PUBLICATIONS
VIOLET INDIGO BLUE, ETC.
pamphlets
Dalia Barghouty was born in the Midwest in 1995 when the commercial internet was also born. She writes about, theorizes, hates, and loves American Media in Northern California.
“presently i am alive is lush. Dalia Barghouty is on a road-trip somewhere inside a computer, a map, and her succulent on the dash board of her text. ’To be sexy is to be immediate & it’s sexy to say yes,’ she writes, her finger pressed on the economies of desire, womanhood, and capitalistic ideals of pleasure. She sorts through the admiration of body, of lust, of want, kicking stones all the while as she reflects, ‘my dad immigrated to the u.s. for this —.’ Barghouty’s world is expansive, from the Midwest to the West, with Gemini moons and a funny, doe-eyed gaze stretching into Palestine. presently i am alive is hungry: for Palestine, screaming inside capitalism’s mazes and peaches as she roams through the American grid. Her collection is a rush of Lacanian paradigms, the American road-trip, and computerised worlds. Barghouty masterfully twists us along her grapevines, showing us the Dionysian summoning simmering in the mundane.” – leena aboutaleb, author of Expeditions of Projection
“Straddling several mediational limbs as it sings, screams, moans, and laments, Dalia Barghouty’s presently i am alive is a reflexive, glossy inscription spawned from the virtual loins of a Lacanian case history and an American road trip.” – Ranjodh Singh Dhaliwal
“Dalia Barghouty’s presently i am alive is a modern meditation on girlhood in the digital age, one that will make you laugh out loud and clutch your heart. At times, the collection feels like an indie comedy written by Diablo Cody, with clever innuendo (“This peach — a desert i mean — dessert !!!”) and odes to hypersexuality (“I want to ride you far and fast midwest to west”). Barghouty isn’t afraid to embrace the most feral parts of the femme experience, with a poem about self-pleasure and cyber sex sprinkled with heart and bow emojis and another about questioning the meaning of life in a one-sided conversation with a succulent. “To be sexy is to be immediate & it’s sexy to say yes,” she writes, going on to describe what American media tells women to want and be. presently i am alive feels less like picking the lock and reading a secret diary and more like reading through an unapologetically public LiveJournal—Barghouty doesn’t care who sees.” – Lauren Badillo Milici, author of Sad Sexy Catholic
Auden Lincoln-Vogel is a filmmaker. audenlincolnvogel.com.
“Although we won’t be carrying your work in the magazine, we are grateful for the opportunity to read and consider it.” – Kevin Young
“… we look forward to reading new poems in the future.” – Paul Muldoon
“Please do not call or email regarding the status of your submission” – The New Yorker
Alanna Offield is a disabled, queer, Chicana from New Mexico now living in the north of Ireland. Her poetry has appeared in Abridged, Dodging the Rain, Rust+Moth, Porridge Mag, Catatonic Daughters, and other publications. She is completing an MA in Poetry at Queen’s University Belfast. She is the owner of Seaside Books, an independent online and traveling bookshop.
“Alanna Offield’s debut pamphlet vibrates with authenticity while never for a moment sacrificing originality. Her intoxicating use of language never strays too far from the plainly sayable, and yet trips to Olive Garden with her mother, and to Wholefoods while carrying her soon-to-be-born daughter feel like crossings into another world, one so deliciously and ever so slightly askew. Channelling herself on occasion through celebrities such as Kim Kardashian, Bill Murray and Whitney Houston, Offield discovers something about herself, and in doing so offers up an honesty that is as courageous as it is introspective, achieving via her chosen avatars a new way to explore the ‘confessional’. A Native American, Offield’s New Mexico experience contrasts wonderfully with her experience in the North of Ireland, particularly Belfast, which becomes a kind of atavistic concrete Roswell where familial and romantic interactions can be coded and covert while remaining entirely recognisably human. Friends and family are remembered in elegiac, often humorous, tones reminiscent of Raymond Carver at his best, though the voice of these poems is utterly Alanna Offield’s. This is a new voice in every sense of the word. Reading this pamphlet made me wish I had what she has.” – Matthew Rice, author of The Last Weather Observer
“These poems fall somewhere between the urge to be the apple of the world’s eye and the urge to cook the same lover dinner every evening until death. Alanna Offield reflects on her heritage while suspecting the future may not be able to contain her. She writes confidently with a simple yet exciting aesthetic which never betrays the complexity of the ‘basic’ and never denies the subject its integrity or its dreams, whether those dreams come to pass or not. This is a book to make you fall in love with poetry again and Offield is our Poet Laureate of Trash, a position which I hope she keeps way longer than she ought to.” – Jake Hawkey
“This pamphlet begins in New Mexico, where ‘back home, the mountains/ are actually purple and aspens/ quake golden across them/ like they are covered in sequins.’ Here we find jingle dresses, the reservation and Rural Dental Services alongside Olive Garden and the Wheel of Fortune. The poems detour through the lives (real and imagined) of female actresses, musicians and models: Whitney Houston, Anna Nicole Smith, Lindsay, Britney, Paris, and more. These women become ‘that friend group…mysterious from some angles, dangerous from others,’ asking us to consider who we are and how we came to be. Finally, the speaker resurfaces – after a pregnancy and the deaths of loved ones – in Killowen and Belfast, contemplating the ‘ways that things could be left to dissolve.’ These bold and vulnerable poems are like mussels; each one offers the reader ‘the slimy guts and…a pearl.’” – Milena Williamson
leena aboutaleb is an Egyptian and Palestinian writer, primarily searching for fruiting trees to sleep under. She can be virtually located @na5leh on Twitter.
“the movement in leena aboutaleb’s dispatches weave all our usually compartmentalized dimensions together until we stop asking for directions. i don’t care when or how we are, because the Where is so visceral. the searching is How and it’s how we keep moving. we are in cairo we are in amman we are in hell we are in love and I don’t care about the destination because I want to stay inside of these poems, i want to follow the roving sharp eye of this poet and wind of her voice as it fills every space love has left behind. The simultaneous meditations and muchness of this textural collection ensures I will find and feel something new each time I return to it. I feel brave when I read these poems, like I’m a knife in my own pocket.”- Jess Rizkallah, author of the magic my body becomes
Abundantly anarchic and fastidiously crafted at the same time, this work is a love song for Palestine, Palestinians, diaspora, cities, seas, and love itself. leena aboutaleb is a poet unafraid to embrace a full, dizzying world of references, experiences—from Britney and crushes to Cairo and exile. How lucky we are to dance in the salt and shimmer of this “cosmos erupting.” – Chen Chen, author of When I Grow Up I Want to Be A List of Further Possibilities and Your Emergency Contact Has Experienced an Emergency
“This collection is a rush; Leena’s poems are text message & confession, love letter & manifesto, the vulnerable the political the beautiful all at once.” – Summer Farah, author of i could die today and live again
Projection is destabilized by its double meaning. It comes from the past to forecast the future; it emerges from one’s interior to shape relation in the now. In her exquisite chapbook Expeditions of Projection, leena aboutaleb moves in the flashes of this strobe, where binaries become beats that are riffed on and revised, and what happens in the dark meets what happens in the light to form a jagged, aching possibility that only becomes sexier for what evades the eye. The here and not-here of these poems is, yes, Ramallah and Amman and Cairo, but these lines aren’t mappable on anything that could be tacked to a classroom wall. To leave, aboutaleb’s poems remind me, is to be otherwise connected; to be far from is to nourish want—want, that place we might meet, become other than we are, and be more ourselves for it. How lucky to be transformed by this fierce, tender gathering. In compressed and crystalline language, aboutaleb writes with the candid intimacy of a best friend and the indelible style of a manicured nail: “breaking yr heart / is the sexiest way to break yr will.” – Claire Schwartz, author of Civil Service
EXTENDED FOLIOS
audrey robinovitz, Vriddhi Vinay, Fatima Zahra, Norah Brady, Phoebe Kalid, Jay Ritchie, Andrea Krause, Abigail Raley, Amy Jannotti, Gráinne Condron, Maggie Farren, Rachel Linton, Daphne Fauber, Rose du Charme, SG Huerta, Victoria Mbabazi, Samia Saliba, Bailey Cohen-Vera, Willow James Claire, Eros Livieratos, Nicodemus Nicoludis, Erika Walsh, Rafiat Lamidi, Ty Zhang, Jessica Hsu, Dominic Leonard, Evelyn Bauer, DeeSoul Carson, Christina Hennemann, David Joez Villaverde, Carson Jordan
Francis Hesketh, Bryce Baron-Sips, Ellie Black, Xochitl-Julisa Bermejo, T.R. San, Sarah Ghazal Ali, Sana Mohsin, Bailey Willes, Konstantin Kulakov, Tejashree Murugan, Megan O’Driscoll, Irteqa Khan, Sam Furlong Tighe, Feargha DeCléir NíChíannaigh, Megan Luddy O’Leary, Bailey Cohen-Vera, Lara Torea, Salonee Verma, Rachelle Toarmino, Rhiannon McGavin, Summer Farah
GUEST EDITED FOLIOS, ETC.
Sara Falkstad, Michelle Rochniak, Jannah Yusuf Al-Jamil, John Reed. Edited by Layla Maher.
Finlay Worrallo, Bryce Baron-Sips, Samantha Fain, Eve Kenneally
Grace Farrell, nat raum, Kiera Lee Murray, Samson Furlong Tighe, Layla Maher
Summer Farah, Kailey Tedesco, Bex Hainsworth, Chen Chen, Eric Abalajon, Jonah Corren, Savannah Brown, Supriya Kaur Dhaliwal, Alice Florence Orr, Gabrielle Cole, Naihan Nath, Megan Luddy O’Leary
Natalie Helsel, Julián Martinez, Yamini Krishnan, Will LaPorte, Lauren Kalita, Sarah Hilton, Julia Meinwald, Rowen Erickson, Summer Farah.
Yaz Lancaster, David Maduli, Madeline Corley, Carl, Lewandowski, Sandra Crouch, Mathilda Cullen, Victoria Mbabazi
Aida Bardissi, Rituja Patil, Lucia Gallipoli, Layla Maher, Lara Atallah, Laura Ma
Mahima Kapoor, Tasneem Maher, Sana Mohsin, Charlie Baylis , Danae Younge, C.M. Jones, Lauren Milici, D.R. Humble, Smriti Verma, Stephanie Valente, Zein Sa’dedin, Samson Furlong Tighe, Ava Chapman, Amlanjyoti Goswami, Jon Conley, Ren Gay, kyrah gomes, Ren Koppel Torres, Telegraph to a Constellation, Leah Kindler, Nick Edinger, Matt Mitchell in conversation with J.B. Stone, Prem Sylvester in conversation with Shivani Lalan, BRIE KIMBLE in conversation with Deirbhile Brennan
Ariana Brown, Jannah Yusuf Al-Jamil, lee baird, Imani Davis, Salonee Verma, James O’Leary, Amelia Crowther, Mariel Fechik, Emily Khilfeh, Pragnya Haralur. Edited by Summer Farah.
JP Seabright, Annalisa Hansford, Olumide Manuel, Clarice Lima, Avery Yoder-Wells, Salonee Verma
Alex Mountfield, Finlay Worrallo, Malvika Jolly, Emma Fuchs, Jannah Yusuf Al-Jamil
Monsoon 2021
Ronan Fenton, Juliannae Neely, Anushka Bidani, Jack Bigglestone, Ian Haugen, Jarid McCarthy, Niharika Yadav, Ishaan Chawdhary
Zenique Gardner Perry, Madina Malahayati Chumaera, Miceala Morano, Hayley Wu, Matthew O’Rourke, Laetitia Keok, Xinyi Jiang, Rebecca Ferrier, Sarah “Nnenna’ Loveth Nwafor, Marek Kulig, Evan Wang. Edited by Hua Xi.
Clarice Lima, Malvika Jolly, Jasmine Kaur, Alex Mountfield, Emily Tracy
Ben Seanor, Samia Saliba, Zach Peckham, Dalia Barghouty, Shivani Kshirsagar
Summer 2021
Bee Morris, Rituja Patil – Lihaaf, Stephanie Kaylor, Ellen Huang, Alyson Kissner, Aida Bardissi, Bailey Cohen-Vera, leena aboutaleb, Eva Griffin, dominic calderon, Willow James Claire, Mathilda Cullen, Dominic Leonard, Orchid Cugini