Parlor Press and its authors make a difference that positively affects people and changes contexts everywhere. In our ongoing effort to measure this impact on people, our world, and (of course) scholarly and creative writing, we've collected selections from the latest writing about Parlor Press authors, books, events, awards, presentations and readings, and more. Each of these has appeared on our front page for a time. If you want to nominate a new selection, please let us know. Contact us and you may be surprised with a free book!
David J. Tietge's Rational Rhetoric: The Role of Science in Popular Discourse has been named the winner of JAC's Gary A. Olson Award for most outstanding book in rhetorical and cultural theory. -- 26 May 2010.
Molly Bendall's Under the Quick has been reviewed by Carol Muske-Dukes (Poet Laureate of California) in The Huffington Post. Here's an excerpt:
There's an inscrutable, willowy, linguistic élan to the poems -- they come from the world below consciousness -- language released at pure Ophelia-speed from formality and sequence -- their surefootedness and grace is something remarkable.Read more at: http://www.huffingtonpost.com/carol-muskedukes/confronting-words-poetry_...
Parlor Press is pleased to announce the 2008 selections for its Free Verse Editions series, to be published in Fall, 2009.Free Verse Editions Press Release 2009
Parlor Press's poetry series, Free Verse Editions, is pleased to announce the ninth annual New Measure Poetry Prize, which will carry a cash award of $1,000 and publication of an original, unpublished manuscript of poems. Up to four other manuscripts may be accepted for publication by Free Verse Editions editors. Submit a manuscript of at least 54 pages with a $28 entry fee between March 1 and June 30, 2017. The window for the 2017 competition will open on 1 March 2017.
Click on this Submit button to visit the New Measure Poetry Prize submission interface at Submittable on or after March 1 and no later than June 30:
2016: The Miraculous Courageous by Josh Booton [selected by Jon Thompson]
2015: This History That Just Happened by Hannah Craig [selected by Yusef Komunyakaa]
2014: Spool by Matthew Cooperman [selected by Jon Thompson]
2013: No Shape Bends the River So Long by Monica Berlin and Beth Marzoni [Selected by Carolyn Forché]
2012: Dismantling the Angel by Eric Pankey [selected by Jon Thompson]
2011: The Canticle of the Night Path by Jennifer Atkinson [selected by Susan Stewart]
2010: Country Album by James Capozzi [selected by Jon Thompson]
2009: 13 Ways of Happily by Emily Carr [selected by Cole Swensen]
Other manuscripts not selected for the New Measure Poetry Prize may still be eligible for publication by Free Verse Editions. Friends and former students of the judge are not eligible for the prize but may submit for publication to Free Verse Editions (please indicate whether the submission is for the prize or for publication only). Each manuscript should be word processed, paginated, and contain a list of acknowledgments for published or forthcoming poems. The title page should include the name of the author, a postal address, telephone number, and email address. No feedback on submitted manuscripts can be offered. The recipient of the next New Measure Poetry Prize will be announced in December 2017.
For more information about Free Verse Editions, visit the series page.
Parlor Press will be in Booth 10 in the exhibit area at CCCC in the San Francisco Hilton. Stop by to meet authors and editors and to check out some great deals!
Presented at the Research Network Forum, Conference on College Composition and Communication San Francisco, March 11, 2009
Scholarly presses may be in peril due to diminishing markets, tight budgets, and over-reliance on the monograph as the signifier of scholar achievement, but individuals and organizations in rhetoric and composition can take specific action to ensure that scholarly presses not only survive momentary crises but also thrive in the years ahead. In turn, presses themselves also need to adapt to the changing needs of the multiple constituencies they serve and the new technologies that enable the democratization of peer review, production, distribution, and delivery.
I’m grateful to Brad Lucas, editor of Composition Studies, and Risa Gorelick—long-time supporter and backbone of these Research Network Forums, for inviting me to say a few words to you today in this, a living example of what Kenneth Burke may have had in mind when he spoke of the unending conversation of history into which we are borne. Imagine you enter a parlor, he wrote. You’ve come late. People are having a heated discussion about this and that. However, everyone arrives as you do, so no one is qualified to retrace all the steps that have come before. You listen for a while, then you put in your oar. People come to your defense or align themselves against you (The Philosophy of Literary Form 110-11).
With that, let me jump right in to the fray.
Parlor Press is an independent publisher and distributor of scholarly and trade books in print and digital formats. It was founded in 2002 to address the need for an alternative scholarly, academic press attentive to emergent ideas and forms while maintaining the highest possible standards of quality, credibility, and integrity. Our primary and simple goal is to publish outstanding writing in a variety of subjects and thus to disseminate knowledge about writing and rhetoric as widely as possible and to ensure that this educational mission is met with style and grace.
As I hope some of you still know, I am a Professor of English at Purdue in my day job, with a specialization in rhetoric and composition, like so many of you. That means that Parlor Press’s goals have naturally been closely aligned with my own interests as a teacher and researcher. I think, like many of you probably do also, that people everywhere ought to know what we know (that it’s rhetoric all the way down, for instance!) and that students can indeed be taught to write well. You may not have known before, but I hope you do know also that Parlor Press gets its name from that Burkeian parlor I mentioned at the start. This parlor—and Parlor Press, I hope—is a place where interesting and smart discussions come to the fore, where people speak (parler means “to speak,” after all) and listen, where the dialogue and debate—the parliamentary—are in play. In the end, this is what all of our university presses want more than anything. It is easy to be lulled into thinking that they want more than anything to sell books and make money so that they can sell even more books. On the contrary, the ideal of most university presses is to disseminate knowledge, with uncompromising concern for quality and currency. Only secondarily—and in more recent times—has it become necessary for presses to worry about the pedigrees of authors and the marketability of books (the other kind of currency). As John B. Thompson points out in his encyclopedic Books in the Digital Age, the golden age of university press publishing may have ended in the mid-1970s.
Since then, most academic presses have had to pay closer attention to the bottom line as they fight against budget cuts and reallocations, or—as our session today puts it—“trying economic times.” We have to pay especially close attention now because, I’m afraid, the situation for many presses may be much more dire than many realize. When I was the editor of the Rhetorical Philosophy and Theory book series with SIU Press, I witnessed sales to libraries drop precipitously. In the late 1990s, you could count on 500 to 750 or more copies sold to libraries right out of the gate. That average dropped to 100 or so almost overnight, due in part to the rise of the journal conglomerates, ridiculous price gouging, and the attendant strain on library budgets. There are a number of other financial threats aside from dwindling sales, such as the outrageously high cost of exhibiting books and journals at conferences like this one. In some cases, our own organizations are complicit. I receive dozens of invitations each year to buy table space at even small conferences for hundreds, even thousands of dollars.
Our tough economic times have exacerbated this downward trend, which I believe will continue to threaten all of our presses in the years ahead. As this situation unfolds, the pressure on young scholars to publish books continues to mount, in spite of MLA’s efforts to expose the crisis in scholarly publishing and to reject the monograph as the gold standard for promotion. At the same time, as our numbers increase and academic fields splinter into countless subspecialties, fewer and fewer people have time to read the major books published in their field. John Thompson calls this the “twigging” effect (177). He also cites the troubling practice of tenure committees to abdicate their responsibilities to evaluate scholarship themselves and grant it to the presses without question, often merely on the basis of reputation or, more indirectly, the success of the university’s football team. No one would admit that, of course, but if you knew how many times I have answered questions about Parlor Press’s pedigree, you might be surprised. (Thankfully, almost a dozen authors have earned tenure primarily on the basis of their Parlor Press books, which is gratifying.)
If all this sounds dour, I apologize. I’m actually much more optimistic—even excited—about the future of scholarly publishing in rhet/comp than this sounds. Why else would I start Parlor Press right at the time when most would say “bad idea, Dave.” I have a great and very busy day job at Purdue, so I certainly didn’t need more work.
Some of you may not know that Parlor Press is independent and not explicitly tied to any university, although we do have many ongoing collaborative projects with universities around the world. The Press is managed entirely by scholars and specialists in their respective fields, presently covering fourteen book series. The series editors and I manage everything from initial peer review through production, distribution, and marketing. We have no staff and no outside funding sources (not even the salary from my day job). It is all built on the sweat equity of enormously generous and wise series editors who believe with me that we can make a difference and that, if left to our own devices and free of all bureaucratic machinery, we might just find a way out of this mess.
People have asked me a lot recently how Parlor Press is doing during this recession. Well, the good news is that our funding hasn’t been cut or threatened, if only because we have none to begin with (the glass is half full, I guess). And there really isn’t any bad news at all. Sales of our books have risen steadily—from almost none to a number respectable enough to keep everything running smoothly and to maintain, as they say, our growth mode. In only six and a half years, we have published 70 books and can now count more than 300 Parlor Press authors. There are another 75 books under contract. This year, we will publish 20 or more books, 75 percent of which will be in our field. We have just launched two new series and have plans for growth into new areas, such as multimedia writing and other hybrid forms of print, visual, aural, and haptic media that will take advantage of new digital printing, publishing, and dissemination technologies. We have also made certain that our peer review process is rigorous and that development is collaborative. Publication decisions are made by peers in the field and no one else.
Parlor Press is a phenomenon made possible by what Chris Anderson in The Long Tail called the “democratization of production.” It is also much easier to innovate when you’ve gone rogue. We have leveraged new digital printing and publishing technologies while also developing a sustainable model for managing all aspects of scholarly publishing efficiently and productively. (People ask me about sustainability all the time, but we’re in year seven now, which makes me wonder what the threshold for sustainability might be.) The Parlor Press model takes advantage of, among other things, digital printing technologies (such as print-on-demand) and powerful communication technologies like Drupal for collaboration, content management, and production in a network of distributed responsibility. Scholars, organizations, and institutions with a clear stake in creative and scholarly research have managed to pool limited resources. We are in rhet/comp, after all. We’re used to building grand designs from nothing but hard work.
I’d like to mention a few examples of what this freedom makes possible. In a publishing partnership with Mike Palmquist and the WAC Clearinghouse at Colorado State University—we created the first open-access book publishing project in our field (or any, perhaps) to offer free ebooks with a print option, the Reference Guides to Rhetoric and Composition series edited by CCCC program chair Charles Bazerman. Since then, Parlor Press has published a number of Creative Commons -licensed books in electronic and print formats, including the first book in rhetoric and composition ever published under such a license, John Logie’s Peers, Pirates, and Persuasion. Mike and I are now working on the new Perspectives on Writing series that will also publish books under a CC license with a print option. The print versions of these “free” books have sold every bit as well as our print-only books, if not better. Finally, some of you may have noticed the recent announcement for Writing Spaces: Readings for Writers, a series created by Charlie Lowe and Pavel Zemliansky that will includes CC-licensed books jointly published by Parlor Press and the WAC Clearinghouse. (See writingspaces.org.)
I want to conclude with a list of some things you can do to help us ensure that scholarly publishing in rhetoric and composition thrives. Here are some steps that I’ve cobbled together from experience, friends, and fellow publishers, people like Lisa Bayer (Marketing Director, University of Illinois Press), Karl Kageff (Editor-in-Chief, Southern Illinois University Press), and Jonathan Haupt (Assistant Director for Sales and Marketing, University of South Carolina Press). (I am proud to say that all of these fine people are former students of mine from SIU-Carbondale and are scholars in their own right in rhetoric and composition.)
I could go on (there’s so much to do!), but let me close by quoting Burke again: “[T]he discussion is interminable. The hour grows late, and you must depart. And you do depart, with the discussion still vigorously in progress ” (The Philosophy of Literary Form 111).
Anderson, Chris. The Long Tail: Why the Future of Business is Selling Less of More. New York: Hyperion, 2006.
Burke, Kenneth. The Philosophy of Literary Form: Studies in Symbolic Action. 1941. Berkeley: U of California P, 1973.
Thompson, John B. Books in the Digital Age: The Transformation of Academic and Higher Education Publishing in Britain and the United States. Cambridge, UK: Polity Press, 2005.
Video Title: "Parlor Press 2008 - Bazaar"
Producer/designer: David Blakesley
Track: Modern Jazz Samba
Artist: Kevin MacLeod
"Peter Riley's most recent full-length poetry collection, A Map of Faring, is precisely the sort of project that is helping to distinguish the newly established Free Verse Editions, a joint venture between Free Verse and Parlor Press. With its commitment to featuring translations, combined with an international scope, Free Verse Editions has been consistently proving that the site of contemporary poetry consists not so much of place, but of places and their rich, adjacent terrains." —Word for Word: A Journal of New Writing (Issue 14, Fall 2008).
From two new reviews of Rhetoric and Incommensurability, edited by Randy Harris:
Harris’s book is especially strong for its reminder to rhetoricians that Kuhn’s notion of the paradigm is not the only source of incommensurability theory. In tracing the history of incommensurability in both Feyerabend and in Kuhn’s evolving theory, Rhetoric and Incommensurability helps to create a productive space of interaction between rhetoric and incommensurability studies more broadly conceived. Although Rhetoric and Incommensurability probably will not be the final word on rhetoric of science and incommensurability studies, it does an excellent job of summing up recent rhetorically based incommensurability scholarship. Finally, it expertly integrates research from the allied humanist and social studies of science while continuously keeping the focus on the rhetorical issues involved.
—S. Scott Graham, in Rhetoric Society Quarterly 38.2 (2008): 233.
Readers of this journal, chiefly interested in incommensurability as a philosophical topic, will be most attracted to Parts 1 and 2 of the book, where the essays are more theoretical. It is on these that this review is focused, particularly Harris’s booklength introduction which impresses me as a real tour de force. The book is worth buying for this essay alone for the revealing way it disentangles themes in the literature on incommensurability, including discussion of rhetoric and ways of dealing with incommensurability.
—Struan Jacobs, in International Studies in the Philosophy of Science 22.1 (2008): 100.
"I think it’s possible for the imagination — and the heart — to make meaningful connections out of more far-ranging material than we often challenge it to do." Read the full Interview with Boyer Rickel on remanence at Christopher Nelson's Poetry Blog. (Oct. 2008).
Date: Thursday, February 12, 2009
Time: 4:00pm - 5:30pm
Location: The Court in the Columbia College Chicago
Street: 731 South Plymouth Court
City/Town: Chicago, IL
Directions: Three blocks west of the Hilton Chicago. The entrance is on Plymouth Court, and the venue is on the first floor to the right at the top of the stairs.
Dawn-Michelle Baude, a Senior Fulbright Scholar, is the author of several volumes of poetry, including Gaffiot Exquis (1997), The Book of One Hand (1998), The Beirut Poems (2001), Egypt (2002), Through a Membrane / Clouds (2006), and The Flying House (Parlor Press, 2008). She earned an MA from the New College of California, an MFA from Mills College, a Diplôme des etudes approndis in Shakespeare from the Sorbonne, and a PhD in English from the University of Illinois - Chicago. She teaches in the U. S. and in Europe.
Adam Clay is the author of The Wash (Parlor Press, 2006) and A Hotel Lobby at the Edge of the World (Milkweed Editions, forthcoming). He lives in Kalamazoo and co-edits Typo Magazine (http://www.typomag.com).
F. Daniel Rzicznek's books include Divination Machine (Free Verse Editions/Parlor Press, forthcoming in 2009), Neck of the World (Utah State University Press, 2007) and Cloud Tablets (Kent State University Press, 2006). He is also coeditor, with Gary L. McDowell, of The Rose Metal Press Field Guide to Prose Poetry: Contemporary Poets in Discussion and Practice, forthcoming from Rose Metal Press in 2010. He currently teaches English composition at Bowling Green State University.
Jon Thompson teaches at North Carolina State University where he edits Free Verse: A Journal of Contemporary Poetry & Poetics and Free Verse Editions, a new poetry series. His first collection of poems was The Book of the Floating World, reissued in an expanded edition in 2007 by Parlor Press. In the spring of 2009, Shearsman Books will publish his book of lyrical essays, After Paradise: Essays on the Fate of American Writing. He recently completed a new volume of poems, tentatively titled Strange Country.
"What appeals to me—what has always appealed to me in poetry—are the material conditions of language itself. All the texturizers that work the surface of the poem, from typography down to the aural level of phonemes. Consonance, assonance, rhyme, yes. But also homophones, puns, anagrams, transposition, neologisms, portmanteau—the oddments and extra-intentional sleights-of-hand one can use to complicate words and their meanings. . . ."
December 3, 2008
Parlor Press and Free Verse: A Journal of Contemporary Poetry & Poetics
Parlor Press is pleased to announce the new selections for its Free Verse Editions series. The books will be published in the fall of 2008. Contact: Jon Thompson (email@example.com), Series Editor. or David Blakesley (firstname.lastname@example.org; 765.409.2649)FreeVerse Press Release 2008 Publish at Scribd.
"Clay . . . revisits romanticism and allows us to experience it in much the same way that I imagine those first readers of Blake, Shelley, and Clare might have experienced their work. And it’s a visit worth making." "Tom Dvorske on Adam Clay's The Wash" in H_NGM_N: An Online Journal of Poetry and Poetics.
Red Velvet Lounge, Rendezvous
2322 2nd Avenue in the Heart of Belltown Seattle
Join Free Verse Editions and Horseless Press poets--Jennifer Atkinson, Molly Bendall, Emily Carr, Adam Clay, Tim Earley, Ger Killeen, Christopher Kondrich, Dawn-Michelle Baude, Eric Pankey, Brittany Perham and Siobhan Scarry—for a sterling set of readings.
Drinks & fine food in plush surroundings!
2013 New Measure Poetry Prize Winner
Selected by Carolyn Forché
No Shape Bends the River So Long meanders through the American landscape in search of site and relic, home and away-from-home. Part meditation on our tenuous position in the natural world and part interrogation of that relationship, these poems map what any place records and what it has erased. Weathered by obsolescence, chance, complacency, and awe, they carve out a new idiom for how we go on. Monica Berlin and Beth Marzoni’s collaborations have been published or are forthcoming in Colorado Review, New Orleans Review, DIAGRAM, Better: Culture & Lit, Meridian, TYPO, Quarterly West, and Vela.
Translated by Clarissa Botsford
A darkly humorous exploration of the human body and its various functions in poetic prose, Valerio Magrelli’s personal chronicle of clinical experience catalogues a life history of ailments without ever being pathological. Every sensation and malfunction is placed under the subjective microscope of the poet’s eye and examined in excruciating and obsessive detail. This Gray’s Anatomy of the soul leads the reader on an inside-out voyage of discovery, with many surprises on the way. One of Italy’s most celebrated living poets, Valerio Magrelli has also attracted an international following, including luminaries such as Octavio Paz and Joseph Brodsky.
Translated by Luis Ingelmo and Michael Smith
“The Magnetic Brackets . . . is one of the liveliest and truest poetical testaments that a reader can tackle at these times of disbelief, of half-truths, of vacuity and passivity in thought. For this is one more gift from the book: where thought and feeling are perfectly merged.” —Antonio Colinas. Jesús Losada is the author of eleven collections of poetry, among them Huerto cerrado del amor (2nd prize, Premio Adonáis, 1994), La noche del funambulista (Premio Provincia, 1998) and Corazón frontera (Premio “San Juan de la Cruz”, 2010).
Centuries before modern museums, European wonder rooms housed artifacts and curiosities that mirrored the worlds of their collectors. In them, the New World met Old; superstition tangled with natural science; the monstrous roomed with the commonplace. In Allison Funk’s fifth collection of poems, Wonder Rooms, she is similarly in between: at once in the shelter of her childhood home and the chaos of a madhouse. Like Renaissance collectors before her, she invents a nomenclature to make sense of her world. Allison Funk is the author of four previous books of poems and the recipient of a fellowship from the National Endowment for the Arts.
The poems in Sunshine Wound leave behind, if not a “beauty mark,” an impasto. The lines are thick with grief but also phantasms that ambush us with a “manufactured light.” It is this dream power that exposes the vulnerable, whether it be the “forgotten” head of George Washington that “looks like it wants to speak” or a “cardboard fawn” on the verge of an “elegant collapse.” Relying on a protean poetic line, the poet improvises a likeness of America that is both genuine and synthetic, reminiscent and alien. L. S. Klatt’s second volume (Cloud of Ink) received the Iowa Poetry Prize.
Using a supple but precise idiom, Split the Crow chronicles the history of European settlers and the Indigenous Americans they sought to convert, assimilate and eradicate. A range of stories and voices are woven throughout the collection: those of Europeans such as Mary Rowlandson and Roger Williams; a native-owned African slave during the Civil War; and indigenous voices, some clear and attributable, others literal marginalia in European bibles. Sarah Sousa’s poems have appeared or are forthcoming in Apalachee Review, Barn Owl Review, and Spoon River Poetry Review, among others. Her first collection won the Red Mountain Press Prize and will be published in 2014.
Parlor Press’s poetry series, Free Verse Editions, is pleased to announce the sixth annual New Measure Poetry Prize, which will carry a cash award of $1,000 and publication of an original, unpublished manuscript of poems. Jon Thompson will judge this year’s competition. Up to four other manuscripts may be accepted for publication by Free Verse Editions editors. Submit a manuscript and a $28 entry fee between March 1 and June 30, 2014. Visit Free Verse Editions at Submittable for full guidelines: https://parlorpress.submittable.com/submit (after March 1)
Jon Thompson, Free Verse Editions Series Editor
David Blakesley, Publisher, Parlor Press
26 January 2013
Download a Print-Friendly Version
2012 New Measure Poetry Prize Winner
Selected by Jon Thompson
Dismantling the Angel, Eric Pankey’s tenth volume of poetry, collects prose and hybrid poems written over the last two decades. At times god-ridden, the poems enact and subvert the form of the parable, the not-so-good news of the gospel. At times whimsical, the poems question the veracity and stability of the autobiographical I. Always speculative, the poems nag at the threadbare veil between the known and as of yet to-be-known. By turns brooding and bemused, the poet turns his attention to a past that recedes as quickly as it can be approached, to the examples and lessons of art, film, and poetry—Max Ernst, Alfred Hitchcock, and Li Ho—and to the ordinary mess we call today.
The sixteenth of the twenty-five major works of Guillevic published by Gallimard since 1942, Requis represents a pivotal moment in his oeuvre and reaffirms his position as an essential and compelling voice in contemporary poetry. A long poem composed of short, lapidary verse that the poet calls quanta, each in itself a miniature poem, Requis distils familiar themes and motifs of the Guillevician universe within an expanded vision encompassing the outer reaches of space. Within this poetic hurly burly at once totalising and fragmented, arboreal and rhizomatic, cadenced and discontinuous, expansive and condensed, there is a summons to bear witness to the human condition while heeding the injunction of ‘notre toucher/De l’illimité’ that seeks to transgress the boundaries of knowledge, to abolish the dichotomies of presence and absence, motion and stillness, word and silence.
Negotiating a tightrope between narrative and lyric, Siobhán Scarry’s debut collection Pilgrimly keeps vigil over an assortment of wayfarers as they search for “something solid for the mutable world.” In these poems, Orpheus appears on the staircase of a house renovation, Narcissus emerges blessedly free from his lake fixation, and alchemists, nuns, and fortune-tellers all work their attempts at divination. At the heart of these soundings is a desire to find what binds us, and what wrests us apart, in our various belongings to one another. In the mostly prose poems that make up this collection, language and thought careen until they reach their limits, and then begin again, leaving resonant silences in the interstices. Through poems that carefully attend to language and resist easy closure, the collection testifies to the paradox that renewal cannot be willed, or simply waited for, but must arrive through devotion to the pilgrimage itself and with “eyes unstitched.”
Parlor Press's poetry series, Free Verse Editions, is pleased to announce the fifth annual New Measure Poetry Prize, which will carry a cash award of $1,000 and publication of an original, unpublished manuscript of poems. Up to four other manuscripts may be accepted for publication by Free Verse Editions editors. Submit a manuscript of at least 54 pages with a $25 entry fee between May 1 and June 30, 2013. Entries must be submitted electronically via Submittable: https://parlorpress.submittable.com/submit [active 1 May 2013 through 30 June 2013]. The judge for 2013 will be Carolyn Forché.
Jon Thompson, Free Verse Editions Series Editor
David Blakesley, Publisher, Parlor Press
A Journal of Contemporary Poetry & Poetics
"To conclude, I would like to offer a word of praise for the press. In an age when commercial presses are seeking out smaller manuscripts, Parlor Press is willing to publish a longer compilation of criticism such as this one. At the same time, there is no 'fluff'; the book is tight and—a tribute to both editor and press--cleanly edited. Not least important, the paper is of good quality, the typeface handsome, and the binding solid. My copy traveled by plane, train, and automobile across the Atlantic and suffered the usual indignities of academics' paperbacks, including the use of pens and pencils as bookmarks, all without significant wear. These production values, in combination with Kenneth Burke's quirky mind and Scott Newstok's judicious editing, make Kenneth Burke on Shakespeare an aesthetically pleasing as well as edifying read." (11/2007)
—Christy Desmet, The Upstart Crow 26 (2007): 124-28
Read more about Kenneth Burke on Shakespeare at the book's Web page.
Rob McLennan chooses Emily Carr's 13 ways of happily for his "Top 11 (Canadian) Poetry Books of 2011:
For immediate release . . .
The WPA Outcomes Statement—A Decade Later, edited by Nicholas N. Behm, Gregory R. Glau, Deborah H. Holdstein, Duane Roen, and Edward M. White, received the Best Book Award from the Council of Writing Program Administrators at its annual conference on July 17, 2015 in Boise, Idaho. The annual award honors the book that addresses issues of long-term interest to WPAs, makes a significant contribution to the scholarship of writing program administration, and serves as a strong representative of the best work in the field. This year's award recognized books published in 2013. In making its announcement, the award committee had this to say:
The WPA Outcomes Statement is a living document, and this edited collection reflects how the Outcomes Statement is adapted in different environments in response to different challenges. This edited collection explores several ways in which the WPA Outcomes have been used to develop curriculum and enact change at many levels. Because of the breadth and depth of the contributions, this book will be a useful resource for years to come. It's not only a retrospective, but a forward-looking work that provides ideas for institutions at all levels.
Co-editors Nicholas N. Behm and Duane Roen were on hand to receive the award. Gregory R. Glau, a professional photographer and co-editor, supplied the image for the book's cover.
The award marks the second consecutive year that a Parlor Press book received the award. In 2014 the award went to GenAdmin: Theorizing WPA Identities in the Twenty-First Century by Colin Charlton, Jonikka Charlton, Tarez Samra Graban, Kathleen J. Ryan, and Amy Ferdinandt Stolley.
For additional information, contact David Blakesley at Parlor Press.
Emily Carr, 13 Ways of Happily
“If ostranenie—‘to make strange’—is the mandate of contemporary poetry, Emily Carr has achieved this both brilliantly and beautifully. Kaleidoscopic in its glimmering slivers, the life she brings us is built of charged familiars slightly and completely changed: the sun turns on its stem; the stallion rolls in a pasture of blue ether. Although she references poetic antecedents from Wallace Stevens and William Carlos Williams to Joan Retallack and Mary Ruefle, it’s not their voices, but their facility for invention, itself here reinvented, that keeps waking us up into a world sometimes alarming, often unsettling, and always careening until we, too, arrive ‘delirious & shredded, sailing sideways through the greenly ravished vowels.’”
December 3, 2006
Parlor Press and Free Verse: A Journal of Contemporary Poetry & Poetics
Parlor Press is pleased to announce the new selections for its Free Verse Editions series. The books will be published in the fall of 2007. Contact: Jon Thompson (email@example.com), Series Editor. or David Blakesley (firstname.lastname@example.org; 765.409.2649)Free Verse Editions Press Release 2007 on Scribd Publish at Scribd or explore others: Poetry Literature
"It would be hard to summarize my views of Daniel Tiffany's book PUPPET WARDROBE without resorting to hyperbole. We all know there are dozens of undeservedly neglected poetry books arriving every year, but the mystery that surrounds this one is like that of the Mary Celeste, ominous and thick with Stygian gloom of the high seas. Tiffany should be a household name and not just for silver or breakfast! They should be carrying him on their shoulders when they win the Rose Bowl. You see, I'm at it already." —Kevin Killian (Amazon Top 100 Reviewer) at Amazon.com (10/2007).
Historical Studies of Writing Program Administration: Individuals, Communities, and the Formation of a Discipline, edited by Barbara L’Eplattenier and Lisa Mastrangelo (Parlor Press, 2004) has been selected for the Council of Writing Program Administrator’s Best Book Award for 2004-2005. The book is in the Lauer Series in Rhetoric and Composition, edited by Patricia Sullivan and Catherine Hobbs.
December 3, 2005
Free Verse Editions
Contact: Jon Thompson (email@example.com), Series Editor or David Blakesley (firstname.lastname@example.org; 765.409.2649)
Parlor Press and Free Verse: A Journal of Contemporary Poetry & Poetics
Parlor Press is pleased to announce the new selections for its Free Verse Editions series. The books will be published in the fall of 2006. They are:
Rich in river imagery, and filled with the sense of the passage of time, The Wash explores the incessant music that permeates journeys with destinations unknown. Interweaving the voices of John Clare, Audubon, Roethke, and others, the poems depict a landscape of loss in which language and images provide the only concrete platform on which to stand. Ending with an elegy for the self-portrait and an acceptance of the inevitability of decay, the speaker discovers "the stillness of frames both comforts and terrifies." Playing a lyrical voice against the limits of silence, The Wash uncovers the voices that can be made, and heard, both in and out of nature.
The poems in These Beautiful Limits delight in the transparency—and the obliquity—of language. Invested with a “jocoserious” sensibility, they explore the borders of language to see the ways in which language defines identity—not merely the language of meditation and philosophical inquiry, but also the quotidian language of everyday life that hovers on the edge of forgetfulness. The collection, which culminates in a long poem, “Hemp Quoits,” takes as its premise the assumption that the borders of identity are permeable with all the languages the self encounters on a daily basis. These poems value mobility and freedom, yet they recognize that we transact our affairs within borders: the body, the mind, the poem, the sentence, the phrase, the word, and that voyages of being are inevitably processes of discovery: “As long as what you write is in your hand/and my name is nowhere affixed,/ any connection will be conjectural…”
Lisk’s collection finds an aesthetics that comes with this risk taking with language, one that is affiliated with some of the experimental traditions of twentieth-century American poetry, but not simply reducible to them. Rather than talking about the world, These Beautiful Limits listens to it, and discovers in that attentiveness, paradoxes of time, history and desire that are both comical and elegiac.
For over 25 years, Nicolas Pesques has been writing a homage to St. Julien, the mountain he sees out his window. In this, the fifth book of the series, he weaves philosophical reflection in and out of an encounter with the body of the mountain, the body of language, and the human body that bridges the two. The spare, precise phrasing of Physis underscores the distance on which all landscape is based, seeking to understand how humans work to make a home here on earth.
Puppet Wardrobe is a pop-up book, surprise is in its element. In search of the “dateless lively heat” that Shakespeare sourced to Cupid, Daniel Tiffany mounts a Jarmanesque masque of punk pageantry and finds “the infamous promiscuity of things” in broad display. Here is delight in “making up”: these poems are trannies, the mind of each earning its costume through misdirection and imposture, enabling fictions that reconcile the cosmetic and the cosmic noise all in a fit. The poet may wear his “wide-awake hat,” but let him blush. It’s just a thank you to Vertigo, whose party’s not yet finished.
As watchword, you have Tiffany’s “slang for the pink redoubt,” the chummy vulgarity beneath prosody’s underthings, so where the sense is lost, canonical Paradise was unfounded anyway: say hello to the New Flesh.
For more about Free Verse Editions and the annual competition, visit the website:
David Blakesley: 765.746.0175 (Parlor Press); 765.4949.3772 (Department of English) (email@example.com) Mailing Address: Department of English, 500 Oval Drive, Purdue University West Lafayette, Indiana 47906; Fax: 206.600.5076 (ATTN: David Blakesley)
Parlor Press LLC is an independent publisher and distributor of scholarly and trade books in high quality print and digital formats. It was founded in 2002 to address the need for an alternative scholarly, academic press attentive to emergent ideas and forms while maintaining the highest possible standards of quality, credibility, and integrity. The Press's primary goal is to publish outstanding writing in a variety of subjects. Because the Press is unencumbered by the bureaucratic machinery of older publishing entities, the stress can be more on excellence and innovation than on marketability or pedigree. (This is not to suggest that these categories are mutually exclusive in every case.)
The Press is managed by scholars and specialists in their respective fields, presently covering fifteen book series, from initial peer review through production, distribution, and marketing. There are presently over 400 Parlor Press authors and another 75 developing new book projects. Parlor Press books have won numerous national awards as the best books in their respective fields. We have plans for growth into new areas, such as multimedia writing and other hybrid forms of print, visual, aural, and haptic media that can take advantage of new digital printing, publishing, and dissemination technologies.
Parlor Press benefits from sharp reviewers across the disciplines who have been chosen because of their expertise, experience, and willingness to consider innovative work in these representative areas (in alphabetical order):
We consider new work well suited to one of our series themes:
Aesthetic Critical Inquiry
Edited by Andrea Feeser
Free Verse Editions
Edited by Jon Thompson
Lauer Series in Rhetoric and Composition
Edited by Patricia Sullivan,Catherine Hobbs, Thomas Rickert, and Jennifer Bay
Lenses on Composition Studies
Edited by Sheryl Fontaine and Steve Westbrook
Edited by John Holbo
New Media Theory
Edited by Byron Hawk
Edited by Charles Ross
Rhetoric of Science and Technology << New
Edited by Alan Gross
Second Language Writing
Edited by Paul Kei Matsuda
Writing Program Administration << New
Edited by Susan H. McLeod and Margot Soven
Edited by Jeanne Moskal
One goal of Parlor Press is to republish in new editions or formats previously published work that has proven (unquestionably) to be a valuable resource for readers, writers, teachers, and scholars. Authors whose works have gone out of print and who retain the copyright to the work should contact the editor (firstname.lastname@example.org). Such works may be candidates for republication, subject to further review and/or revision. In some cases, a reasonable subvention may be required.
If you would like to read more about the publishing scene to which Parlor Press responds, you might find these items worth reading:
The founder and publisher of Parlor Press is David Blakesley, who is also the Campbell Chair in Technical Communication and Professor of English at Clemson University. His work as an editor and publisher includes The Writing Instructor, Rhetorical Philosophy and Theory (Southern Illinois University Press; series editor and founder), WPA: Writing Program Administration (production editor), and Pacific Review (managing editor). He has authored or edited five books: The Elements of Dramatism (2002; Longman), The Terministic Screen: Rhetorical Perspectives on Film (2003; Southern Illinois University Press; editor), Late Poems, 1968-1993 (2007; by Kenneth Burke; edited with Julie Whitaker), and Writing: A Manual for the Digital Age (2008, 2009; with Jeff Hoogeveen). His other research includes articles and hypertexts on writing, visual rhetoric, film, technology, and Kenneth Burke.