Floodgate Poetry Series Vol. 3

F Douglas Brown (Author) Enid Shomer (Author)
& 1 more
Available

Description

This is the third volume in the Floodgate Poetry Series, an annual series of books each collecting three chapbooks in a single volume, edited by Andrew McFadyen-Ketchum. Chapbooks--short books under 40 pages--arose when printed books became affordable in the 16th century. The series is in the tradition of 18th and 19th century British and American literary annuals, and the Penguin Modern Poets Series of the 1960s and '70s. This volume contains a poetry chapbook by Enid Shomer, another co-written by Cave Canem fellows F. Douglas Brown and Geffrey Davis, and a third co-written by brothers Anders and Kai Carlson-Wee.

Product Details

Price: $11.99  $11.03
Publisher: Upper Rubber Boot Books
Published Date: November 15, 2016
Pages: 150
Dimensions: 6.0 X 0.35 X 9.0 inches | 0.5 pounds
Language: English
Type: Paperback
ISBN: 9781937794811
BISAC Categories:

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About the Author

F. Douglas Brown is the author of Zero to Three (University of Georgia Press 2014), recipient of the 2013 Cave Canem Poetry Prize, selected by Tracy K. Smith. Brown holds an MA in Literature and Creative Writing from San Francisco State University, and is both a Cave Canem and Kundiman fellow. His poems have been published by The Academy of American Poets, The Chicago Quarterly (CQR), The Virginia Quarterly (VQR), The Sugar House Review, Cura Magazine, Vinyl Poetry and Prose Magazine, and Muzzle Magazine. Brown was featured in Poets & Writers Magazine as one of their Debut Poets of 2014 (Jan/Feb 2015). He has been an educator for over twenty years, and teaches English at Loyola High School of Los Angeles, an all-boys Jesuit school. When he is not teaching, writing or with his two children, Isaiah and Olivia, he is busy DJing in the greater Los Angeles area.
Enid Shomer is the author of eight books of poetry and prose, including The Twelve Rooms of the Nile (Simon & Schuster), which National Public Radio named one of the best novels of the year. Her work has appeared in The New Yorker, Poetry, The Atlantic, Paris Review, etc. She won the Iowa Fiction Prize for her story collection Imaginary Men, and the Florida Gold Medal in Fiction for Tourist Season: Stories. She has twice received fellowships in poetry from the National Endowment for the Arts. Longtime editor of the University of Arkansas Press Poetry Series, she received the Lifetime Achievement Award in Writing from the Florida Humanities Council.
Andrew McFadyen-Ketchum is a poet, professional editor, and educator living in Denver, CO. He is the author of a collection of poems, Ghost Gear; series editor of Floodgate Poetry Series: Three Chapbooks by Three Poets in a Single Volume; editor of Apocalypse Now: Poems and Prose from the End of Days; editor of Warning! Poems May Be Longer Than They Appear: An Anthology of Long-ish Poems (forthcoming); and founder and managing editor of PoemoftheWeek.org. Read his work and learn more at AndrewMK.com.

Reviews

Northern Corn invites us into a dream America is having about itself, wherein the voices are both the road and the kicked-up gravel dust, memory and the occasion for memory, the flame and its shadow. An entrancing investigation of place and self and other, a spell one never wants broken. -Michael McGriff, on Northern Corn by Anders Carlson-Wee & Kai Carlson-Wee The argument Northern Corn makes in poem after beautiful poem-the eyes are connected to the mouth is connected to the heart-is one I am glad is in the world. -Ross Gay, on Northern Corn by Anders Carlson-Wee & Kai Carlson-Wee The imagined and the unsaid collide head on with specifics so sensory they burn, they freeze, they illuminate, and they turn off the lights at once, leave you in a darkness where everything is at its brightest. These voices have kidnapped me. -Laura Kasischke, on Northern Corn by Anders Carlson-Wee & Kai Carlson-Wee Begotten captures the bliss, consternation and heart-thumping ruckus of being both parent and child. A wild and tender ride. -Tracy K. Smith, on Begotten by F. Douglas Brown & Geffrey Davis Brown and Davis riff off each other's work, while embodying in their virtuoso poems a rich chorus of familial voices. Raw, tender, headlong, and scared, these poems about fathers and sons walk the knife's edge of being a parent in the era of black lives matter... Begotten portrays fatherhood with dazzling originality. Don't miss this book. -Barbara Ras, on Begotten by F. Douglas Brown & Geffrey Davis Brown and Davis trade flows like an Old School hip-hop duo even as the speakers here trade subjectivities-a son to a father, a father to a son. But that very fluidity rhymes with slipperiness-how precarious the inheritance of father to child when to be someone's spitting image is to risk being worth the same as saliva on a street... Make no mistake, these are love poems, maybe because they are fatherhood poems, but likely because the poets want desperately to get fatherhood right(ed) despite their own unstable footing. -Douglas Kearney, on Begotten by F. Douglas Brown & Geffrey Davis In Driving through the Animal, Enid Shomer writes of her landscape the way a lover describes the body of their beloved; attention to each freckle, cleft, and scar. With crisp formalism and exquisite detail that calls to mind the sea-worn odes of Seamus Heaney and bodily-fluid-soaked lyric of Kim Addonizio, Enid has crafted an erotic and sobering love song for our dying world, one that asks us to glimpse "the perfume hoarded all day by bees" and insists, "through radiance and filth, through blubbering grief and parabolas of rage," that we not look away. -Kendra DeColo, on Driving through the Animal by Enid Shomer Shomer nudges her poems into place, trying to offer "a pure voice," never more endangered than now. -Jeff Hardin, on Driving through the Animal by Enid Shomer Enid Shomer's striking new chapbook, Driving through the Animal, takes the reader into timeless natural kingdoms and on to the immediacy of human relationship with the fluidity of water-back and forth, up and down we go. She gracefully exploits what language can accomplish and the way in which it bridges seemingly permanent distances. Many of these poems hang on the cusp of the temporal as in "a spangled globule on the oily feather of a bird." Such exactly seen miniscule imagery holds ephemera in space thus extending and slowing the reader's perceptive field. Delight in Enid Shomer as the record keeper of varied and shifting coastlines-those of vital literal and figurative substance. -Katherine Soniat, on Driving through the Animal by Enid Shomer