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Gazing Grain Press

We Can't Read This

We Can't Read This

by Meg Day

Ephemera

Ephemera

Miniatures

from A Book of Poems on Beauty

from A Book of Poems on Beauty

by Anne Lesley Selcer

We Can't Read This

We Can't Read This

by Meg Day

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A Conversation with Nicole Tong

A Conversation with Nicole Tong

Sarah Marcus-Donnelly: Your gorgeous new book, How to Prove a Theory, was the 2017 Jean Feldman Poetry Prize Winner. It is a meditation on grief and memory and human resilience. I have had the pleasure of listening to you read some of these poems, which made them even more tender and devastating for me. Can you tell us about the process of writing about grief? How long did it take you to write the collection? Can you share some background for this book? Nicole Tong: Sarah, th

Morgan Parker on Writing Poems & Holding Each Other Accountable

Morgan Parker on Writing Poems & Holding Each Other Accountable

Sarah Marcus: I think readers can relate to the beautiful anxiety and obsessive self-reflection in so many of your poems. In the poem, "How To Piss in Public and Maintain Femininity," you write: "...I want what I want/ regardless of social etiquette and the way/ I am ashamed of my unconscious by which I mean/ I say everything out loud in other words/ I never fucking learn my lesson." Should we ever learn our fucking lesson? Is it worth it? Would we gain or lose our empathy? M

An Interview with Rachel Eliza Griffiths

An Interview with Rachel Eliza Griffiths

Sarah Marcus: As a poet and photographer specializing in literary portraits, fine art photography, and lyric videos, what was it like working on your incredible first extensive video project, P.O.P (Poets on Poetry), an intimate series of micro-interviews, which gathers nearly 100 contemporary poets in conversation? Rachel Eliza Griffiths: This experience is still happening for me. When the project began, I was terrified and determined to see it live. I taught myself video so

Metta Sáma on Activism, Writing, Teaching, and Blogging

Metta Sáma on Activism, Writing, Teaching, and Blogging

Sarah Marcus: You serve on the Board of Directors for VIDA: Women in the Literary Arts. How and why did you get involved with VIDA? From the perspective of being both a teacher and a writer, what relevance do you think VIDA holds for our current literary landscape? What do you think people who identify as inclusive feminists can do to further the cause? Metta Sáma: When Cate Marvin, Ann Townsend & Erin Belieu founded VIDA (née WILA), I was deeply interested in being part of a

Arisa White Talks Emotional Mapping, Comprehending Trauma, Inclusivity, Intersectionality, & Mor

Arisa White Talks Emotional Mapping, Comprehending Trauma, Inclusivity, Intersectionality, & Mor

Sarah Marcus: You are one of the founding editors for HER KIND, an online literary community powered by VIDA: Women in the Literary Arts. The New York Times has said that “since it began several years ago, the VIDA count has been a reliable conversation-starter about gender disparity in the literary world.” How did you get involved with VIDA, and how did this initial blog come to be? Is there overlap in purpose and message with your work as a Kore Biters columnist at Kore Pre

Teaching Christine de Pizan’s “Book of the City of Ladies”

Christine de Pizan’s The Book of the City of Ladies is a 1405 French medieval, proto-feminist allegory that aims to build a space for women safe from misogyny, sexism, and physical/sexual abuse. It’s a wonderful text to read and teach in a college literature or even rhet/comp course—and its concerns are, sadly, still just as relevant today as they were in 1405. My goal in this post is to share some ideas, resources, and lesson plans that I have found helpful in teaching this

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