Podcasts about headmistress press

Today we talk to poet Hilary Brown about poetry, nerdiness, and the disabled community.  Hilary's book: https://www.amazon.com/When-She-Woke-Open-Field/dp/0998761060 Headmistress Press: https://squareup.com/store/headmistress-press/ The Future of Supernatural Fandom is Female: http://www.zimbio.com/Beyond+the+Tube/articles/K-m8BYVk1Ys/Future+Supernatural+Fandom+Female Abelist Language: https://www.care2.com/causes/40-alternatives-to-these-ableist-and-oppressive-words.html Find Leslie on Fortnite and Hearthstone under the username Andewyn www.patreon.com/geekygirlsnightin Find us on twitter @geekygirlsNI Instagram @geekygirlguide Facebook /geekygirlsnightin Buy a sticker! https://www.redbubble.com/people/GGNI?asc=u Music: Groovy Hip Hop - Bensound.com

[Poetry, Activism, Writing Community] JP co-edited issue #107 of Sinister Wisdom, titled “Black Lesbians—We Are the Revolution” to lift up the voices of African-American lesbians for all to hear, see, and know. Her debut poetry collection SAY/MIRROR was a 2016 Lambda Literary finalist. She is also the author of bury your love poems here (Belladonna*). JP was a 2017 Split this Rock Freedom Plow Award for Poetry & Activism finalist and is featured in the 2017 Lesbian Poet Trading Card Series from Headmistress Press. She was the recipient of a 2016 Lambda Literary Judith A. Markowitz Emerging Writer Award and has received fellowships and grants from Cave Canem, VONA, Lambda, Astraea, and Brooklyn Arts Council. JP curates Women Writers in Bloom Poetry Salon, a NY-based forum offering women writers a monthly venue to collaborate. Her poetry and essays have appeared or are forthcoming in Apogee Journal, The Feminist Wire, Split this Rock, Muzzle Magazine, and The Best American Poetry Blog. She holds a BA from Barnard College and an MFA in Creative Writing from The City College of New York.

In Lady of the Moon (Headmistress Press, 2015), the reader is graced not only with the poetry of Amy Lowell, but with sonnets in response and a scholarly essay on the poet’s life, love, and work. Amy Lowell lived and wrote in a time when she could not be entirely herself, could not fully claim her rightful space among the great writers of love poetry and celebrations of the beloved. She had to reveal her truths by hiding them. As much as she cloaked her work, shifted genders of speaker and beloved, the truth of the poems resonate now as unabashed declarations of love and desire for her partner, Ada Russel. This collection places the relationship with Russel at the forefront in such a way that it honors what could not be honored before. But this is true of most of the work published by Headmistress Press: necessary voices are given the mic before it is too late, a safe space is offered for rumination on gender, sexuality, and all spectrums of identification, and the work of poets like Amy Lowell is given the truthful and critical analysis it deserved while the poet was living. We know that Amy Lowell wanted to be understood better as a poet. She did not want to hide her love, her body, or her desires but knew that it would only be safe to be fully realized after her death. She left the door open for us, as readers. You will sit here, some quiet Summer night, Listening to the puffing trains, But you will not be lonely, For these things are a part of me. And my love will go on speaking to you Through the chairs, and the tables, and the pictures, As it does now through my voice, And the quick, necessary touch of my hand. (From “Penumbra” by Amy Lowell) As scholars and poets, Mary and Lillian came together to create this homage not only to Amy Lowell but to her long-time relationship with Ada Russel. So much care was paid to this union that it is Ada’s photo that graces the cover. In Mary’s 27 response sonnets, the reader is offered an opportunity to have the veil lifted somewhat– maybe even to afford Lowell the transparency she craved. Who among us does not want to celebrate our love for another person? Who does not want to jump up, yell it from the rooftops? Maybe Lowell trusted that her poetry memorialized their relationship and that her declarations of love would truly be understood long after she and Russel were gone from the physical world. And even in the daylight sky, your streams Of light show through the ruling blue, and give, Making the world more hopeful than it seems. Inside my lines, your love and beauty live, Etched in my books, with nothing to forgive Or be forgiven for, an ancient light That lasts forever. You should know, I give My fortune, house, and heart, to keep you bright When I am gone. (From “Sonnet 27” by Mary Meriam) For any who wished to understand more about Amy Lowell and her work, who felt the gaping holes in the teaching of her writing and life, should pick up this collection. The poet is honored by showing plainly her reverence and desire for Ada Russel. Learn more about your ad choices. Visit megaphone.fm/adchoices

In Lady of the Moon (Headmistress Press, 2015), the reader is graced not only with the poetry of Amy Lowell, but with sonnets in response and a scholarly essay on the poet’s life, love, and work. Amy Lowell lived and wrote in a time when she could not be entirely herself, could not fully claim her rightful space among the great writers of love poetry and celebrations of the beloved. She had to reveal her truths by hiding them. As much as she cloaked her work, shifted genders of speaker and beloved, the truth of the poems resonate now as unabashed declarations of love and desire for her partner, Ada Russel. This collection places the relationship with Russel at the forefront in such a way that it honors what could not be honored before. But this is true of most of the work published by Headmistress Press: necessary voices are given the mic before it is too late, a safe space is offered for rumination on gender, sexuality, and all spectrums of identification, and the work of poets like Amy Lowell is given the truthful and critical analysis it deserved while the poet was living. We know that Amy Lowell wanted to be understood better as a poet. She did not want to hide her love, her body, or her desires but knew that it would only be safe to be fully realized after her death. She left the door open for us, as readers. You will sit here, some quiet Summer night, Listening to the puffing trains, But you will not be lonely, For these things are a part of me. And my love will go on speaking to you Through the chairs, and the tables, and the pictures, As it does now through my voice, And the quick, necessary touch of my hand. (From “Penumbra” by Amy Lowell) As scholars and poets, Mary and Lillian came together to create this homage not only to Amy Lowell but to her long-time relationship with Ada Russel. So much care was paid to this union that it is Ada’s photo that graces the cover. In Mary’s 27 response sonnets, the reader is offered an opportunity to have the veil lifted somewhat– maybe even to afford Lowell the transparency she craved. Who among us does not want to celebrate our love for another person? Who does not want to jump up, yell it from the rooftops? Maybe Lowell trusted that her poetry memorialized their relationship and that her declarations of love would truly be understood long after she and Russel were gone from the physical world. And even in the daylight sky, your streams Of light show through the ruling blue, and give, Making the world more hopeful than it seems. Inside my lines, your love and beauty live, Etched in my books, with nothing to forgive Or be forgiven for, an ancient light That lasts forever. You should know, I give My fortune, house, and heart, to keep you bright When I am gone. (From “Sonnet 27” by Mary Meriam) For any who wished to understand more about Amy Lowell and her work, who felt the gaping holes in the teaching of her writing and life, should pick up this collection. The poet is honored by showing plainly her reverence and desire for Ada Russel. Learn more about your ad choices. Visit megaphone.fm/adchoices

In Lady of the Moon (Headmistress Press, 2015), the reader is graced not only with the poetry of Amy Lowell, but with sonnets in response and a scholarly essay on the poet’s life, love, and work. Amy Lowell lived and wrote in a time when she could not be entirely herself, could not fully claim her rightful space among the great writers of love poetry and celebrations of the beloved. She had to reveal her truths by hiding them. As much as she cloaked her work, shifted genders of speaker and beloved, the truth of the poems resonate now as unabashed declarations of love and desire for her partner, Ada Russel. This collection places the relationship with Russel at the forefront in such a way that it honors what could not be honored before. But this is true of most of the work published by Headmistress Press: necessary voices are given the mic before it is too late, a safe space is offered for rumination on gender, sexuality, and all spectrums of identification, and the work of poets like Amy Lowell is given the truthful and critical analysis it deserved while the poet was living. We know that Amy Lowell wanted to be understood better as a poet. She did not want to hide her love, her body, or her desires but knew that it would only be safe to be fully realized after her death. She left the door open for us, as readers. You will sit here, some quiet Summer night, Listening to the puffing trains, But you will not be lonely, For these things are a part of me. And my love will go on speaking to you Through the chairs, and the tables, and the pictures, As it does now through my voice, And the quick, necessary touch of my hand. (From “Penumbra” by Amy Lowell) As scholars and poets, Mary and Lillian came together to create this homage not only to Amy Lowell but to her long-time relationship with Ada Russel. So much care was paid to this union that it is Ada’s photo that graces the cover. In Mary’s 27 response sonnets, the reader is offered an opportunity to have the veil lifted somewhat– maybe even to afford Lowell the transparency she craved. Who among us does not want to celebrate our love for another person? Who does not want to jump up, yell it from the rooftops? Maybe Lowell trusted that her poetry memorialized their relationship and that her declarations of love would truly be understood long after she and Russel were gone from the physical world. And even in the daylight sky, your streams Of light show through the ruling blue, and give, Making the world more hopeful than it seems. Inside my lines, your love and beauty live, Etched in my books, with nothing to forgive Or be forgiven for, an ancient light That lasts forever. You should know, I give My fortune, house, and heart, to keep you bright When I am gone. (From “Sonnet 27” by Mary Meriam) For any who wished to understand more about Amy Lowell and her work, who felt the gaping holes in the teaching of her writing and life, should pick up this collection. The poet is honored by showing plainly her reverence and desire for Ada Russel. Learn more about your ad choices. Visit megaphone.fm/adchoices

When Denise Levertov called Lynn Strongin a “true poet,” she recognized an awareness that transcended the young poet’s age. This very human awareness can come with suffering. Inflicted with Polio as a child, Strongin speaks with a voice that understands states of varied ability, that knows real pain, and has navigated the way relationships change in the face of illness. Composed entirely in singlets, The Burn Poems (Headmistress Press, 2015) pull at strings of understanding until meaning has unraveled and reassembled itself. There is a longing that emanates the pieces, a longing well-learned and well-developed that shifts its focus, but never loses intensity. I want her to stay Close Not paralyzed like me But content in her apron of photography: printed, filmic security The image holy, holy, holy. Bliss comes like flare of lit match And can be blown out as quickly: By word It is rare for one to realize their conversation is inhabiting a moment of history-yet-to-come as it actively engages the present. When speaking with Strongin, I heard a voice that has resonated for generations and will continue to resonate for many to come. She has tapped into the undeniable, fragile force that makes us human and she allows that well-spring to flow. Learn more about your ad choices. Visit megaphone.fm/adchoices

When Denise Levertov called Lynn Strongin a “true poet,” she recognized an awareness that transcended the young poet’s age. This very human awareness can come with suffering. Inflicted with Polio as a child, Strongin speaks with a voice that understands states of varied ability, that knows real pain, and has navigated the way relationships change in the face of illness. Composed entirely in singlets, The Burn Poems (Headmistress Press, 2015) pull at strings of understanding until meaning has unraveled and reassembled itself. There is a longing that emanates the pieces, a longing well-learned and well-developed that shifts its focus, but never loses intensity. I want her to stay Close Not paralyzed like me But content in her apron of photography: printed, filmic security The image holy, holy, holy. Bliss comes like flare of lit match And can be blown out as quickly: By word It is rare for one to realize their conversation is inhabiting a moment of history-yet-to-come as it actively engages the present. When speaking with Strongin, I heard a voice that has resonated for generations and will continue to resonate for many to come. She has tapped into the undeniable, fragile force that makes us human and she allows that well-spring to flow. Learn more about your ad choices. Visit megaphone.fm/adchoices

Chapbookapalooza 2014 Laura Foley Joy Street Headmistress Press, 2014 Within Joy Street are access panels to the poet’s mind. She has a stunning way of bringing a reader to a place and time and then making them feel comfortable only to pull their attention and turn their head towards the heart of the matter. The poems in this collection are worlds– worlds orbiting memory and understanding Learn more about your ad choices. Visit megaphone.fm/adchoices

Chapbookapalooza 2014 Laura Foley Joy Street Headmistress Press, 2014 Within Joy Street are access panels to the poet’s mind. She has a stunning way of bringing a reader to a place and time and then making them feel comfortable only to pull their attention and turn their head towards the heart of the matter. The poems in this collection are worlds– worlds orbiting memory and understanding Learn more about your ad choices. Visit megaphone.fm/adchoices