Sarah Marcus: Rachel Eliza Griffiths describes your beautiful new chapbook, Drift, as "a lucid and searing exploration of the female body, pinned against the feral blood of language and myth." Can you talk a bit more about the role of the female body in this work. Did you intentionally set out to examine this theme or did it emerge organically? Brianna Low: These poems were written while I was living in southern Indiana and trying to complete the final year of my MFA. Gradua

Sarah Marcus: Your captivating poetry collection, Incorrect Merciful Impulses, is filled with beautiful, haunting closures, metacognition, powerful imagery, and questions of authenticity. In "Symptoms of Prophecy" you write: "I called to say we have two lives / and only one of them is real." I can't stop reading this poem and thinking about which life is the "real life" in such a scenario. Can you talk to us about the process of writing this poem and arriving at this moment o

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

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

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

Sarah Marcus: You do incredible work on the executive board at VIDA: Women in the Literary Arts, and you focus specifically on Social Media and Outreach. After my year as a VIDA Counter and two years as a Count Coordinator, I think our current literary landscape needs VIDA now more than ever! Can you tell us about how VIDA is changing the way they count? Why is counting so crucial, and how can writers help keep this conversation moving forward? Lynn Melnick: Thank you so much

Sarah Marcus: Firstly, your newest collection, Paper Doll Fetus, from Persea Books is absolutely stunning, strange, and gorgeous in all of the right ways. You give voice to the unborn and you examine the intimacies and intricacies of grief in all of its complexity and messiness. This work is layered, politically aware, and filled with beautiful and uncomfortable imagery. Can you tell us more about this project? What inspired you? What do you hope your reader takes away from t

The first time I made a book, I did so with words and art. My second grade teacher asked us to illustrate a story we wrote. She taught us book arts, how to sew pages, bind by stitching, design covers. I bound mine in red checked contact paper to suggest picnic, tablecloth, summer feast. My crayoned cover featured a girl and a bowl of fruit. I think I must have known at that moment that what writers do, is put together books, and that some of the best books are illustrated. I

With his poetry collection, Gephyromania, recently chosen for Entropy’s Best of 2014 Poetry list, TC Tolbert is on fire. But he doesn’t use that fire to burn any bridges. He uses it to create them. According to TC Tolbert’s website, Tolbert “is a genderqueer, feminist poet and teacher committed to social justice. S/he believes in working across communities—building bridges wherever possible” (http://www.tctolbert.com/about.html). Gephyromania (which is defined as an addiction

Belladonna* is a feminist avant-garde collective, founded in 1999 by Rachel Levitsky. This week, Gazing Grain editor Kathy Goodkin spoke with Belladonna* member HR Hegnauer about the collective's work, and the role of radical conversation. Kathy Goodkin: For you, what is the most important part of Belladonna’s mission? HR Hegnauer: I love the Belladonna* mission! Below is our mission statement, and while it is all important, that first line jumps out for me. It’s about promot