • $13.95

KinereTh genslerJourney Fruit (1997)1-882295-13-7 • paper • $9.95Without Roof (1981)0-914086-32-4 • paper • $4.95

FrAnK giAmPieTroBegin Anywhere (2008)978-1-882295-70-8• paper • $14.95

dobby gibsonPolar (2005)1-882295-49-8 • paper • $13.95

CeliA gilberTAn Ark of Sorts (1998)1-882295-18-8 • paper • $7.95Bonfire (1983)0-914086-44-8 • paper • $4.95

Kevin goodAnWinter Tenor (2009)978-1-882295-75-3 •paper • $15.95In the Ghost-House Acquainted (2004)1-882295-47-1 • paper • $13.95

henrieTTA goodmAnTake What You Want (2007)978-1-882295-62-3 •paper • $14.95

miriAm goodmAnSignal :: Noise (1982)0-914086-39-1 • paper • $4.95

JeFFrey greeneTo the Left of the Worshiper (1991)0-914086-93-6 • paper • $8.95

JoAn JoFFe hAllRomance & Capitalism at the Movies (1985)0-914086-55-3 • paper • $13.95

ForresT hAmerCall & Response (1995)1-882295-06-4 • paper • $11.95

mArie hArrisRaw Honey (1975)0-914086-09-X • paper • $3.00

mATTheA hArveyPity the Bathtub Its Forced Embrace of the Human Form (2000)978-1-882295-26-5 • paper • $14.95

beATriCe hAwley Making the House Fall Down (1977)0-914086-19-7 • paper • $13.95

John hildebidleThe Old Chore (1981)0-914086-34-0 • paper • $4.95

FAnny howeRobeson Street (1985)0-914086-59-6 • paper • $12.95

CynThiA hunTingTonWe Have Gone to the Beach (1996)1-882295-11-0 • paper • $11.95

dAniel JohnsonHow to Catch a Falling Knife (2010) 978-1-882295-79-1 • paper • $15.95

linneA JohnsonThe Chicago Home (1986)978-0-914086-63-5 • paper • $14.95

AliCe JonesIsthmus (2000)1-882295-27-7 • paper • $7.95The Knot (1992)0-914086-96-0 • paper • $11.95

JAneT KAPlAnThe Groundnote (1998)1-882295-19-6 • paper • $11.95

lAurA KAsisChKeFire & Flower (1998)1-882295-21-8 • paper • $11.95

ClAudiA KeelAnThe Devotion Field (2004)1-882295-46-3 • paper • $13.95Utopic (2000)1-882295-28-5 • paper • $11.95

JAne KenyonFrom Room to Room (1978)0-914086-24-3 • paper • $11.95

Ann KilloughBeloved Idea (2007)978-1-882295-65-4 • paper • $14.95

dAvid KirbyThe Temple Gate Called Beautiful (2008)978-1-882295-67-8 • paper • $14.95

elizAbeTh Knies, JeAnnine dobbs &KinereTh genslerThree Some Poems (1976)0-914086-11-1 • paper • $3.50

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nAnCy lAgomArsinoThe Secretary Parables (1991)0-914086-92-8 • paper • $8.95Sleep Handbook (1987)0-914086-69-3 • paper • $7.95

e. J. miller lAinoGirl Hurt (1995)1-882295-07-2 • paper • $9.95

ruTh lePsonDreaming in Color (1980)0-914086-27-8 • paper • $3.95

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KAren lindsey Falling off the Roof (1975)0-914086-08-1 • paper • $13.95

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mArgo loCKwoodBlack Dog (1986)0-914086-61-8 • paper • $6.95

mArgo loCKwood & ninA nyhArTTemper / Openers (1979)0-914086-26-X • paper • $3.95

sAbrA loomisRosetree (1989)0-914086-85-5 • paper • $8.95

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Anne mArie mACAriGloryland (2005)1-882295-50-1 • paper • $14.95

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suzAnne mATsonDurable Goods (1993)1-882295-00-5 • paper • $9.95Sea Level (1990)0-914086-84-7 • paper • $8.95

AliCe mATTisonAnimals (1980)0-914086-29-4 • paper • $13.95

riChArd mcCAnnGhost Letters (1994)1-882295-04-8 • paper • $9.95

dAvid mcKAinThe Common Life (1982)0-914086-38-3 • paper • $4.95

JAne meAdThe Usable Field (2008)978-1-882295-69-2 • paper • $14.95

helenA minTonThe Canal Bed (1985) 0-914086-53-7 • paper • $6.95

norA miTChellYour Skin is a Country (1988)0-914086-83-9 • paper • $8.95Proofreading the Histories (1996)1-882295-10-2 • paper • $9.95

mihAelA mosCAliuCFather Dirt (2010)978-1-882295-78-4 • paper • $15.95

Amy newmAnCamera Lyrica (1999)1-882295-24-2 • paper • $11.95

idrA noveyThe Next Country (2008)978-1-882295-71-5• paper • $14.95

ninA nyhArTFrench for Soldiers (1987)0-914086-71-5 • paper • $7.95 Temper / Openers (1979)0-914086-26-X • paper • $3.95

CArole olesNight Watches: Inventions on the Life of Maria Mitchell (1985)0-914086-57-X• paper • $11.95

JEAN-PAUL PECQUEURThe Case Against Happiness (2007)1-882295-59-5 • paper • $14.95

JeAn PedriCKPride and Splendor (1976)0-914086-10-3 • paper • $3.50Wolf Moon (1974)0-914086-03-0 • paper • $3.00

CArol PoTTerUpside Down in the Dark (1995)1-882295-05-6 • paper • $9.95Before We Were Born (1990)0-914086-90-1 • paper • $8.95

liA PurPurAKing Baby (2008)978-1-882295-68-5• paper • $14.95

bill rAsmoviCzThe World in Place of Itself (2007)978-1-882295-64-7 • paper • $14.95

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rosAmond rosenmeierLines Out (1989)0-914086-88-X • paper • $8.95

lee rudolPhThe Country Changes (1978)0-914086-23-5 • paper • $3.50

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willA sChneberg & lArKin wArren Box Poems / Old Sheets (1979)0-914086-25-1 • paper • $3.95

ron sChreiberMoving to a New Place (1974)0-914086-07-3 • paper • $3.00

lisA sewellThe Way Out (1998)1-882295-17-X • paper • $9.95

beTsy shollRough Cradle (2009)978-1-882295-73-9 • paper• $15.95Rooms Overhead (1986)0-914086-67-7 • paper • $7.95Appalachian Winter (1978)0-914086-21-9 • paper • $3.50Changing Faces (1974)0-914086-05-7 • paper • $3.00

susAn snivelyFrom This Distance (1981)0-914086-35-9 • paper • $4.95

sue sTAndingDeception Pass (1984)0-914086-50-2 • paper • $11.95

PAmelA sTewArTInfrequent Mysteries (1991)0-914086-86-3 • paper • $8.95

Cole swensenThe Glass Age (2007)978-1-882295-60-9 • paper • $14.95 Goest (2004)1-882295-43-9 • paper • $13

Adrienne suMiddle Kingdom (1997)1-882295-15-3 • paper • $11.95

lArissA szPorluKThe Wind, Master Cherry, the Wind (2003)1-882295-39-0 • paper • $13.95

mAry szybisTGranted (2003)978-1-882295-37-1 • paper • $15.95

Tom ThomPsonThe Pitch (2006)1-882295-56-0 • paper • $14.95Live Feed (2001)1-882295-31-5 • paper • $11.95

lAurel TrivelPieCeBlue Holes (1987)0-914086-75-8 • paper • $7.95

briAn TurnerPhantom Noise (2010)978-1-882295-80-7 • paper • $16.95Here, Bullet (2005)978-1-882295-55-5 • paper • $15.95

JeAn vAlenTineThe River at Wolf (1992)0-914086-95-2 • paper • $11.95audio cassette • $9.95Home Deep Blue (1989)0-914086-81-2 • paper • $11.95

CorneliA veenendAAlGreen Shaded Lamps (1977)0-914086-16-2 • paper • $3.50The Trans-Siberian Railway (1973)0-914086-01-4 • paper • $3.00

liz wAldnerSelf and Simulacra (2001)1-882295-32-3 • paper • $11.95

PeTer wAldorDoor to a Noisy Room (2008)978-1-882295-66-1 • paper • $14.95

lArKin wArren &willA sChnebergBox Poems / Old Sheets (1979) 0-914086-25-1 • paper • $3.95

ellen dorÉ wATsonLadder Music (2001)1-882295-30-7 • paper • $11.95We Live in Bodies (1997)1-882295-12-9 • paper • $11.95

ruTh whiTmAnTamsen Donner (1977)0-914086-20-0 • paper • $12.95audio cassette • $9.95

dAvid williAmsTraveling Mercies (1993)0-914086-98-7 • paper • $9.95

suzAnne wiseThe Kingdom Of The Subjunctive (2000)1-882295-23-4 • paper • $11.95

Jon woodwArdMister Goodbye Easter Island (2003)1-882295-42-0 • paper • $13.95

mArilyn zuCKermAn, robin beCKer & helenA minTon Personal Effects (1976)0-914086-15-4 • paper • $13.95

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Distribution Alice James Books are available to the trade through Consortium Book Sales & Distribution and Small Press Distribution. Individuals may use this form to order from Alice James Books directly.

Available on audio cassette TamsenDonner:AWoman’sJourneyby Ruth Whitman (60 minutes; $9.95) SustainingPoetry:TwentyYearsofAliceJamesBooks(71 minutes; $9.95) TheRiveratWolfby Jean Valentine (42 minutes; $9.95)

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