Yellow Arrow books

Experience, Treasure, and Know: Beyond the Galleons by Isabel Cristina Legarda

Yellow Arrow Publishing announces the release of our first chapbook of 2024, Beyond the Galleons by Isabel Cristina Legarda. Since its establishment in 2016, Yellow Arrow has devoted its efforts to advocate for all women writers through inclusion in the biannual Yellow Arrow Journal as well as single-author publications and Yellow Arrow Vignette, and by providing strong author support, writing workshops, and volunteering opportunities. We at Yellow Arrow are excited to continue our mission by supporting Isabel in all her writing and publishing endeavors. 

Beyond the Galleons by Isabel Cristina Legarda is a meditation on Filipino experiences of colonization, ancestral connection, alienation, and the ghosts that haunt people living in geographic or psychological diasporas. Isabel juxtaposes historic moments from the days of Spanish and American colonial rule with threads of real women’s lived experiences, to raise awareness of multicultural histories that might be less known or talked about.

Isabel was born in the Philippines and spent her childhood there before moving to Bethesda, Maryland. She holds degrees in literature and bioethics and is currently a practicing physician in Boston. Beyond the Galleons first looks at the complicated interactions between Filipino natives and their colonial subjugators, shifting from Spanish to American imperialism, and culminating in imagined individual voices descended from those who lived through these histories. Tagalog, baybayin, Spanish, and English weave together to help tell a sometimes forgotten, sometimes ignored history. Isabel’s poems contemplate longing, resilience, and the need to hold on to memory while moving forward beyond pain.

The cover design and interior images were created by Alexa Laharty, Yellow Arrow creative director. Isabel stated, “I am in awe of what [Yellow Arrow creative director] Alexa Laharty produced and absolutely love the cover. With no visual art ability or aptitude, I had only vague ideas as to what a fitting design would be, and she brought together images that really capture the themes of historic memory and cartography, literal and figurative, that I try to explore in many of the poems.”

Paperback and PDF versions of Beyond the Galleons are now available from the Yellow Arrow bookstore. If interested in purchasing more than one paperback copy for friends and family, check out our discounted wholesale prices here. You can also search for Beyond the Galleons wherever you purchase your books including Amazon, Barnes & Noble, and Kobo. To learn more about Isabel and Beyond the Galleons, check out our recent interview with her.

You can find Isabel on Instagram and Twitter @poetintheOR and connect with Yellow Arrow on Facebook and Instagram, to share some love for this chapbook. You can also share a review to any of the major distributors or by emailing editor@yellowarrowpublishing.com. We’d love to hear from you.

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Yellow Arrow Publishing is a nonprofit supporting women-identifying writers through publication and access to the literary arts. You can support us as we AMPLIFY women-identifying creatives this year by purchasing one of our publications or a workshop from the Yellow Arrow bookstore, for yourself or as a gift, joining our newsletter, following us on Facebook, Instagram, or Twitter, or subscribing to our YouTube channel. Donations are appreciated via PayPal (staff@yellowarrowpublishing.com), Venmo (@yellowarrowpublishing), or US mail (PO Box 65185, Baltimore, Maryland 21209). More than anything, messages of support through any one of our channels are greatly appreciated.

Dwelling in Possibility: A Conversation with Isabel Cristina Legarda about Beyond the Galleons

We are the vowels of our villages’ lives,
supplying meaning and depth, sometimes invisibly,
but ever-present in the stories unfolding.

“Reading Tutorial for a Jesuit Missionary, 1668”

 

If home is where the heart is, as the saying goes, for many people of diasporic communities, that heart is found within the stories of generations past and carried in the contemporary voices descended from that resilience and strength. Isabel Cristina Legarda is one of these voices. She is a writer and practicing physician residing in Massachusetts whose work speaks to her Filipina heritage, the lived female experience, and the multifaceted nature of identity.

Isabel’s debut poetry chapbook, Beyond the Galleons, is forthcoming from Yellow Arrow Publishing and will be released in April 2024. Beyond the Galleons is a meditation on Filipino experiences of colonization, ancestral connection, alienation, and the ghosts that haunt people living in geographic or psychological diasporas. This collection combines reflection on the echoes of historical events and rumination on the character of culture with a tribute to the strength of women the author admires, both known and unknown.

Beyond the Galleons is available for preorder (click here for wholesale prices)! Follow Yellow Arrow on Facebook and Instagram @yellowarrowpublishing for Friday sneak peeks into Isabel’s incredible words. Pick up your copy today and make sure to show your love to Isabel in the comments.

Melissa Nunez, Yellow Arrow interviewer, and Isabel engaged in conversation where they discussed the creative inspirations behind this collection and the process of forging compelling poetry from themes both delicate and complex. 

What inspired this project? Can you talk about how this idea developed into a poetry chapbook?

These poems were written over a couple of years, many of them in workshops led by poet Caroline Goodwin, a beloved mentor. (Shout-out to poet Diane Lockward, whose craft books we used and whose prompts generated so many poems in these workshops.) Being Filipina emerged as an important, recurring focus in my writing, and when I had a critical mass of poems written, I started grouping [them] together around that focus.

The dates, locations, and historical details included in your poems are a powerful thread throughout. What did the research for a collection like this entail?

I’ve had an interest in the Philippine-American colonial period for a long time. A few years ago, I found an eye-opening collection of political cartoons from that period entitled The Forbidden Book, some nonfiction work about the Louisiana Purchase Exposition, and first-hand accounts by American women who went to the Philippines as schoolteachers, including a diary I was able to physically handle and read at the Schlesinger Library [at Harvard University]. Those [words] inspired me to keep searching for articles about that period online as well as contemporary photos. I’m interested in Spanish colonialism, too, of course, and one day stumbled across what Father Alcina wrote about women being good readers, which made me want to explore those centuries as well. I could spend hours happily falling down these rabbit holes.

There is a strong message of feminine strength that simmers among these pages. Can you share a little of your personal experience with this strength and why it is important to share?

My widowed maternal grandmother got her PhD at Stanford [University], then became a respected professor of history at the University of the Philippines, all while raising my mom as a single parent. Years after her teaching career was over, her former students would rave about what a phenomenal teacher she was. My paternal grandmother, who came from a tiny island near Palawan, was a suffragist and a civic leader. Both of my grandmothers were wonderful writers. My mother started [medical] school at 17 and was a practicing pediatrician by her mid 20s. My mother and grandmothers are all survivors of war. I have another role model in an older first cousin, an attorney, who prosecuted a congressman for sexual assault of a child and won. I’ve been fortunate to have grown up surrounded by such exemplars of tenacity, integrity, and courage. When I’d feel discouraged or nervous about something, my mother would often remind me that the genes and spirit of these brave, intelligent, hard-working women are part of me. I’ve always seen women as strong-willed and capable of anything. I think it’s important to remind the world—and ourselves—that that’s who we are.


Orange clouds: not sunset,
but Manila burning in the distance.
//
How can I be brave like you . . .

“Far from the Tree”

 

Who are some female-identified writers who have inspired you and your poetry?

The first woman author who inspired me was Natalie Babbitt. I read her novel Tuck Everlasting when I was nine, and it was life changing. She showed me what language and story could do, in ways I had never encountered or imagined. I had the privilege of meeting her at a Q&A for kids at a bookshop I [now] miss, The Cheshire Cat in Chevy Chase, Maryland. Growing up I idolized mostly fiction writers: Madeleine L’Engle, Isabel Allende, Flannery O’Connor, Edith Wharton, and Zora Neale Hurston. For poetry there are so many now—almost too many to name. I’ve been inspired by Sandra Cisneros, Lucille Clifton, Paisley Rekdal, Pattiann Rogers, Caylin Capra-Thomas, Leila Chatti, Michelle Peñaloza, and of course my mentor Caroline Goodwin.

What was your process for capturing such strong experiences and emotions in such small spaces?

My writing almost always starts with an image I can’t stop thinking about. Sometimes it’s a line I “hear,” but most often it’s something I “see” in my mind—I’m a very visual thinker. If the image stays with me and really won’t go away, I eventually have to write about it. Usually there’s something about it that carries significant emotional charge, and if I keep close to the image while I write—follow its energy closely—that emotional charge can find a habitat in the emerging words. My poem about Saint Lorenzo Ruiz is one example of that process. He came and stood in a corner of my living room with his rosary and wouldn’t leave till I wrote that poem. Not literally or paranormally, of course—I don’t see ghosts or anything like that. But in my mind he waited there, patiently, silently, until the words were down. I was supposed to be working on a poem for a workshop based on a totally unrelated prompt, but I ended up turning in Lorenzo’s poem instead that week.

There is a rich discourse on language in the lines of your poetry. To what extent do you think a language shapes a person’s identity?

I think language and identity are inextricably entwined. (When I see people who are not genetically Filipino or Austronesian speaking a Philippine language fluently, I perceive them as having real insider understanding of our culture in ways that ethnic make-up can’t automatically provide.) I was raised in three languages—English, Spanish, and Tagalog—and I think that gave me early exposure to the way language not only forms but also reflects cultural difference and how we relate to the world. Language can shape our very reality, or at least how we think about it, depending on the language we use, but it also arises from the way we live in that reality in the first place. In the communitarian Tagalog culture, there’s not a great word for privacy as we know it in English; we have to borrow the English word, alter a Spanish word, or use an inexact Tagalog word for it. In English there isn’t an equivalent for gigil, sometimes translated as the uncontrollable urge to squeeze something cute, or nakakagigil, an adjective meaning “making you grit your teeth together out of delight,” for instance when seeing a cute baby (do non-Filipinos clench their teeth together when they find a baby cute?). Growing up with a word with no exact equivalent in other cultures, a word for a particular idea or experience, must surely shape a person’s self-concept and perception of the world.

(I actually just published a whole essay on this topic, in case you’re interested: herstryblg.com/true/2023/02/24-poetry-in-a-second-language-why-i-cant-fully-decolonize-my-life.)


No mere condiment, bagoong becomes a meal’s soul
in the way mere salt cannot, the secret of a dish’s complexity,
an ocean spirit possessing the food.

 “Bagoong Alamang”

 

I appreciated the vivid descriptions of Filipino dishes and delicacies in your work. Can you expand on the relationship between food and culture and its importance to the diaspora?

Food is most definitely a love language in the Philippines, and for Filipinos in exile, it is a lifeline home. We need to eat to survive, but we love to eat because of the sensory pleasure, contentment, and sense of home food has the power to bring us. I feel that sense of home, that kinship, any time I share a bowl of rice or a coconut milk-based dessert with someone, and we both close our eyes for a moment just savoring the morsel in our mouths. No words needed. Full understanding of a lifetime of experience in one moment. Shared moments over food bring a little warmth from home into our colder diasporas, console diasporic loneliness, and can restore a sense of identity and community when we feel a little lost or alone.

We released the gorgeous cover of Beyond the Galleons with this interview. What do you think about the final version?

I am in awe of what [Yellow Arrow creative director] Alexa Laharty produced and absolutely love the cover. With no visual art ability or aptitude, I had only vague ideas as to what a fitting design would be, and she brought together images that really capture the themes of historic memory and cartography, literal and figurative, that I try to explore in many of the poems.

What would you like your readers to take away from this collection?

I would like us Americans and us Filipinos to be aware that our shared history includes Americans putting Filipinos in a human zoo in Saint Louis as well as thousands of Americans dying on battlefields while helping us during World War II. I would like readers to understand that having your homeland or language or physical self or mental or spiritual self devalued, dismissed, assumed to be inferior, or taken away hurts deeply, but moving past trauma with dignity and grace can be redemptive, just, and peacebuilding. I would like people to know that Philippine women are a force to be reckoned with and deserved the power and equality they had before white men started to fear and subjugate it. Finally, I want readers to know that by virtue of our geographic reality as an archipelago that’s been a crossroads for so many cultures traversing the globe, Philippine history is complex and Philippine culture multifaceted, dynamic, flawed yet beautiful, worth caring about.

Are there any future projects you would like to share?

I’m trying to find a home for a second chapbook (a collection of poems I’ve written about the writing life). I’m also pursuing a years-long dream of completing a short story collection. Maybe, just maybe, I’ll go back to a novel I started working on but put away last year. I dwell in possibility.

You can find more about Isabel and follow her publication news on Instagram and Twitter @poetintheOR. You can order your copy of Beyond the Galleons from Yellow Arrow Publishing at yellowarrowpublishing.com/store/beyond-the-galleons-paperback. We’d love to get this collection out far and wide! If you know of any bookstore in your community or local school that would be interested in adding Beyond the Galleons to their shelves, please add a comment below or send an email to editor@yellowarrowpublishing.com.


Isabel Cristina Legarda was born in the Philippines and spent her early childhood there before moving to Bethesda, Maryland. She holds degrees in literature and bioethics and is currently a practicing physician in Boston, Massachusetts. She enjoys writing about women’s lived experience, cultural issues, and finding grace in a challenging world. Her work has appeared in America magazine, Cleaver magazine, The Dewdrop, The Lowestoft Chronicle, Ruminate, Sky Island Review, Smartish Pace, Qu, West Trestle Review, and others.

Melissa Nunez makes her home in the Rio Grande Valley region of south Texas, where she enjoys exploring and photographing the local wild with her homeschooling family. She writes an anime column at The Daily Drunk Mag and is a prose reader for Moss Puppy Mag. She is also a staff writer for Alebrijes Review and interviewer for Yellow Arrow Publishing. You can find her work on her website at melissaknunez.com/publications and follow her on Twitter @MelissaKNunez.

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Thank you, Isabel and Melissa, for sharing your conversation. Preorder your copy of Beyond the Galleons today. Yellow Arrow Publishing is a nonprofit supporting women-identifying writers through publication and access to the literary arts. You can support us as we AMPLIFY women-identifying creatives this year by purchasing one of our publications or a workshop from the Yellow Arrow bookstore, for yourself or as a gift, joining our newsletter, following us on Facebook, Instagram, or Twitter, or subscribing to our YouTube channel. Donations are appreciated via PayPal (staff@yellowarrowpublishing.com), Venmo (@yellowarrowpublishing), or US mail (PO Box 65185, Baltimore, Maryland 21209). More than anything, messages of support through any one of our channels are greatly appreciated.

Meet the Yellow Arrow Publishing 2024 chapbook authors

 
 

By Kapua Iao

From 2020 to 2023, Yellow Arrow Publishing has had the privilege of publishing 11 poetry chapbooks. In 2020, we released our first two chapbooks: Smoke the Peace Pipe (Roz Weaver) and the samurai (Linda M. Crate). Learning how to navigate the world of single-author publications and getting to know the authors was truly rewarding. Roz and Linda were and are fantastic writers and fantastic women. In 2021 we published three more incredible collections, No Batteries Required (Ellen Dooling Reynard), St. Paul Street Provocations (Patti Ross), and Listen (Ute Carson). And in 2022, as we formalized our chapbook submissions process, we had the privilege of working with three local, Baltimore authors with their collections The most beautiful garden (Nikita Rimal Sharma), when the daffodils die (Darah Schillinger), and What is Another Word for Intimacy? (Amanda Baker). This year, we found three more amazing poets who published Lifecycle of a Beautiful Woman (Ann Weil), Black girl magic & other elixirs (shantell hinton hill), and released last month, Swimming in Gilead (Cassie Premo Steele).

With 2024, we wanted to spark and sparkle and made some changes to our submissions process. First, we opened submissions to not only poetry chapbooks but also creative nonfiction and hybrid chapbooks. And second, we added a sliding scale fee so that we could better support and promote our authors while remaining accessible to all writers. We are thrilled to use the fees collected to pay our 2024 chapbook authors and to give a stipend to our creative director, Alexa Laharty, who designs each of our beautiful covers.

In two rounds over several months, we read through the beautiful submissions we received, first creating a longlist, then shortlist, and eventually selecting the three authors we would love to publish in 2024. It was difficult to email submitters to let them know our decision (writing an acceptance email is as hard as a decline as you never know how either message will be received), but the process is done, and we are so excited to work with the three chosen.

So, without further ado, let’s meet the 2024 Yellow Arrow chapbook authors!


Isabel Cristina Legarda

Beyond the Galleons

coming April 2024

Isabel Cristina Legarda was born in the Philippines and spent her early childhood there before moving to Bethesda, Maryland. She holds degrees in literature and bioethics and is currently a practicing physician in Boston. She enjoys writing about women’s lived experience, cultural issues, and finding grace in a challenging world. Her work has appeared in America Magazine, Cleaver Magazine, The Dewdrop, The Lowestoft Chronicle, Ruminate, Sky Island Review, Smartish Pace, Qu, West Trestle Review, and others. Find Isabel on Instagram and Twitter @poetintheOR.

Beyond the Galleons is a meditation on Filipino experiences of colonization, language conflict, loss of homeland, finding footing in new homes, ancestral connection, family, alienation, cultural agility, and the ghosts that haunt people living in geographic or psychologic diasporas. The poems within contemplate longing and resilience, and the need to hold fast to memory even while moving forward beyond pain. It is Isabel’s hope that this small collection can become part of the diasporic voices and joined multicultural histories that are not currently so well known or talked about.

What sparked your interest in writing?

Reading! My elementary and middle schools had wonderful libraries and librarians, and my parents actively modeled and encouraged a love of books, so I contracted bibliophilia at an early age. My father also recited poetry by heart, not infrequently, and between that and the word-centered liturgical traditions I grew up with, I was surrounded by reverence for language. Finally, I was fortunate to have had teachers who helped me find ways to channel some of that love of words and story into creative writing pretty early. (Thanks, Mrs. Riederer, for the journals you made us keep!)

What sparked your interest in Yellow Arrow Publishing?

When I found Yellow Arrow’s website, I was immediately drawn to [its] woman-centered ethos and active valuing of underrepresented voices. I felt a real sense of writerly community reading through the blog posts and the .Writers.on.Writing. section. I was also so impressed by the quality of work showcased in the journal. Yellow Arrow felt like the kind of safe space so many women writers are looking for.


Candace Walsh

Iridescent Pigeons

coming July 2024

Candace Walsh is a PhD candidate in creative writing at Ohio University. She holds an MFA in fiction from Warren Wilson College. Recent/forthcoming publication credits include for poetry, Sinister Wisdom, Vagabond City Lit, and HAD; for fiction, The Greensboro Review, Passengers Journal, and Leon Literary Review; and for creative nonfiction, March Danceness, New Limestone Review, and Pigeon Pages. Her craft essays and book reviews have appeared in Brevity, descant, New Mexico Magazine, and Fiction Writers Review. She coedits Quarter After Eight literary journal. Find her on Twitter, Instagram, and Facebook @candacewalsh.

Queer love, so often mischaracterized, contains multitudes. The poems within Iridescent Pigeons represent it in romantic, maternal, filial, platonic, symbiotic, erotic, and sylvan modes. They also hold love and loss in cupped hands. We are mortal; so is love. We have life spans; so does love, whether measured in dog years, golden anniversaries, or the number of hours of a tryst that will expire at dawn. Amid the loss, retrieval and rebirth stir within the included poems that inhabit and annex traditional and endangered forms, such as a [William] Wordsworthian ode, an homage to Gerard Manley Hopkins’ “Pied Beauty,” a cento composed of phrases from Virginia Woolf’s Jacob’s Room, and a triptych of Sapphic stanzas.

What sparked your interest in writing?

Before I could read and write, I scribbled in a marble composition notebook and proclaimed it writing. In first grade, I asked my teacher for an “empty book” so I could write a story in it and illustrate it. My guess is that listening to and reading stories sparked my interest in writing; my mother read to me every night from birth on. I wonder if architects, as children, look at buildings the way I looked at books: without a barrier between the object and one’s admiration, enjoyment, and the desire to create. A thread that has unspooled alongside me my whole life is at the root of writing as resistance: to make an indelible record of what has been ignored, diminished, gaslighted, or stonewalled in the form of conversation—or seems too volatile to say aloud.

What sparked your interest in Yellow Arrow Publishing?

I happily stumbled across Yellow Arrow’s call for submissions when I was researching poetry chapbook publishers while procrastinating finishing my novel. One of the best things about being a writer is that you can procrastinate very fruitfully if you put that energy toward another writing project. I also noticed a sense of readiness in the poems—that they were talking to each other and would be amplified in each other’s company. Yellow Arrow’s mission of supporting women-identified writers and honoring poets’ voices really landed with me, as I hold those values dear as well.

And, after receiving [the Editor-in-Chief] Kapua Iao’s wonderful, dream-come-true email, I learned that one of my dear friends and writing colleagues, Cassie Premo Steele, is also one of Yellow Arrow’s authors. I published Cassie’s gorgeous essay “Pregnant with Myself” in Greetings from Janeland: Women Write More About Leaving Men for Women (2017), a Lambda Literary finalist. Cassie and I are both queer women writers who are also mothers. We have a special bond.

I didn’t want to marginalize my mother self as a poet any more than I’d want to marginalize my queer self as a poet, and I feel so affirmed that Yellow Arrow Publishing enthusiastically accepted Iridescent Pigeons in an iteration that unabashedly reflects the ways motherhood and mother love are muses.


Julie Alden Cullinane

Ghosts Only I Can See

coming October 2024

Julie Alden Cullinane is a poet, author, neurodivergent, and mom in Boston. Her first publication was a poem in The Boston Globe at age 8; she has been writing ever since. After raising a family and working full time for many years as a young mom, she was able to return to her graduate studies later in life and earned her master’s in 2021, during the pandemic. Under the guidance of many amazing and supportive female professors, she began submitting her work for publication. She has published poems and short stories in 20+ literary magazines since 2020. She currently works in academia full time when she is not writing. Julie’s focus of writing is often on the untold seasons and shades of a woman’s life. She loves to highlight the dichotomy of the modern pressures on women and mothers, between having a successful career and an expected perfect domestic life. Her favorite writers are Eavan Boland and Anne Enright. When she is not writing she enjoys long naps on the couch with her beloved dog. She is currently knee-deep in a midlife crisis. It takes up all her time. She will definitely be writing about it. Find Julie at julie.wildinkpages.com/poetry or on Instagram or Threads @HerLoudMind and Twitter or Blue Sky @AldenCullinane.

Ghosts Only I Can See is a look back into the past, present, and future of women’s lives. It focuses not on literal ghosts, but the ghosts of our former selves as we navigate the world as women. Growing up in a world filled with many amazing, strong women, I was an avid spectator of their lives, their passions, and their trauma. Only when I was older and began experiencing life myself did I realize the tender weaving of women’s lives and the multitude of shared experiences that often do not get told because of societal shame and the pressures of perfection put upon them. But women have universal yet intimate experiences that are better understood when shared, which is why this collection of poetry and creative nonfiction peeks back in time to my younger self, the ghosts through time that only I can see. Ghosts Only I Can See unites and shares the painful and wonderful experiences of what is means to be a modern woman.

What sparked your interest in writing?

As a woman in the literary world and the real world, I am trying to tell my stories about the personally felt struggles that are uniquely experienced by women of all ages, colors, shapes, sizes, and economic backgrounds. As modern women, we often strive to do it all, have a career, be a great mom, be healthy and thin, be a good spouse, be a writer and a friend. The limits as well as the expectations put on women are exhausting, confusing, and rarely exposed in literature. I feel these stories often don’t get told because of fear of shame of not being perfect. In my chapbook, I examine many pivotal moments in a woman’s life that often get overlooked. Women who are going through postpartum depression, women who are grieving, women who are fighting their own bodies, and women who love, think, and are passionate. Living in the world as a grown woman is such a beautiful, colorful, and often heart-wrenching experience, reading each other’s stories about shared experiences with existence, pain, and love can only unite us and make us stronger. This is the ultimate goal of putting my stories out into the world. To let women know they are not alone in all the magnificent, strange, and painful things that happen in their lives.

What sparked your interest in Yellow Arrow Publishing?

I was immediately drawn to the message that Yellow Arrow believes in and posts on its website. Their support of woman-identifying authors and under-represented female voices perfectly aligns with the stories I am trying to tell in my chapbook. As I was looking for a press to send my work to I couldn’t have found a better fit for submission than Yellow Arrow.


We can’t wait to work with Isabel, Candace, and Julie next year but would like to acknowledge all the incredible collections we received in the summer. In particular, we would love to give a shout out to both our longlisted (part of the top 20) and shortlisted authors (part of the top 10).

Meet our shortlisted authors:

Elizabeth Crowell

Michele Evans

Laura Foley

Pauline Joyce Lacanilao

Francesca Moroney

Lore Nissley

Beth Oast Williams

 Meet our longlisted authors:

            Keidra Chaney

            Nicole Friedman

            Jessica Gregg

            Wendy Kagan

            Inna Krasnoper

            Thomasin LaMay

            Kathryn Paul

            Amanda Russell

            Terry Sann

            Shizue Seigel

Thank you to everyone who took the time to send your words to us. Every writer has a story to tell and every story is worth telling. We are so proud of everyone we publish at Yellow Arrow.


Yellow Arrow Publishing is a nonprofit supporting women writers through publication and access to the literary arts. You can support us as we SPARK and sparkle this year: purchase one of our publications from the Yellow Arrow bookstore, join our newsletter, follow us on Facebook, Instagram, or Twitter or subscribe to our YouTube channel. Donations are appreciated via PayPal (staff@yellowarrowpublishing.com), Venmo (@yellowarrowpublishing), or US mail (PO Box 65185, Baltimore, Maryland 21209). More than anything, messages of support through any one of our channels are greatly appreciated.

Just Keep Being: Swimming in Gilead by Cassie Premo Steele

Yellow Arrow Publishing announces the release of our final chapbook from 2023, Swimming in Gilead by Cassie Premo Steele. Since its establishment in 2016, Yellow Arrow has devoted its efforts to advocate for all women writers through inclusion in the biannual Yellow Arrow Journal as well as single-author publications and Yellow Arrow Vignette, and by providing strong author support, writing workshops, and volunteering opportunities. We at Yellow Arrow are excited to continue our mission by supporting Cassie in all her writing and publishing endeavors.

Swimming in Gilead takes us through the journey of a woman who, empowered to express herself through the feminist spirit of a writing group, explores what it means to be a woman and an ally in an era of uncertainty. In the summer of 2020 as the pandemic was raging, Cassie joined a group of six women—three from Canada and three from the United States, four white and two women of color, and five lesbians and one straight—to sit and write remotely once a week. They called themselves the Sisters of Gilead, strangers who came together during the loneliness and terror of the pandemic and in the process, helped each other survive. And they helped each other write.

Cassie is a lesbian ecofeminist poet and novelist who lives in South Carolina with her wife. Her collection of poetry is her call to action, an invitation to each of us to examine what is within, and how, with the support of feminist advocates as friends, we can make something beautiful out of our “torn parts.” The poems within Swimming in Gilead were written under the loving kindness and acceptance of the Sisters of Gilead. By opening into vulnerability, the poems show readers how to “swim in Gilead” with hope and perseverance even as our rights as women are being ripped away.

The photograph used on the cover of Swimming in Gilead is by Sofia Tata (sofiatata.com) and cover design was by Alexa Laharty, Yellow Arrow Creative Director. According to Cassie, “The combination of sea and land formation creates an image of a woman in silhouette and draws readers into an intimate dialogue with the poems.”

Paperback and PDF versions of Swimming in Gilead are now available from the Yellow Arrow bookstore. If interested in purchasing more than one paperback copy for friends and family, check out our discounted wholesale prices here. You can also search for Swimming in Gilead wherever you purchase your books including Amazon, Barnes & Noble, and Kobo. To learn more about Cassie and Swimming in Gilead, check out our recent interview with her.

You can find Cassie on Facebook, Instagram, and Twitter and connect with Yellow Arrow on Facebook and Instagram, to share some love for this chapbook. You can also share a review to any of the major distributors or by emailing editor@yellowarrowpublishing.com. We’d love to hear from you.

*****

Yellow Arrow Publishing is a nonprofit supporting women writers through publication and access to the literary arts. You can support us as we SPARK and sparkle this year: purchase one of our publications from the Yellow Arrow bookstore, join our newsletter, follow us on Facebook, Instagram, or Twitter or subscribe to our YouTube channel. Donations are appreciated via PayPal (staff@yellowarrowpublishing.com), Venmo (@yellowarrowpublishing), or US mail (PO Box 65185, Baltimore, Maryland 21209). More than anything, messages of support through any one of our channels are greatly appreciated.

What Matters: A Conversation with Swimming in Gilead’s Cassie Premo Steele

Every sound from my mouth
is sacred, holy prayer.
I am the priest and the power.

“Declaration”

 

Cassie Premo Steele is a passionate ecofeminist writer and seasoned author who holds a PhD in comparative literature and women’s gender and sexuality studies. She currently resides in South Carolina but enjoys connecting with other writers and audiences by participating in events and readings across the country both virtually and online. You can find video clips from several events on her website cassiepremosteele.com.

Cassie’s poetry chapbook Swimming in Gilead will be released by Yellow Arrow Publishing on October 10, 2023, and is now available for preorder (click here for wholesale prices)! Follow Yellow Arrow on Facebook and Instagram for Friday sneak peeks into Swimming in Gilead. This collection of poems deals with themes of identity and relationship, the creative witness to collective trauma and healing, and respect for the seasons of ourselves and our world. The incredible photograph used on the cover of Swimming in Gilead is by Sofia Tata (sofiatata.com). According to Cassie, “The combination of sea and land formation creates an image of a woman in silhouette and draws readers into an intimate dialogue with the poems.”

Cassie engaged in a dynamic conversation through email and over Zoom with Melissa Nunez, Yellow Arrow author and interviewer, where they bonded over a shared admiration for powerful feminist writers like Gloria Anzaldúa and the call for restoration and balance in the world.

Can you share some of your writing background and your journey to writing Swimming in Gilead?

I went to an all-female Catholic school called Immaculata for high school. I know many people hate high school, but I actually loved it. I would consider the nuns and the teachers there as feminists who were really empowering. They saw us as intellectual women who would make a difference in the world.

I was the president of the student council my senior year, which was the same year the bishop announced that he was going to close the school. His reasoning was to blame the girls for not becoming nuns after graduating, but that was a form of scapegoating, blaming the victim, gas lighting, all of that.

When the announcement was made, I called everyone to the auditorium, and we literally took over the school. I said, “This is not OK. We’re gonna fight back against this.” We created a plan for letting the media know what was happening. We lost in the end, but it was really an example in contrast for me showing that feminist community is possible. We felt that connection as had the generations of women who had gone there before. We also experienced how it can be destroyed with one flick of the pen. This experience, which generations of women, and immigrants, and people of color, are all too familiar with.

This experience stayed with me. I went on in my life. I got a PhD, I taught at the university level, I became a stepmom and a mom. I came out and married my wife. I went through a lot of changes. But always that idea of that Gilead-type community stayed with me, like a seed.

At the beginning of the pandemic, I had a sense that we needed to do the things that were really important to us. I enrolled in a class taught by Natalie Goldberg (who has also been a mentor to me in terms of reading her work). It was mostly recorded lessons, but there were some big group sessions that were live with her, which was wonderful. It had people from all around the world in it. They randomly put us into small groups of like six or seven people. Her method is that you get a prompt, you write for 10 minutes, you read your work, and your group listens but does not comment. So, it’s not really a writing workshop, but more a witnessing to each other. And there was a woman in that first small group who was sobbing while I was reading, and she individually messaged me and invited me to join a writing group. And I said, yes.

I ended up in a group with six women. Three were from Canada and three from the United States. If you remember that summer the killing of George Floyd had happened, then there were unmarked black vans rounding up people in Portland, Oregon, our COVID rates were through the roof. We started meeting weekly and as we were sharing, we realized those of us in the United States couldn’t really even feel what was happening to us. I realize as a trauma scholar that you can’t really know the trauma until it’s over, and as we were living through a collective trauma at that time, people from the outside could have the emotions for what was happening in a way that we couldn’t here in the U.S. Many of the poems in the collection were written during these group sessions with these women, the Sisters of Gilead, which is what we started calling ourselves as inspired by The Handmaid’s Tale.


Everything matters.
No matter how light or slight,
all matter weighs something.
You matter, too.

“Six Things the Feather Taught Me”

Which women-identifying writers inspire you? 

I think of myself as having a poetry team made of women such as Audre Lorde, Gloria Anzaldúa, Anne Sexton, Louise de Salvo, Joy Harjo, and Marilou Awiakta. All these women, whether here on earth still or not, are very much alive and active in my mind and body and soul.

Audre teaches me the creative power of difference when we break the many silences that try to teach us to be afraid. Gloria tells me the spirit is an animating and healing force in both individual and collective trauma. Anne allows me to cherish my sexual power and the power of laughter. Louise reminds me to keep some things secret because they are too sacred to be shared. Joy sings of the joy of the land, in the land, and in our bodies, which are also land. And Awiakta, who goes by her chosen Eastern Cherokee name, reminds me of the Native, indigenous, and female roots of our national government, which we are still coming to terms with as a continent and as a world.

How did you connect with Yellow Arrow Publishing?

Poets & Writers Magazine did a feature on the press, and I looked it up immediately. There seemed to be something speaking to me about the mission, the vision, the ethos. I’d recently typed up all the writings I’d done with my writing group called the Gilead Sisters over the course of the pandemic, and I went back into that document and, like a block of marble, began to chisel out what felt like the right shape for this book. I sent the manuscript to several writer friends for feedback, listened to them, made changes, and kept shaping until I was sure this was the book I wanted to send, and then I sent it.

Yellow Arrow was the only place I sent the manuscript. And I got the email of acceptance a few months later, on October 15, which is my grandson’s birthday.

Do you have any writing rituals you routinely follow?

Most mornings after making tea, I light a candle on my altar, which holds an arrangement of stones and feathers and spiritual objects depending on the seasons and cycles in the natural world, and I meditate, and write in my journal, and watch the sun come up with that delicate blue light on my skin and on the fur of my dog, Lenny, sleeping next to me as I write. By the time my wife begins to stir in the kitchen, putting away dishes and making her coffee before work, I feel my most important work of the day is done. Everything else—emails, paperwork, scheduling, revision, submission—all the work of being a writer is just gravy, is easy, and flows smoothly because I’ve had this time with my pen in my hand moving on the page, making a sacred circle with my belly and my heart.


 
 

My hand with a pen.
Writing it down.
Rhythm.
Calm in heart and limb.

There is no end.
The story keeps going.
One word at a time.
Beyond mind.

“Writing”

Can you speak a bit on the ecofeminist perspective and how it informs your writer’s voice?

Ecofeminism is a word I use as a shorthand to describe what I do as a writer, but it’s beyond words, this sense I’ve always had, even as a child, that the world is alive and “alove,” a breathing, living, knowing, speaking being that loves us and created us and is connected to us and actually, deeply, is us.

We have, in the west, in the patriarchal and global capitalist, linear world, mostly forgotten this. And it’s why we’re dying. Our physical and mental and emotional and environmental illnesses—these are all warning lights flashing and beeping and sounding the signal for us: Remember! Remember! Remember!

My intention with all my writing is to help us do just that. This book is a reminder of the balm in Gilead, too.

I love nature imagery and am drawn to writers that include it. These images can be perceived as universal but utilized in ways that are very specific to each author. How is the natural world reflected in your work? 

Because of my sense that the world is “alove,” I would say that the natural world is not just reflected in my work but speaks in and through it. I remember the morning after my wedding when I heard the flowers singing to me in the voices of goddesses like Juno and Hestia and Demeter, the ancient female figures who still carry the memory of what it means to be a woman and a wife and a mother.

It’s there in the flowers and in the beautiful petals of our own flowering female bodies.

It’s in the mother daughter tulip poplar trees in our backyard who told my wife and me, “You are home now. Unpack your pasts and stay. We will shelter you.”

We discovered later that the ancient names of these trees are connected to the names Susanne and Lily, which are the names of my wife and daughter. The names are still there. We need to remember to listen.

Can you elaborate on the moon as symbol in your poetry?

The moon is my witness and companion. As I said, I wake early most mornings, and I greet her in the dark. She teaches me about change and staying consistent through the changes. Sometimes she is increasing as I am working toward a goal or the completion of a writing project. Other times she is full and says, “Sit. Light a fire in the backyard with other women. Celebrate.” And then there are times when she decreases and I’m reminded that I need times of rest, too.

When my daughter was in elementary school, I enrolled her in an aftercare program, even though I had no clients to see or classes to teach in the late afternoons, so I could take a nap if I wanted to before picking her up. I once admitted this to an audience at a women’s and gender studies conference, and there were gasps. We’re not supposed to take care of ourselves like that as women, as mothers. And there’s something very wounding about that—not only for the women but for the children.


The sun bleeds peach tea,
and the mother tree lights
her leaves and drips yellow
sweet from cups as the day
goes belly up . . .

“Tuesday Night”

 Many of the poems in this collection involve movement and growth. Are these important themes for you as a woman and as a writer?

Everything in nature is always moving and growing in the right seasons. If a tree stops putting out leaves, it’s either winter or something is wrong. But our economic system has taken this beautiful proficiency and abused it, so we feel we always have to be producing. This is injurious to our bodies, minds, and spirits, especially as creative people who must maintain our ability to be sensitive in order to do our most important work.

The metaphors of movement and growth in my poetry are reminders that we don’t really have to try and push and strive as much as we think we do. The wisdom of the woman’s body and the natural world teaches us that periods and seasons and cycles happen whether we try to control them or not. I’m talking about a kind of surrender that is not a loss, not measured in economic terms, but is a gathering and an embrace. A profit that profits every living being.

One theme that comes across very clearly in this collection is that of woman wisdom. What would you tell your younger self?

I would tell my younger self one thing:

Good job.
Good job.
Good job.
Good job.

No matter what you think you’re failing at, you’re doing a good job.

What woman wisdom are you hoping to dispense in these poems?

I would hope that one thing a person reading the poetry collection could do no matter what their identity markers would be is to ask themselves: Where is my power and how am I free?

I do think that there is an essential freedom of consciousness that we each have as human beings. I would even go so far as to say that a lot of nature also has this kind of consciousness, but in reference to humans in this context, I think sometimes we focus too much on the horizontal plane of existence.

And what I've learned from teaching writing with women over the years is that when we focus externally, we give away a lot of our power because the deep voice of creativity and wisdom comes from that vertical alignment with who we are that changes over the course of our life. It is separate from external circumstances. It must come from inside us. As much as we might ask the external world to grant it to us, it must exist within us first.

When readers encounter the poems in Gilead, I hope that they feel that very deep strength and faith in themselves and who they are.


We speak.
We listen.
We survive.
We survive.

“No Certainties” 

What writing or publishing advice would you share with other women-identifying writers?

When my stepdaughter was seven years old, she came home from school and asked me, “Do you know how many elections Lincoln lost before he won one?” I stared at her because I knew she wasn’t asking me to show off her newfound knowledge or to engage in trivia with me.

She was saying, “Keep going. All the rejections you’re getting now are preparing you for what is to come.”

I loved that kid with all my heart then, and still do. She taught me so much about the love lessons we can learn as stepmothers—about loving those who are in our families that we did not choose—and the fact that she and her wife with their two children live near my wife and me means that, like Lincoln, I feel I’ve won the really big election of life.

What I’m trying to say is that you let the writing come and you work and love with all your heart and you send the writing out for publication and it’s a long game. You’re in it for life.

Did you want to share some of your experience in attendance of the Woody Guthrie Poetry Festival? Do you do a lot of speaking events? How important do you think they are for a writer?

I just returned from Oklahoma where they hold this music and poetry festival each year, and I have to say that just physically being with other writers is so powerful now that we know what it's like not to be together. I think it reminds us that we have bodies and that these bodies are important and connected to the environment. They’re probably more important than our minds really. If we start to really care for the body and see it as sacred, as something that needs to be healthy and in balance, then we can see our connections between what’s happening here and what’s happening in the earth.

I am really comfortable in front of a crowd. It’s actually easier for me to get up on a stage than to do small talk at a party. I tend not to know what to do besides talk about the weather. I want to go very deep right away and not everybody wants to do that. If I have a microphone, I can go there. I know they wanted to be here, to listen to me and my poetry. I think I have always been kind of bossy and a teacher and it’s easy for me to lead. I love giving readings. I love teaching workshops. I love feeling like I’m helping to create a safe space for people to listen, to think, to feel, to write. When I give a poetry reading and I see people in the audience crying, I feel like I hit a home run because that's really what I want. Not for them to be sad, but to feel so moved and so safe that they can feel whatever is coming up for them and express it freely.

Do you have any future projects you’d like to share?

In November, I have a novel called Beaver Girl coming out. I’m excited about this because it takes a lot of the themes from Swimming in Gilead and puts it into a narrative format. The main character is a 19-year-old girl who has been through a pandemic and climate collapse. She wakes in her house to wildfires that are encroaching upon her neighborhood, and she goes into a national forest to try to escape the wildfires. There she befriends a beaver family. The reader learns about beavers as a keystone species for our environment. For example, most of Texas and New Mexico, which we think of as desert areas now, were lush green forests before the Europeans got rid of all the beavers for the fur trade. Beavers create these wetland areas and even after an individual family has moved on those beaver ponds become part of the water table, which can help us during times of drought in later years. So, it’s a bit of a morality tale about what we have done to help bring about climate disaster. It is also set in the kind of postapocalyptic time and shows what beavers and humans could do together to restore faith and strength and a sense of family and community. That will be out on November 15th.

You can follow updates on Cassie and her writing on Twitter @premosteele and her website cassiepremosteele.com and can order your copy of Swimming in Gilead from Yellow Arrow Publishing.


Melissa Nunez is a Latin@ writer and homeschooling mother of three from the Rio Grande Valley. Her essays have appeared in magazines like Hypertext and Honey Literary. She has work forthcoming in Lean and Loafe, Fahmidan Journal, and others. She writes an anime column for The Daily Drunk, interviews for Yellow Arrow Publishing, and is a staff writer for Alebrijes Review. You can follow her on Twitter @MelissaKNunez

Cassie Premo Steele, PhD, is a lesbian ecofeminist poet and novelist and the author of 18 books. Swimming in Gilead is her seventh book of poetry. Her poetry has won numerous awards, including the Archibald Rutledge Prize named after the first Poet Laureate of South Carolina, where she lives with her wife.

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Thank you, Cassie and Melissa, for sharing your conversation. Preorder your copy of Swimming in Gilead today. 

Yellow Arrow Publishing is a nonprofit supporting women writers through publication and access to the literary arts. You can support us as we SPARK and sparkle this year: purchase one of our publications from the Yellow Arrow bookstore, join our newsletter, follow us on Facebook, Instagram, or Twitter or subscribe to our YouTube channel. Donations are appreciated via PayPal (staff@yellowarrowpublishing.com), Venmo (@yellowarrowpublishing), or US mail (PO Box 65185, Baltimore, Maryland 21209). More than anything, messages of support through any one of our channels are greatly appreciated.

Embers Glowing Hope in a Very Dark Time: The Spark that Began Swimming in Gilead

By Cassie Premo Steele, written in February 2023

I love fire.

As an Aries, the first sign in the Zodiac, I am a fire starter, a lead taker, a fast beginner.

I love the spark.

The kindling of wood in the mind that means a new idea, a new poem, a new book is on the way.

And I especially love the way that when I’m writing, the fire begins to feed on itself, as page after page is lit by word after word.

Some people call it flow.

That’s too watery for me.

It’s a conflagration.

During the collective quarantine portion of the pandemic, I began taking a writing course with Natalie Goldberg that included sitting and writing and listening sessions by Zoom with people from all around the world who were attending the course.

Hundreds of people, strangers, ordinary humans in their homes, connecting through the light of video conferencing.

Like embers glowing hope in a very dark time.

I attended the first large group meeting on a Wednesday afternoon. We started out by sitting together, silently meditating with hundreds of people from all over the world. Then we were given a writing prompt and we wrote for 10 minutes in our journals.

After silently writing, we were divided randomly into small groups of six or seven people, where we were supposed to read our writing to each other, and more importantly, listen.

Natalie Goldberg says 90% of being a writer is listening.

I mentioned this little lit coal of wisdom in my book Earth Joy Writing, which I’d published years before, but I never really felt its blaze in my belly before listening to strangers from around the world during a pandemic.

During that first small group session, there was a woman who listened so hard to what I was reading from my journal that she cried.

I wasn’t saying anything out of the ordinary. Just talking about the virus and how my wife and I had both been sick in March after our daughter came back from visiting New York City and how cases were spiking in our very red and southern state and how Trump wanted to take our marriage away and our grief and anger at the death of George Floyd and how we cut out brown and black letters spelling Black Lives Matter and taped it up in our front window and what it means to live as married lesbians in the south.

Ordinary topics to me.

The prompt had been, “I don’t know . . .”

The woman, a few seconds later, reached out to me in the chat and told me she was very moved by my writing. I wrote back, giving her my email address to contact me, and as soon as the class was over, she did. Something was kindled.

It turned out that we were both lesbian mothers of daughters and that our daughters were around the same age, and that she was an American, but she was living in Canada.

“I just feel so sorry for you there,” she said. “It’s horrible what is happening.”

I had not had anyone from outside the United States express this to me: how sorry they were.

It fired up something deep inside me.

She then asked if I wanted to be part of a small listening group with a few other members of the class. She said she could post something on the course board (which I’d visited once but felt overwhelmed) to see if others wanted to join us.

I said yes.

She asked if I thought it would be a good idea to focus the invitation on LGBTQIA people.

I said yes.

In addition to being a lesbian and a mom and a writer, she was a teacher and a leader, too, and I was able to sit back and allow her to do this.

Her listening fire had started all this.

A couple of weeks later, the two of us met with four other women by Zoom. We used the same structure as Natalie did in her classes. After checking in briefly, introducing ourselves and saying where we were geographically, we sat for five minutes, wrote for 10 minutes, and then read what we wrote.

No comments. No evaluations. Just listening.

And as Natalie said in that initial large group meeting, “Listen without judgment so you can allow the other to be free. And in so doing, you can gain the courage to be free yourself.”

Ironically, three of the women were in Canada and three in the United States.

A few weeks into our meetings, one of the women in Canada started crying during her check-in, saying she’d been watching what was happening in Portland, protestors being rounded up in unmarked vans by an unmarked, and violent, police force.

The three of us in the United States were not crying about this. We knew about it. Two of us were even women of color. We were concerned, of course.

But it took someone from the outside to bring the ignition we needed to see and feel what was happening.

When you’re inside something, it can be hard to see clearly until someone else brings in a light.

We started calling ourselves Sisters of Gilead.

Gilead is the name of the nation that the United States becomes after it is taken over by a misogynistic, totalitarian regime in Margaret Atwood’s novel The Handmaid’s Tale, which became well-known in the years of the Trump administration because it aired on streaming services and was watched around the world.

I first read the novel when I was in graduate school. It wasn’t assigned for a course. I don’t remember many books by women ever having been assigned when I was doing my undergraduate and master’s degrees.

I read it the summer between my two years of getting my master’s degree, and I remember feeling like my mind was on fire.

The woman’s body, I realized, is a powerful thing. So powerful that men fear it and hate it and want to control it.

Because it has a power that they can never possess.

The power to give birth.

But as I began reflecting on the power of women throughout history, and the power of that one novel to ignite women from all over the world to their own present condition, and the power of our tiny group of women and the deep compassion that we were sparking for each other and in ourselves, I also became curious about the word Gilead itself.

And I learned that in Hebrew, it means “a heap of stones of testimony.”

It is an actual geographical space, yes, but it is also about what happens when we testify, when we speak and write and read and listen and tell the truth about the stories of our lives.

What we know. What we don’t know.

What we feel. What we cannot feel because the heat is too great, and we must wear protective gear.

Gilead first appears in the Bible in the Book of Genesis when Jacob and Rachel seek refuge there: “Thus he made his escape with all he had. Once he was across the Euphrates, he headed for the highlands of Gilead.” (Genesis 31: 21)*

It was there that Rachel hid the images that were sacred to her faith, now being overtaken by a new faith: “Now Rachel had taken the images, and put them inside a camel cushion, and seated herself upon them. When Laban had rummaged through the rest of her tent without finding them, Rachel said to her father, ‘Let not my lord feel offended that I cannot rise in your presence; a woman’s period is upon me.’ So, despite his search, he did not find his idols.” (Genesis 31: 34–35)

The woman’s role in Gilead is to keep safe what is under threat.

And she uses her body and reproductive power to do this.

“A woman’s period is upon me.”

She was menstruating.

It meant she could isolate.

Stay safe.

It was the red fire of blood within her that saved her.

And the stories of it survive.

This is how we survive during times of fire: isolation, deep connection with the body, adherence to a women’s custom, gathering with other women, speaking our truths, and listening so deeply that our tears water the ground so we can plant seeds and start over.

*Both quotes from the Book of Genesis come from the Catholic Bible, Oxford University Press (1995).


Cassie Premo Steele, Ph.D., is a lesbian ecofeminist poet and novelist and the author of 18 books. Swimming in Gilead is her seventh book of poetry and is being prepped for release by Yellow Arrow in October 2023. Her poetry has won numerous awards, including the Archibald Rutledge Prize named after the first Poet Laureate of South Carolina, where she lives with her wife. Find out more at cassiepremosteele.com.

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Yellow Arrow Publishing is a nonprofit supporting women writers through publication and access to the literary arts. You can support us as we SPARK and sparkle this year: purchase one of our publications from the Yellow Arrow bookstore, join our newsletter, follow us on Facebook, Instagram, or Twitter or subscribe to our YouTube channel. Donations are appreciated via PayPal (staff@yellowarrowpublishing.com), Venmo (@yellowarrowpublishing), or US mail (PO Box 65185, Baltimore, Maryland 21209). More than anything, messages of support through any one of our channels are greatly appreciated.

Magic in the Air: Black girl magic & other elixirs by shantell hinton hill

Yellow Arrow Publishing announces the release of our latest chapbook, Black girl magic & other elixirs, by shantell hinton hill. Since its establishment in 2016, Yellow Arrow has devoted its efforts to advocate for all women writers through inclusion in the biannual Yellow Arrow Journal as well as single-author publications and Yellow Arrow Vignette, and by providing strong author support, writing workshops, and volunteering opportunities. We at Yellow Arrow are excited to continue our mission by supporting shantell in all her writing and publishing endeavors.

 
 

Black girl magic & other elixirs is an important poetry collection about the embodied experiences of a ‘90s Black girl growing up in the American South and how those experiences shaped her becoming a Black woman. Within, shantell recalls moments of playing hide and seek as a means of survival, trauma attached to bologna, the essence of her mother embodied in a fragrance, and even a favorite moment with her first and forever homegirl, her grandma. She weaves together stories from her childhood with current events, juxtaposing the cultural term ‘Black girl magic’ with her personal struggles to show how she became the ultimate Renaissance woman who embraces both the magic and the mundane of her surroundings.

An engineer turned pastor, shantell, a native of Conway, Arkansas, situates her work at the intersections of social justice, public theology, and Black feminism/womanism. shantell builds upon and pays homage to the revolutionary work of Black women authors, poets, leaders, and culture bearers. This collection bears witness to the often unspoken truths about the survival, wit, and skill Black girls and Black women develop in a world dominated by a myriad of interlocking oppressions. For shantell and Black girls everywhere, Black girl magic & other elixirs illustrates how justice, storytelling, ethics, and Black women’s spirituality weave together on the page to show how we can find ourselves “truly in love with who we’d become.”

Cover design was by Alexa Laharty, Yellow Arrow Creative Director. According to shantell, “The roller skates, cassette tape, and perfume all communicate a certain essence of ‘being’ that one can feel, smell, and hear. Likewise, the pictures of my younger self and my present-day self represent much of my journey of becoming and self-possession—signifying the power in reclaiming the little girls that live inside of us while empowering the women we have fought tooth and nail to belong to ourselves.

Paperback and PDF versions of Black girl magic & other elixirs are now available from the Yellow Arrow bookstore. If interested in purchasing more than one paperback copy for friends and family, check out our discounted wholesale prices here. You can also search for Black girl magic & other elixirs wherever you purchase your books including Amazon, Barnes & Noble, and Kobo. To learn more about shantell and Black girl magic & other elixirs, check out our recent interview with her.

You can find shantell on Facebook, Instagram, and Twitter or on her website at shantellhhill.com and connect with Yellow Arrow on Facebook and Instagram, to share some love for this chapbook. You can also share a review to any of the major distributors or by emailing editor@yellowarrowpublishing.com. We’d love to hear from you.

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Yellow Arrow Publishing is a nonprofit supporting women writers through publication and access to the literary arts. You can support us as we SPARK and sparkle this year: purchase one of our publications from the Yellow Arrow bookstore, join our newsletter, follow us on Facebook, Instagram, or Twitter or subscribe to our YouTube channel. Donations are appreciated via PayPal (staff@yellowarrowpublishing.com), Venmo (@yellowarrowpublishing), or US mail (PO Box 65185, Baltimore, Maryland 21209). More than anything, messages of support through any one of our channels are greatly appreciated.

Hope Beyond Galaxies: A Conversation with shantell hinton hill about Black girl magic & other elixirs

i learned how to vanish
into thin air
when i was little.
a witch taught me—
made me do it
because she couldn’t stand
the sight of me.

“Black girl magic”

As a woman with vision, shantell hinton hill is a voice that conjures renovation and hope. She is a pastor, social justice advocate, and writer who makes her home in Arkansas. To speak with shantell is to encounter a professional yet powerful passion for positive change. She actively engages and encourages her community (and audiences beyond) through her social media platforms.

Black girl magic & other elixirs, shantell’s debut poetry chapbook, is and now available for preorder (click here for wholesale prices). The poetry chapbook delivers a dynamic message that uplifts and empowers Black girls, Black women, and all those in this world impeded by systems that still default to oppression. Within, shantell speaks to the strength garnered from her experiences and the faith she has in herself, her community, and those devoted to seeking a better way for this world.

Melissa Nunez, Yellow Arrow author and interviewer, met with shantell over Zoom to discuss the development of her poetic voice and the power of music and spirituality that spark the magic found in her collection.

Who are some women writers who have influenced you?

First and foremost, I need to name the writers who inspire me who have passed on. Toni Morrison and Octavia Butler are my absolute all-time favorites. They both have been so formative to who I am as a person and my literary tastes. I would add bell hooks, Alice Walker, and Zora Neale Hurston who have inspired and shaped me as well. Lucille Clifton is a powerful poet I admire who informs some of my own work as a poet. I also appreciate and enjoy the world-building found in N.K. Jemisin’s writing. I tend to lean toward Black women authors, Black feminist authors. They have spoken to my soul for a very long time, and I am excited to lean into the lineage of who they are as writers and as people.

Many of your poems touch on the invisibility of the power-less, be that a child, a female, a person of color. How did you step out and develop your own voice? What inspired you to start writing?

Once I started to understand that the White gaze was really just a figment of the imagination of people who do not want to see Black girls, Black women, Black people be in power, I started to release myself from really feeling like I was powerless. I realized that my truth and my experiences were powerful, and it was necessary to speak them out loud and have that agency. I could not allow anyone to try to speak for me. That is something that propelled me to put pen to paper and start this collection. I wanted other people, particularly other Black girls and women, to understand the power that happens when we just speak our truth and do so boldly.

Some people believe that religion and women’s rights are like oil and water, they do not mix. Can you speak to the intersection of faith and feminism in your work?

I love that you asked this question. For me faith and feminism are absolutely connected. I proclaim a Christian faith and have since I was about the age of five. When I think about Jesus and his ministry, women were the hallmarks of that ministry. Not just in the miracles he performed but at his resurrection. Who were the first people to proclaim that he had risen? It was women. There are so many ways that you can read biblical text that make you think that women should remain silent in the church, that they have no business being in a place of authority, and that women’s rights would not be important. However, if you allow yourself to approach the biblical text with a feminist lens, one that really asks how a Black woman would experience this in our present-day context, you can see that there are many ways that Jesus was always looking out for women. Whether it was the woman who was “caught in adultery,” or the woman with the issue of blood, or the woman who was trying to seek healing for her daughter, he absolutely surrounded himself with women and wanted to include their gifts in his ministry. I really feel like there is room for faith and feminism to coexist and that religion and women’s rights don’t have to be oil and water. You just have to have a willingness to be in community with people who are different than you.

God be
keeping us
like auntie ‘nem.
and God
stay freeing us
like that sistafriend.

 so, as for me—
i’ma call God
what God is.

“God, our mother-auntie-sistafriend”


The power of song is prominent in your work, some of which creates its own kind of music on the page. Can you expand on why song has been important for you personally and in your writing journey?

I think songs and music are so powerful because they can be portals to different times and dimensions. I can remember the first time I heard Whitney Houston’s albums riding in my mother’s car, in her 1992 Honda Accord, and I can just envision the details so vividly—the sounds, the smells, everything about that time in my life—simply from hearing that Whitney song, “I’m Every Woman.” Songs have a unique ability to connect us to not just different times and space but to different people. Even people who don’t speak English as their native language can enjoy Whitney or Chaka Khan or Aretha Franklin because there is something about the way the music speaks to the soul. In the same way that the music I grew up listening to spoke to my soul and edified my soul, I was trying to capture that in some of my poetry and in my stories. Whether you grew up as a Black girl or not, there is something in this story, in what the poem is telling you that connects with your soul. Hopefully you can listen to the music, and it can enhance that message even more.

There are many strong themes covered in small packages in your collection including several pieces where opposing ideas meet or converse, one example being the intersection of oppression within one’s own community and the support found there. Can you speak to the importance of acknowledging this dichotomy and how it has played out in your experience?

We must speak to those dichotomies because I feel that a lot of times, we stay silent about the ugly parts that we are experiencing. We feel that somehow, we are betraying our people, our community, our family, ourselves when we speak to those realities. But I do feel like the beauty of intergenerational dialogue, which is something that I hope you can really get a sense for in [Black girl magic & other elixirs], is that there is nothing wrong with critiquing and constructively building upon ways to get better. I think that we in the younger generation don’t want to stay silent about the things that we were told were shameful or that we should never speak about publicly. We want to see those things changed and I believe that there is power, there is so much power, in pulling down the strongholds of silence and speaking to what has happened to us. This allows for room for healing. That is a big reason why the oppression continues to persist and exist, because we haven’t talked about it, and we have not healed from it. How can you heal from something until you start to name the harm? I believe that speaking about both the oppression we feel in our communities and the amazing opportunities for support really just gives us a way to experience the fullness of our humanity, to experience healing, and also look toward to what a better and brighter future can look like.

“starshine and clay” is a powerful poem. Why did this phrase speak to you, and can you expand on how “Won’t you celebrate with me” by Lucille Clifton inspired your own poem?

“Won’t you celebrate with me” is a poem I read almost daily. I feel like as a woman of color, as a Black woman who lives in the South, every day something is really trying to make me second guess myself. Something that wants to make me feel like I am not enough, or that I am too much, or too angry, or too something, while simultaneously making me feel like I am not enough something. It is very hard to live in this reality sometimes. This poem reminds me that there is nothing in this world that can stop me from having what belongs to me. There is nothing in this world that can keep me from what the creator has destined for me. Just reading her poem where it says “what did I see to be except myself” and she talks about “this bridge between starshine and clay.” That part, that bridge, inspired [my] poem, with that image I take a step further into my own personal experience. I have a daughter now who is 18 months. While I am fearful about some of the things that are happening right now in our world, like with reproductive rights and all sorts of things that are not going well, I still have so much hope that she is going to be among the leaders and the warriors and the voices of the next generation who will say, “No more.” The generation who will not allow for these kinds of things to keep happening. I may not get to see some of the freedoms that she will see in her lifetime for myself and so I really wanted to write that poem just as a head nod, as a thank you to Lucille, and also kind of like a future-casting for what I hope will be true for my daughter one day.

starshine is not afraid of darkness
and clay is not afraid of contortion
that’s why we know them well.

starshine and clay”


I also wanted to talk about “get out the galaxy, Black girl.” I love its placement before “starshine and clay,” and I would love to hear more about its inspiration and its form.

I am a huge Afrofuturism and science fiction nerd. I love N.K. Jemisin, I love Black Panther, Wakanda, I love The Woman King (although it is not Afrofuturist but more like an alternate view of history). There is something about imagining new worlds and getting beyond what sometimes we get stuck in here on earth. I wrote this poem as a play on words, like a joke, but also an encouragement for us to think futuristically. It is a call to realize that what we experience here in the United States doesn’t have to be this way, honestly. It really doesn’t. If thinking about what an otherworldly experience would look like for you helps you imagine what changes need to be made here in this present time, then that is what I hope this poem can do for you.

What is Black girl magic? Can you define the concept for your reader and how it shaped the collection?

Black girl magic is so much more than words on a paper, and I don’t even know if I can do it justice by trying to articulate it with a definition. I will try to describe it in ways that readers in my audience may understand it better. Black girl magic is the way that you see young Black girls Double Dutching between two jump ropes as if they are just having a conversation. They make it look easy. Black girl magic is the ways that you see a young Black woman or teenager have a bit of sass; there’s an essence to her that you can’t describe that you know is absolutely a part of her Blackness. Black girl magic is the way we can look at somebody and that other person, particularly if it is another Black person or Black woman, knows exactly what we are saying. It is a way of being and a way of existing that invites others to be fully who they are. It also gives us space and agency to just be fabulous in every single way possible. I think Black girl magic defies stereotypes and defies subjugation and logic. A lot of times people like to make it seem like it is something that can be bottled up, but it cannot be coopted. It is cultivated within us and within this communal experience we are all having as Black people, particularly in America right now. I can see it already in my daughter and she is only 18 months. She has a little attitude, and I am like, “Yes, girl.” Even though I want her to do what I want her to do, she has her own ideas about how things should be already. It’s like, “Ok, alright, I’ll give you that.” It’s just this pureness of spirit that cannot be squashed. In its best form it gives people permission to be their best selves.

Has writing (this collection and in general) shaped your outlook as a parent, a mother, and vice versa?

Yes. It has been a mirror for me because that idea of being seen and not heard has been so ingrained in me that there are times where I have to catch myself from being so heavy-handed with my daughter. First of all, she is too young to fully understand. Secondly, I am super clear along with my husband that we do not want to break her spirit in the ways that, unfortunately, older generations did with us. Whether it was making us be silent, or giving whoopings all the time when we don’t know why we are getting whoopings, or just all the superstitions and the ways of being that we were brought up in, we are really careful to not do that with her. I do think that writing this collection allowed me to be way more conscious about how we are building her agency and how we are asking ourselves hard question about our willingness to say “I am sorry” for things. Or how early we want to share with her the truth about gender and racial oppression. What are the things we want her to know and what are the things that we want to keep her safe and protected from as long as we possibly can? The collection has absolutely been a mirror for me as a new mom and hopefully it is something we can have a conversation about when she is old enough to understand the contents.

What advice do you have for other women writers?

I recently watched a movie on Netflix called The Luckiest Girl Alive. It was such a good movie. Mila Kunis’ character is a writer and at the end of the film she is having a conversation with her editor. He tells her the least she can do in her writing is to be honest. Don’t think about how they want to read it. Don’t think about what they want to say. What you have to do is be completely honest with every single part of it and give the people that. It resonated with me so much and it actually is how I approached the collection. It was just bare, it was raw, it was vulnerable and uncomfortable in some of the poems, but it was honest. I give that advice to other women writers: just be honest. We have had enough people writing for us, creating characters that do not explore our fullness and the range of our identities, and we have had enough of men telling us who and how we should be. I want to encourage women to write and write honestly.

because we
know the sky
ain’t all there is
to see here.

 so we’ll just
keep on walking
with our own secret
headed to another galaxy.

 full
of worlds
where we are
already free.

“get out the galaxy, Black girl”


Tell us about your vision for the cover?

 It was really important to me that the cover be representative of the nostalgia and nuances of Black girlhood in the ‘90s. The roller skates, cassette tape, and perfume all communicate a certain essence of “being” that one can feel, smell, and hear. Likewise, the pictures of my younger self and my present-day self represent much of my journey of becoming and self-possession—signifying the power in reclaiming the little girls that live inside of us while empowering the women we have fought tooth and nail to belong to ourselves.

How did you connect with Yellow Arrow and what did the process of submitting your work feel like to you?

My publishing journey has been long and filled with rejections. I’ve written so many manuscripts across varying genres and have not found a home nor an agent. I thought I’d take a break from the grind and try something new, so I began writing a few poems. When I realized how much I loved it and that there was a noticeable theme tracing girlhood to womanhood, I decided to research opportunities to publish the collection that would honor my voice and the fullness of the collection. I came across Yellow Arrow and was encouraged by the mission and vision of the organization. And I have not been disappointed by the publishing process with them at all . . . working with Yellow Arrow (after being selected) has been one of the most pleasant and supportive experiences I’ve ever had as it related to my writing. They truly do prioritize women’s voices and provide a care-filled approach to walking alongside writers. I am forever grateful for this experience.

We currently have open submissions for chapbooks we would like to publish in 2024. Do you have any advice for the women-identifying authors submitting their chapbooks?

Just be yourself, write your truth, and do it even if it’s scary. I found that vulnerability in my writing was both freeing and debilitating, but it became so beautiful to see the finished product. Trust your instincts. There is a still, small voice inside you that will guide your pen and give you power, if you let it.

Do you have any new projects or current projects you are working on that you would also like to share with Yellow Arrow readers?

I am in the middle of writing a proposal for a book called Love Auntie: Parables and Prayers for Abundant Whole Being. It is a nonfiction book for people of faith who want to explore decolonizing their spirituality and cultivate new disciplines for a faith that shifts and really wants to be more inclusive and open-minded to people. That is my next project, and I am hopeful a publisher will pick it up soon.


You can find more about shantell hinton hill and her work for radical good at shantelhhill.com and can preorder your copy of Black girl magic & other elixirs from Yellow Arrow Publishing. Thank you, shantell and Melissa, for sharing your conversation.

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Yellow Arrow Publishing is a nonprofit supporting women writers through publication and access to the literary arts. You can support us as we SPARK and sparkle this year: purchase one of our publications from the Yellow Arrow bookstore, join our newsletter, follow us on Facebook, Instagram, or Twitter or subscribe to our YouTube channel. Donations are appreciated via PayPal (staff@yellowarrowpublishing.com), Venmo (@yellowarrowpublishing), or US mail (PO Box 65185, Baltimore, Maryland 21209). More than anything, messages of support through any one of our channels are greatly appreciated.

Show Us Your Spark: Chapbook Submissions Open at Yellow Arrow Publishing

 
 

At Yellow Arrow Publishing, we believe every woman has a story to tell and every story is worth telling. And with that sentiment, we are excited to reopen submissions for chapbooks to be published in 2024. From May 29 to June 30, Yellow Arrow will accept submissions of poetry chapbooks and, *new* this year, creative nonfiction chapbooks by authors who identify as women from around the world. Given this and changes to the process this year, we wanted to provide some details here. We can’t wait to see what you send to us.

Chapbook submissions may be poetry, creative nonfiction (e.g., personal narratives, essays, reflections, flash prose, and micro memoirs), or hybrid, no more than 50 pages long and written by authors who identify as women. In general, creative nonfiction should be between 15,000 and 25,000 words total (there is no minimum or maximum number of pieces to include, use your discretion) and poetry between 20 and 50 poems; hybrid can be any combination.

This year, we have also added a sliding scale fee to chapbook submissions. We aim to ensure that the journey to publication is accessible to all writers, but also want to have the ability to support and promote our authors throughout the year. When we publish an author, that writer becomes a member of the Yellow Arrow community, and we do all we can to promote their voice, share their story, and nurture their creative journey to publication.

$0: Reserved for BIWOC authors (by checking this box, you acknowledge that you are a BIWOC author and will not attach a receipt)

$5: Reserved for those experiencing financial hardship (financial hardship means this is what you can afford right now, no questions asked)

$10: Standard submission fee

As a small, independent press, our ability to compensate authors has been limited in the past, but with the addition of a small fee, we anticipate being able to provide our authors with a monetary incentive to go along with the editorial and promotional support we have always offered.

Finally, as our volume of submissions has grown over the past few years, we have decided to accept submissions through a Google form (here) rather than email. The form is simple with required and optional questions, including name, bio/personal introduction, and demographics. You will be asked to upload your submission as an attachment to the form along with your fee receipt (if required). By sending your completed submission you agree to the following statements:

  • You are a writer who identifies as a woman

  • You have read and submitted within the guidelines

Our writers and readers come from all walks of life and so do we. We are taking steps across our portfolio to increase representation and give greater visibility to the voices of underrepresented women-identifying storytellers and take much into consideration when creating our procedures and guidelines. When we review submissions we look for writing that tells your story. We love pieces that feel authentic, that give us a window into who a writer is and what has shaped them, and that connect us to them.

You can find our guidelines and some FAQs at yellowarrowpublishing.com/cbsubmissions along with the YAP Chapbook Submissions form. We can’t wait to see how your piece sparks our inspiration along with yours. If you have any questions, please contact us at submissions@yellowarrowpublishing.com.

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Yellow Arrow Publishing is a nonprofit supporting women writers through publication and access to the literary arts. You can support us as we SPARK and sparkle this year: purchase one of our publications from the Yellow Arrow bookstore, join our newsletter, follow us on Facebook, Instagram, or Twitter or subscribe to our YouTube channel. Donations are appreciated via PayPal (staff@yellowarrowpublishing.com), Venmo (@yellowarrowpublishing), or US mail (PO Box 65185, Baltimore, Maryland 21209). More than anything, messages of support through any one of our channels are greatly appreciated.

Living Life to the Fullest: Lifecycle of a Beautiful Woman by Ann Weil

Yellow Arrow Publishing announces the release of our latest chapbook, Lifecycle of a Beautiful Woman, by Ann Weil. Since its establishment in 2016, Yellow Arrow has devoted its efforts to advocate for all women writers through inclusion in the biannual Yellow Arrow Journal as well as single-author publications and Yellow Arrow Vignette, and by providing strong author support, writing workshops, and volunteering opportunities. We at Yellow Arrow are excited to continue our mission by supporting Ann in all her writing and publishing endeavors.

Lifecycle of a Beautiful Woman by Ann Weil dives head first into a life lived to its fullest, exploring both small and large moments, deftly demonstrating how our experiences and memories create who we were, who we are, and who we will be. From bedroom closet to funky island town, from salsa lessons to riding out a hurricane, Ann weaves us through painful and joyful personal learning moments, using her poetry to tell her powerful and reflective story. Ann compels us to consider our own moments, our own secrets, our own beauty, reminding us that “We aren’t meant to sleep through a tread-water life.”

Ann writes at her home on the corner of Stratford and Avon in Ann Arbor, Michigan, and on a deck boat at Snipe’s Point Sandbar off Key West, Florida. Her work has been nominated for Best of the Net and appears in more than 45 journals and anthologies including Crab Creek Review, Bacopa Literary Review, Whale Road Review, Shooter Literary Magazine, Eastern Iowa Review, and DMQ Review. Ann earned her doctorate at the University of Michigan and is a former special education teacher and professor of education.

Through this collection, Ann conveys that it is possible to survey multiple facets of oneself to find beauty within. Whether reflecting on womanhood, exploring the pain of loss, the complexities of marriage, the intimacies of friendship, the unspoken truths about pleasure, or the desire to love a body as one ages, she tells us that no matter what, we are more than okay as is. In a sense, Lifecycle of a Beautiful Woman is a love letter from Ann to every woman out there as well as to herself.

Cover and interior photography were taken by Jillian Mayotte and Kelsey Orr while cover design was by Alexa Laharty, Yellow Arrow Creative Director. Ann wanted the cover “to reflect the content of the book,” particularly through its quirky, playful imagery. According to Ann, “I like to have fun—I don’t like to take life too seriously.”

 
 

Paperback and PDF versions of Lifecycle of a Beautiful Woman are now available from the Yellow Arrow bookstore. If interested in purchasing more than one paperback copy for friends and family, check out our discounted wholesale prices here. You can also search for Lifecycle of a Beautiful Woman wherever you purchase your books including Amazon, Barnes & Noble, and Kobo. To learn more about Ann and Lifecycle of a Beautiful Woman, check out our recent interview with her.

You can find Ann on Instagram @annweilpoetry or annweilpoetry.com and connect with Yellow Arrow on Facebook and Instagram to share some love for this chapbook. You can also share a review to any of the major distributors or by emailing editor@yellowarrowpublishing.com. We’d love to hear from you.

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Yellow Arrow Publishing is a nonprofit supporting women writers through publication and access to the literary arts. Yellow Arrow Publishing is a nonprofit supporting women writers through publication and access to the literary arts. You can support us as we SPARK and sparkle this year: purchase one of our publications from the Yellow Arrow bookstore, join our newsletter, follow us on Facebook, Instagram, or Twitter or subscribe to our YouTube channel. Donations are appreciated via PayPal (staff@yellowarrowpublishing.com), Venmo (@yellowarrowpublishing), or US mail (PO Box 65185, Baltimore, Maryland 21209). More than anything, messages of support through any one of our channels are greatly appreciated.

Finding Grace and Humor in Womanhood: A Conversation with Ann Weil about Lifecycle of a Beautiful Woman

Ann Weil glances out the window of her Key West home. “There’s a person who wears a full-on Spiderman outfit and rides a skateboard on their way to and from wherever Spider-people go, and then the next minute, there will be chickens in my yard and the love is in the air—it’s just a crazy place,” she says. Ann is explaining the reasons why she and her husband decided to spend their winters in Key West and “having a poem walk by [her] window every day” is at the top of her list: “I saw a guy yesterday in a full-on pirate outfit walking down the street probably going to work and that is the norm and that’s where I fit in.” Ann adds that as a poet, Key West is an ideal place to draw inspiration because of its strong literary history. Elizabeth Bishop, Ernest Hemingway, and Shel Silverstein all lived and wrote there, and currently, “Judy Blume owns the bookstore, and I get to see her when I shop there.”

Ann was fueled by the Key West literary community of past and present while working on Lifecycle of a Beautiful Woman, the newest Yellow Arrow Publishing chapbook, set to release next month. In her upcoming collection, Ann explores the oscillation of emotions that accompany aging as a woman in our society. “I think all women have a part of their lives where they feel at their most beautiful . . . and a sense of power that comes along with . . . that external beauty. Then, you get older, and it fades and . . . its deflating.” She continues, “Sometimes, I look in a mirror and I don’t recognize the person. And the thing is, I don’t feel as old as I look, I still feel like I’m 27, but I’m almost 62 so it’s a really interesting journey.” This balance between coming to terms with internal and external perceptions of oneself is at the heart of Ann’s chapbook. In each of Ann’s poems, she boldly embraces the messiness and heaviness that life brings while also weaving in humor. The vulnerability that she brings to her writing as she explores relationships with lovers, friends, and her body allows us all to remember that to be human is to make mistakes, learn from them, and still move forward with our heads held high.

Lifecycle of a Beautiful Woman is now available for PRESALE (click here for wholesale prices) and will be released April 2023. Follow Yellow Arrow @yellowarrowpublishing on Facebook and Instagram for more information. Recently, Yellow Arrow Vignette Manager, Siobhan McKenna took some time to speak with Ann about her inspiration behind Lifecycle of a Beautiful Woman. Ann was published in Yellow Arrow Vignette AWAKEN in 2022, so it seemed like a great opportunity for Siobhan to reconnect.


 

Understanding that

this body will carry me to the next, each radiant rendition

fading, falling away until the only beauty left is bone.

“Lifecycle of a Beautiful Woman”

 

What does your writing process look like?

In terms of the actual writing process, I try to raise my awareness of everything. My environmental surroundings, the people. I keep notes on my phone, notes in a journal of things that strike me as interesting images or characters or lines. I eavesdrop in the drugstore. I just am constantly trying to be a pack rat. Then, [the words] sit and percolate in my mind and then something speaks to me.

I’ve also always felt like I am what you call “a one-night-stand poet.” When I’m in the moment, whether I’m writing about yesterday or 10 years ago, I write, and I’m in that zone. I have the flow thing going on and I am so in love with what I’m writing. And I think—this is it. This is the poem that is going to be great. And I love it, love it, love it. And then usually the next day—I’ll look at that poem and I hate it. OMG. I can’t believe it. I say, “This is terrible, and it makes no sense, and I don’t have time for it anymore.” But then, as part of the revision process (if I let it sit long enough), I can go back to those poems and say to myself, “this is pretty good actually.” I don’t know what that is—that one-night-stand thing—that search for something perfect. But then, if you just let it all settle . . . either I can recognize it is a good poem or there are elements of the poem that are good, and I’ll pluck those out and put them in [a poem] going forward.

Where do you find your inspiration for your work?

I read a ton of poetry. I just wrote a poem, and I pulled the epigraph from one of Mary Oliver’s. . . . The line was: “how the little stones even if you can’t hear them are singing.” Then I went from [that quote] and did a persona poem as the stone. So that was my inspiration. I do a lot of “after” poems. Sayeed Jones has this amazing poem called “The Blue Dress,” and it’s a marvelous play in metaphor—rolling metaphors just one after the other to explore the dress. And it made me think, “I gotta write a dress poem,” because for years I had a size eight rainbow-colored dress in my closet . . . so I wrote a poem called “Sequin Dress Size Eight Never Worn.” I also get a lot of inspiration from fellow poets, and I take a lot of classes. I’ve done all of Ellen Bass’s craft talk series, and I’ve taken a class with Kim Addonizio and Rick Barot I’m a serious lifelong learner—that’s how I feel most alive.

You mentioned Mary Oliver, what other poets or writers have inspired you?

So many! Mary Oliver totally saved my life at different times with lines from her poetry. Also: Ellen Bass, Yusef Komunyakaa, Ruth Stone, Ada Limon, Ocean Vuong. It’s amazing that someone’s words can have such a profound effect on another human being that they don’t know.

To open your chapbook you use the poem, “What were you thinking, Pandora?” about how you have opened doors in your life without thinking about all the consequences that could follow. I’m wondering if you think most humans are intrinsically like Pandora and yourself. Are we all inclined “to peek” with a “boxcutter in hand”?

Oh yeah—I worry about people who aren’t. I know that there are more people who are more self-controlled than I am and get into fewer messes in life—and more power to them. But I’m just open. I want to be out there and experience everything I can in the short time that I have on this planet. So, you gotta open the boxes. Sometimes, it’s a mistake to open the boxes, but it definitely leads to living a fuller life—I’ll tell you that.


 

Clearly a lesson here, but . . .
temptation rings the doorbell
and there I am, boxcutter in hand.
Yes, I peek. Often.

“What Were You Thinking, Pandora?”

 

In “She Takes a Second Mistress,” you choose the word “mistress” to talk about your love of painting. When I think of the word, I conjure the words “immoral” or “forbidden.” Why did use the word mistress when it comes to your writing and painting?

Obsession. Obsession. Theoretically, when you have a mistress or lover, initially you’re obsessed. For a while, I dabbled in painting, so it was a second mistress, but my first mistress is writing. I’m obsessed with writing. It’s my favorite thing to do and I’m thinking about it all the time. It was easy to write about [painting] when you think about all the rich language painting evokes. It was an obsession and also wanting to be good at something—a new relationship, in this case, painting.

Wow. I love that. I thought you were going to go a different route with your answer because when I read the poem, I thought about the devaluing of art in our society, and seeing painting as a “mistress” would imply it’s an illegitimate hobby or career in some way.

Yeah, that’s interesting. That never entered my mind. If you just look at [an affair] from the view of the lover, it’s a really good and exciting and wonderful thing because somehow you have a hole in you that needs to be filled . . . [and] there’s a euphoria of being loved and wanted and desired. And I had that for a little while with painting—not that it loved me, but I loved it so much. And I am still head over heels with writing and I can’t see that will ever stop. So, I guess I never want to be married to my writing—I just want to have an affair with it *laughs*—this interview is going off the rails!


 

she thinks about the places that hurt, and knows

the truth—if you leave first you can’t be left.

“In the Pastel Hour”

 

Many of your poems reflect on difficult relationships: lovers, fathers, the one with yourself. Do you find writing as a way to process these experiences in the moment or is it only after you’ve processed, and time has passed, that you can write about them?

I’m totally doing both. I’m processing everything in my life right now. Whether it happened five minutes ago or 40 years ago. As a teacher, one of the most valuable lessons I learned in college [when I was] preparing to teach was [how to be] a reflective teacher. As a teacher, after every lesson, I was taught that you should think about: what do you need to change, keep, toss? [I’ve carried this practice] with me through my whole life. I am still trying to put tools in my toolbox to grow my skillset [in order] to handle whatever life throws at me. You can’t do that without reflection. So, yes, [I continue to reflect] whether it’s an interaction I had five minutes ago with somebody or a long, long time ago. And sometimes you have to leave things in the past in order to deal with them at a later date and there can still be value [on reflecting] at a later point.

Why do you feel it’s important to release these poems into the world—with whom would you like them to resonate?

First and foremost: other women. . . . Other women have become so important to me as I’ve evolved. Their friendship, their openness and willingness to exchange and explore things that are really hard. Falling apart bodies, falling apart relationships. I’m getting to that stage in life when bad shit is happening. I’ve always loved men—obviously. But other women are just the heart and soul of everything. And the women in my mainstay writer’s group are so interesting, we got together at the beginning of the pandemic and they’re now my closest friends. My closest friends are in a box in a computer screen!

[My] poetry is all about my feelings and connecting with other people’s feelings and trying to [write] something that is true to myself and universal. And even if you’re a truck driver from New Jersey you might be able to read my poem and feel something. I really try to be accessible in my writing and that is one of my struggles: I’m probably too accessible for today’s modern poetry world. But it’s important to me . . . to connect with the wider community.

What do you think that others can take away from your writing?

Life is amazing and wonderful, but life is really, really hard. Both sides of that coin deserve attention and reflection when you get toward the end (although . . . there’s this lady who just died at 120 . . . maybe I’m only halfway through, but I really don’t want to live that long). . . . I’ve had a lot of tragedy and hard times in my life. I’ve had three marriages—third time lucky. I’ve had death—my children’s father died in a car crash. So, there’s a lot of tough stuff that’s all there.

And one of my all-time favorite words is grace. [I hope others read my chapbook and take away] grace—to give yourself grace and others grace. And to not hold onto failures and grudges and the bad stuff. But not being afraid either to take it out and explore it when you need to. And to keep looking forward: with three husbands—don’t write marriage off your list because I feel so lucky that I kept trying to find my partner and it’s not that I didn’t love the other two men that I was married to. I loved them deeply, but they weren’t the right person for me for the long haul. And humor. When in doubt, throw some humor in.


 

How long must I wait for this difficult truth

To roost in my addled birdbrain?

That it’s not my job to paint the sky

a painless shade of blue

“At the Al-Anon Tables I Learn to Shut My Beak”

 

I love that for Lifecycle of a Beautiful Woman’s cover art, your daughter, a photographer, visited you in Key West and photographed you in a pool. What was your inspiration behind the cover art?

I wanted it to reflect the content of the book, which is definitely about womanhood, about beauty, about life, loss, love. But I also [wanted the cover to] be very indicative of the style of poetry that I tend to gravitate towards which is quirky. I like to have fun—I don’t like to take life too seriously.

[For the front cover], I got in my mother’s pool wearing pink high heels and the shot is of just my legs floating in the beautiful blue waters and then, on the back cover we have this shot where I’m trying to do a handstand in the water so my legs with the pink, high-heeled shoes are just splayed all over the place.

With the covers, I’m trying to [convey] to people that yes, this is about womanhood and beauty, but it’s also fun which sums up who I strive to be. [I’m] someone who can look at the serious parts of life and lives the serious parts of life, but damn, if I’m not gonna have some fun along the way.

Final question, how did you learn about Yellow Arrow and why did you decide to publish with us?

I learned about [Yellow Arrow] through Duotrope. . . . I pay attention to their weekly calls for submission and heard about [Yellow Arrow] there. I always go to the publisher’s site to see if my work might be a good fit. [After I went to Yellow Arrow’s site], I thought these folks are doing what I’m doing: writing about womanhood, exploring it, and celebrating it. I felt a strong affinity with your website and reading the work of other women. After that, deciding to publish was easy.

****

Thank you, Ann and Siobhan, for sharing your conversation. Preorder your copy of Lifecycle of a Beautiful Woman today. Yellow Arrow Publishing is a nonprofit supporting women writers through publication and access to the literary arts. Yellow Arrow Publishing is a nonprofit supporting women writers through publication and access to the literary arts. You can support us as we SPARK and sparkle this year: purchase one of our publications from the Yellow Arrow bookstore, join our newsletter, follow us on Facebook, Instagram, or Twitter or subscribe to our YouTube channel. Donations are appreciated via PayPal (staff@yellowarrowpublishing.com), Venmo (@yellowarrowpublishing), or US mail (PO Box 65185, Baltimore, Maryland 21209). More than anything, messages of support through any one of our channels are greatly appreciated.

Meet the Yellow Arrow Publishing 2023 chapbook authors

 
 

By Kapua Iao

For the past few years, we have been busy creating chapbooks! In 2020, Yellow Arrow Publishing released its first two chapbooks: Smoke the Peace Pipe (Roz Weaver) and the samurai (Linda M. Crate). Learning how to navigate the world of single-author publications and getting to know the authors was truly rewarding. Roz and Linda were and are fantastic writers and fantastic women. In 2021 we published three more incredible collections, No Batteries Required (Ellen Dooling Reynard), St. Paul Street Provocations (Patti Ross), and Listen (Ute Carson). This year, we had the privilege of working with three local, Baltimore authors with their collections, The most beautiful garden (Nikita Rimal Sharma), when the daffodils die (Darah Schillinger), and What is Another Word for Intimacy? (Amanda Baker).

Given all the fantastic authors we’ve worked with one on one, we couldn’t wait to review and choose our 2023 chapbook authors. The review committee blindly read through 79 submissions, and every chapbook was heart-filled and personal. And because we consider everyone that publishes with Yellow Arrow family, we spent much time really thinking about our decision. From these initial submissions, we created a longlist of 20 chapbooks then a shortlist of 10 chapbooks (see below for our longlist and shortlist), eventually selecting three to publish in 2023. It was difficult to email every submitter letting them know our decision (writing an acceptance email is as hard as a decline as you never know how either message will be received), but the process is done, and we are so excited to work with the three chosen.

So, without further ado, let’s meet the 2023 Yellow Arrow chapbook authors!


Ann Weil

Lifecycle of a Beautiful Woman

 

coming April 2023

Ann Weil writes at her home on the corner of Stratford and Avon in Ann Arbor, Michigan, and on a deck boat at Snipe’s Point Sandbar off Key West, Florida. Her work has been nominated for Best of the Net and appears in more than 45 journals and anthologies including Crab Creek Review, Bacopa Literary Review, Whale Road Review, Shooter Literary Magazine, Eastern Iowa Review, and DMQ Review. Ann earned her doctorate at the University of Michigan and is a former special education teacher and professor of education. Read more of Ann’s poetry at annweilpoetry.com.

Lifecycle of a Beautiful Woman explores beauty, womanhood, loving, living fully, and ultimately, aging, from the perspective of a 61-year-old woman (me!).

When did you first realize words have power?

Ha! Great question. I first realized words have power at the age of seven when I won a contest for my poem “Wobbly the Pumpkin Witch.” That was a big day for me, and I still remember the words to that poem (my 85-year-old mother does, too!). But seriously, words have always been important to me, first as a reader—my favorite pastime ever. Little Women slayed me as a teen and when I was introduced to Mary Oliver as a young mother, my life was truly transformed. Imagine that! Poetry can change your life. As an academic, I poured myself into my research and wrote scholarly articles for the field of special education, but my right-brained heart couldn’t wait to get back to reading and writing poetry. Writing has become my daily joy, and joy is its own source of power, right?


Shantell Hinton Hill

Black girl magic & other elixirs

 

coming July 2023

Shantell Hinton Hill is the ultimate Renaissance woman. An engineer turned pastor, Shantell situates her work at the intersections of social justice, public theology, and Black feminism/womanism. A native of Conway, Arkansas, Shantell is married to Rev. Jeremy Hill. They recently welcomed their first child, Sophie June, to their growing family. Shantell obtained a Master of Divinity from Vanderbilt Divinity School. She also earned a Bachelor of Science in Electrical Engineering from Vanderbilt University and a Master of Science in Electrical Engineering from Colorado State University.

She is a proud member of Delta Sigma Theta Sorority, Inc., and the National Society of Black Engineers. She is also an ordained minister in the Christian Church (Disciples of Christ). Her vocational experiences include work as a process control engineer, a Bible teacher, and as Assistant University Chaplain at Vanderbilt University. At Winthrop Rockefeller Foundation, Shantell focuses on community engagement, faith-based coalition building, and narrative change to imagine more just communities in Arkansas. In her spare time, Shantell is also a freelance writer/author and curates digital content that centers the wholeness and thriving.

Black girl magic & other elixirs is a poetry collection that uplifts the embodied experiences ranging from Black girlhood to womanhood, particularly in the context of growing up in the 90s in the American south. The collection brings to bear the often-unspoken truths about the survival, wit, and skill Black girls and women develop in a world dominated by a myriad of interlocking oppressions. Additionally, this collection seeks to pay homage and build upon the revolutionary work of Black women authors, poets, leaders, and culture bearers. The thematic story arc is an in-depth journey into the nuances of the over-popular term “Black girl magic” juxtaposed with the struggle to realize a world where such magic would no longer need to exist. I am hopeful this collection illustrates that I am passionate about the intersections of justice, storytelling, ethics, and Black women’s spirituality.

When did you first realize words have power?

I started writing my first novel when I was eight or nine years old. I vividly remember writing neatly lined words onto a yellow notepad of a story about a little girl who runs away and forges an adventurous life on her own. It was the summertime, and I was spending several weeks at my grandparents’ house in Greenwood, Mississippi. Besides languishing in the oppressive jim crow-esque heat, there was nothing to do except sit in the front room and listen to the ticktock of 60 Minutes or the gospel messages of John Hagee—my grandfather’s favorite shows to watch while he was sleeping soundly in his folding chair. In those days, my grandfather’s words were law. and his wishes were sovereign.

But in my novel, I created the storyline, characters, and themes that transported me to a place where I could make decisions, take risks, and make-believe other people whom I understood and who I could pretend understood me. Writing gave me license to be big. It gave me the agency to be the commentator of my world rather than a passive participant in a world controlled by others. Discovering my gift for writing unlearned my eyes to see beyond the here and now. And it remains one of the most powerful tools I use today.


Cassie Premo Steele

Swimming in Gilead

 

coming October 2023

Cassie Premo Steele, Ph.D., is an award-winning ecofeminist author of 16 books and audio programs ranging from novels to poetry and nonfiction and scholarship. Her novel, The ReSisters, published by a small, independent press in Maine, was a #1 bestseller on Amazon in the category of books for young people combating prejudice and racism. We Heal from Memory, her scholarly work published by Palgrave, advanced ideas about the power of poetry to heal individual and collective trauma 20 years before these ideas were introduced into the mainstream. Her nonfiction book, Earth Joy Writing, published by Ashland Creek Publishing in Oregon, continues to sell well seven years after publication and is available for sale at Congaree National Park, where she leads seasonal forest journaling workshops. Her poetry has won numerous awards, including the Archibald Rutledge Prize named after the first Poet Laureate of South Carolina, where she lives with her wife.

In the summer of 2020 as the pandemic was raging, Cassie joined a group of six women—three from Canada and three from the United States, four white and two women of color, and five lesbian and one straight—to sit and write together by Zoom once a week. They were strangers who came together during the loneliness and terror of that time and in the process, they helped each other survive.

They called themselves the Gilead Sisters.

The poems in Swimming in Gilead were written under the loving kindness and acceptance of these women who became “her eye” for each other. By opening into vulnerability, the poems show readers how to “swim in Gilead” with hope and perseverance as our rights as women are taken away.

When did you first realize words have power?

I was a child under the shadow of Watergate. In fact, I suggested putting blue construction paper on the floor and a white fence on the walls to decorate the classroom for parent night when I was in kindergarten. I knew even then that words have power—to empower and disempower, to reveal truths and cover lies, to help people and to hurt them.

I took these insights with me as I grew, and I used them to help me through a difficult childhood and later incidents of sexual assault. Poetry was always the medicine that helped me gain clarity, find healing, and rediscover my power.

The poems in Swimming in Gilead show that combination of vulnerability and authority as each poem reveals the deeper truths that allow readers to live with courage and a renewed connection to their creative fire.


We can’t wait to work with Ann, Shantell, and Cassie next year but definitely have to acknowledge all the incredible collections we received in the summer. In particular, we would love to give a shout out to our shortlisted and longlisted authors.

Meet our shortlisted authors:

Lorena Caputo

Shelby Catalano

Susan Cummins Miller

Theta Pavis

Melanie Weldon-Soiset

Sophie Zhu

And our longlisted authors:

 Priscilla Arthur

 Carol Barrett

 M.M. Buckner

 Margaret Cantú-Sánchez

 Carolina Hospital

Saadia Khalid

Diane Payne

Ana C.H. Silva

Richelle Lee Slota

Ellie White

Such incredible writing! Thank you to everyone who took the time to send your words to us. It was a pleasure to read what you put on the page.


Every writer has a story to tell and every story is worth telling. We are so proud of everyone we publish at Yellow Arrow. You can learn more about all our authors here and support them by purchasing publications in the Yellow Arrow bookstore.

Yellow Arrow recently revamped and restructured its Yellow Arrow Journal subscription plan to include two levels. Do you think you are an Avid Reader or a Literary Lover? Find out more about the discounts and goodies involved at yellowarrowpublishing.com/store/yellow-arrow-journal-subscription. Yellow Arrow Publishing is a nonprofit supporting women writers through publication and access to the literary arts.

You can support us as we AWAKEN in a variety of ways: purchase one of our publications from the Yellow Arrow bookstore, join our newsletter, follow us on Facebook, Instagram, or Twitter or subscribe to our YouTube channel. Donations are appreciated via PayPal (staff@yellowarrowpublishing.com), Venmo (@yellowarrowpublishing), or US mail (PO Box 102, Glen Arm, MD 21057). More than anything, messages of support through any one of our channels are greatly appreciated.

Unexpected Moments: What is Another Word for Intimacy? by Amanda Baker

Yellow Arrow Publishing announces the release of our latest chapbook, What is Another Word for Intimacy? by Amanda Baker. Since its establishment in 2016, Yellow Arrow has devoted its efforts to advocate for all women writers through inclusion in the biannual Yellow Arrow Journal as well as single-author publications, and by providing strong author support, writing workshops, and volunteering opportunities. We at Yellow Arrow are excited to continue our mission by supporting Amanda in all her writing and publishing endeavors.

What is Another Word for Intimacy? came to fruition after years of not writing. As a child and teenager, Amanda had a passion for writing that got lost amidst the illusion of glamor in straight As and the molding of oneself to be apologetically pleasing. Who has time for vulnerability, fascination, imagination, and daydreaming when you’re told they get in the way of productivity and accomplishment? How can you access inner deepness if your heart closes? What leads to a closed heart? Without these answers, Amanda was rarely intimate, unless you count psychology books and social parties, where intimacy is diluted by the appetizers, side wall conversations, and free drinks. Amanda’s passion and deep-seated writing did not fully return until her 30s. Now, she writes to fill the void. She writes to create connections. She writes to find true intimacy, believing it is about the vulnerability that comes with being open and honest when connecting to someone else, whether in friendship, companionship, or love.

In What is Another Word for Intimacy? Amanda travels through unexpected moments of intimacy—a pack of fruit mint gum, the inside of a pocket, an old green dress that still fits—only to realize that all exists within oneself. Relationships are a vessel for growth. Relationships are a mirror, reflecting back in us what we believe about ourselves.

Amanda is a mental health therapist, 200-hour yoga instructor, and poet from Baltimore, Maryland. She attended the University of Maryland School of Social Work and James Madison University. She is a mother of her four-year-old son, Dylan, and enjoys time in nature. Amanda has self-published a poetry collection that includes written work from her early teens into her 30s. You may find her book ASK: A Collection of Poetry, Lyrics, and Words on Amazon and Barnes & Noble.

The incredible cover was created in-house by Creative Director Alexa Laharty after a few conversations with Amanda. “Intimacy does not need to be defined in words,” Amanda conveyed in a recent chat, “this cover represents all that we are not able to fully say, understand, or see. It still creates a shared authentic experience. It creates a resonance, a vitality, a life force. Touching palm lines, interlaced fingers, a hug of hands is my favorite! The way energy can be felt from miles and miles away and in a touch, in hand holding.”

Paperback and PDF versions of What is Another Word for Intimacy? are now available from the Yellow Arrow bookstore. If interested in purchasing more than one paperback copy for friends and family, check out our discounted wholesale prices here. You can also search for What is Another Word for Intimacy? wherever you purchase your books including Amazon, Barnes & Noble, and Kobo. To learn more about Amanda and What is Another Word for Intimacy?, check out our recent interview with her.

You can find Amanda on Instagram @amandabakerwrites and connect with Yellow Arrow on Facebook and Instagram, to share some love for this chapbook. We’d love to hear from you.

*****

Yellow Arrow Publishing is a nonprofit supporting women writers through publication and access to the literary arts. Yellow Arrow recently revamped and restructured its Yellow Arrow Journal subscription plan to include two levels. Do you think you are an Avid Reader or a Literary Lover? Find out more about the discounts and goodies involved at yellowarrowpublishing.com/store/yellow-arrow-journal-subscription.

You can support us as we AWAKEN in a variety of ways: purchase one of our publications from the Yellow Arrow bookstore, join our newsletter, follow us on Facebook, Instagram, or Twitter or subscribe to our YouTube channel. Donations are appreciated via PayPal (staff@yellowarrowpublishing.com), Venmo (@yellowarrowpublishing), or US mail (PO Box 102, Glen Arm, MD 21057). More than anything, messages of support through any one of our channels are greatly appreciated.

Let Intimacy Bloom: A Conversation with Amanda Baker

I want transformation,

But not transformed.

Blooming

But not bloomed.

[ . . . ]

Because done is an ending

And I’m never finished.

“Let Me Bloom”


Imagine a young girl about seven years of age, locks hanging loose over her keyboard, as she creates lyrics for the electronic beats pulsing from her palms to her pen to the page. This is the start, the heart, of Yellow Arrow Publishing’s final chapbook author, Amanda Baker’s, poetry. This proclivity towards melodic expression gave breath to her writing from an early age and ultimately resulted in the formation of her forthcoming chapbook What is Another Word for Intimacy?

Amanda is a mental health therapist, 200-hour yoga instructor, and poet from Baltimore, Maryland. She attended the University of Maryland School of Social Work and James Madison University. She is a mother of her four-year-old son, Dylan, and enjoys time in nature. Amanda has self-published a poetry collection that includes written work from her early teens into her 30s. You may find her book ASK: A Collection of Poetry, Lyrics, and Words on Amazon and Barnes & Noble.

What is Another Word for Intimacy? is now available for PRERELEASE (click here for wholesale prices) and will be released October 11, 2022. Follow Yellow Arrow on Facebook and Instagram for Friday sneak peeks into What is Another Word for Intimacy? The incredible cover was created in-house by Creative Director Alexa Laharty after a few conversations with Amanda. “Intimacy does not need to be defined in words,” Amanda conveyed in a recent chat, “though it is helpful. Connection does not need to be explained in metaphors, though it is helpful. An emotion does not need to be seen or read on a page, though it is helpful. This cover represents all that we are not able to fully say, understand, or see. It still creates a shared authentic experience. It creates a resonance, a vitality, a life force. Touching palm lines, interlaced fingers, a hug of hands is my favorite! The way energy can be felt from miles and miles away and in a touch, in hand holding.”

After a day of work as a mental health therapist and time spent with her son before his bedtime, Amanda met with Melissa Nunez, Yellow Arrow author and interviewer extraordinaire, over Zoom to discuss the evolution of her poetic voice and the intimacy of writing and personal connection that ties her newest collection together.


A question that is commonly asked of writers is when they started writing. I find it very compelling that you were very open to and about your poetry from a young age (Amanda’s first collection ASK: A Collection of Poetry, Lyrics, and Words spans more than a decade of writing beginning from age 14). What did you gain from the experience of publishing work from when you were young?

It was so fascinating to go back and read through my old journals. I have always recalled that kind of writing coming naturally to me. I never learned to play the piano or read music as a child, but I would pretend with the programmed beats on my keyboard, and words started to come naturally with the melody. I used to say I write lyrics, not necessarily poetry, because there tends to be that cadence or melody in my head accompanying the words. I don’t always do that now as it has kind of transformed into other ways of writing my poetry. Going back through my journals as an adult and reading what I had written and saved (mostly from ages 13 and on) allowed me to see that core self that never really changed and still exists within me. It also revealed ways that I had changed and maybe had gotten a little disconnected from myself. It is so valuable to go back and see things that are still so true to me—values I’m so passionate about, that vision and creativity still flowing. It inspired and motivated me to get back into writing more regularly.

What would you say is the biggest difference between the creation of your two collections, ASK and Intimacy?

Maturity and growth. I have come into my own regarding relationships, whether that is partnership, a marriage, or friendship, and navigating things that block that desired level of intimacy. From a young age I thought intimacy was or meant only one thing, and this new collection is about finding the truth of intimacy. These poems, for me, are that desire to understand it, know it, feel it, and be in it, and have others really be open to that same curiosity. My first collection was more about seeing changes over time, not necessarily with a specific theme, but what I think links them together is asking questions. The deeper we go, the more that we ask, the more we can expand our minds and hold other perspectives.

What is your personal definition of intimacy?

The vulnerability that comes with being open and honest within a connection with someone. I teach yoga, and within yoga comes union of the mind, the body, and the spirit. I feel like taking that union and alignment and having that with another person is the goal of intimacy. It doesn’t necessarily mean that you are an exact match within those three elements within each other, but there needs to be that same openness and acceptance. When you really get to know someone on a close level and let go of the defenses that can come out naturally in a relationship, an openness and consciousness can be built between two people when you truly see each other for who you are.

Why do you think intimacy is so important in writing?

Writing can essentially be the vessel for intimacy. I recently watched a TED Talk by Ethan Hawke called Give Yourself Permission to be Creative and he shared something that really resonated with me. He said that in order to express yourself you need to know yourself, and in order to know yourself you need to know what you love. Love and intimacy are interconnected in so many ways. If we really want to express our truth through writing, then we need to be curious and go inwards to know ourselves and to love ourselves as well. Intimacy exists in writing and reading someone’s work. You develop a relationship through the words that are shared, through that connection.


I would love you in all ways / in all languages / in glances

[ . . . ]

 L O V E in a shared space / does not need language at all.

“My Love Language Must Be.”


There are many creative expressions and descriptions of love in your work. What would you want your audience to learn about love?

Two things come to mind. The first is that love is universal. I love that about love. Wherever you are, whatever country you come from, at our core—we all want love. We want to feel love and to be loved. It doesn’t need a language because it exists in all languages, it is shared everywhere if you are willing to be open to it and feel it. The second is that love exists inside you. In order to be intimate with someone else, you have to first be intimate with yourself. That opens up that level of intimacy or the multiple forms of love that can manifest in different ways with different people.

There is a strong message of healing in your poetry. How is writing healing for you?

It is so healing. I write almost every day now and it is energizing. When I’m writing, I am learning something about myself. Sometimes I start writing and don’t even know where it is going to end up. I’ll have an idea and it flows into something different, something unexpected. I think that can be a signal of healing and growth. Self-expression also helps us release things that can be debilitating or defeating, feelings that when held inside create more stress and tension. Those doubts or insecurities that naturally exist in all of us. I hope that people can see that healing over time through my writing. In my first collection, and even these poems that might not be chronologically ordered, you can see how my beliefs about things have changed, how I am now more flexible (as opposed to rigid), more open to other opinions (as opposed to being opinionated). Writing is such a big part of my coming to that place.

I love the message that writing can be healing for anyone at any age or stage. What advice would you have for those who have never tried or have felt intimidated by writing?

I think the biggest takeaway is to not stop even when there is perceived criticism. There may be those who think their way is the only way, others who categorize good writers and better writers, but it is important to realize that if you choose to share your writing it will find the people it resonates with. Your voice matters and taking the time to experiment with how you want your voice to come out is vital. Someone may start writing and find that it is not for them, and then they may start singing. [That’s] beautiful. [I encourage anyone to] continue to pursue some level of expression that aligns with you. If you find that it is writing, keep writing. One word can be a poem. Who is to say that it’s not? That’s the magic and the beauty of it. There is no right or wrong way.

How did you connect with Yellow Arrow Publishing?

I have felt a divine timing in my writing journey with so many things lining up in just the right way to get me where I am. In opening my old journals and feeling that inspired impulse to share them. Connecting with Yellow Arrow was another one. I am a therapist full time, and a colleague of mind has a friend who led me to Yellow Arrow. She mentioned I should chat with them as an opportunity to find new information for my writing. I met up with her friend and she directed me to [Yellow Arrow’s] Instagram. Literally two days later they posted their open call for submissions. It felt like a sign that I had to do this. Baltimore is my home city and their mission to empower female writers and poets drew me in. I have since attended some of their writing workshops and connected with some of the other writers within their community, and it has all seemed to just fall into place.

Do you think your profession as therapist plays into the development of your writer voice?

Absolutely. I bring a lot of mental health themes into my writing (a third collection inspired by these themes is in the works). The more that I write, the more I have embraced using that as a tool or intervention with my clients. I encourage them to express themselves in various ways, one of them being writing. I am very open about my own struggles with anxiety, depressive symptoms, and the impact of trauma (a professional label for this is a therapist with lived experiences). I include this in my writing because it is authentic to me and a way to heal, but it is also a model for other people who may be coming to see someone like myself. It shows them they are not alone, and that this is not a fix-all. This is a process I am guiding you through to be closer to and better know yourself. Writing is one path that has worked for me. Let’s find what works for you.


Now everywhere I go . . . I leave a little bit of your residue.

It fades as a broken record memory

where I can’t remember if the flavor was peppermint or sugar sweet.

“The Fruit Mint Gum Variety Pack.”


Do you have a favorite poem from the collection, one that encapsulates the core of your work?

“The Fruit Mint Gum Variety Pack” stands out for me. It is so metaphorical and relatable to other people. That thinking that something—whether a person or some connection or event—is going to dissolve and you’re not going to remember it, but the taste is just there. I also think of, “I say you can love more than one person.” Those two are my favorites.

I was intrigued by the dialogue about our memory selves or perceived selves that plays out in some of your poems. How do you approach the writing of memory while embracing the inherent perspective bias and inconsistencies?

What we remember is based on our beliefs, our history, and our views of the world. I write what is true to my memory while remaining aware others may not remember or recall things in the same way. It’s about bringing that awareness to other people while recognizing our recollections of events are not static. When it comes to intimacy, our way of seeing self tends to be more negative. That can interfere with the connections we make. When somebody sees us in a way we don’t, it can be hard to believe. That creates potential for repelling or pulling away from the intimacy as opposed to opening up to it. We [may] accept that there are other—at times more positive—ways of seeing ourselves and be open to those outside points of view. We [may] be open to integrating them with our own perspectives.


The hunger

The craving

The style

The smile. Always a smile.

I’d be always a


S M I L E.

“If they see the way they say they see me . . . then I’d be . . .”


You can read more of Amanda’s words on love and connection in her second poetry collection What is Another Word for Intimacy? Please show your support of Amanda by preordering your copy today.

*****

Thank you, Amanda and Melissa, for sharing your conversation. Yellow Arrow Publishing is a nonprofit supporting women writers through publication and access to the literary arts. Yellow Arrow recently revamped and restructured its Yellow Arrow Journal subscription plan to include two levels. Do you think you are an Avid Reader or a Literary Lover? Find out more about the discounts and goodies involved at yellowarrowpublishing.com/store/yellow-arrow-journal-subscription.

You can support us as we AWAKEN in a variety of ways: purchase one of our publications from the Yellow Arrow bookstore, join our newsletter, follow us on Facebook, Instagram, or Twitter or subscribe to our YouTube channel. Donations are appreciated via PayPal (staff@yellowarrowpublishing.com), Venmo (@yellowarrowpublishing), or US mail (PO Box 102, Glen Arm, MD 21057). More than anything, messages of support through any one of our channels are greatly appreciated.

The Fact of Living in a Place: I (want to) love you, Baltimore publication release

Yellow Arrow Publishing announces the release of our latest publication, I (want to) love you, Baltimore, by the Yellow Arrow 2022 Writers-in-Residence: Arao Ameny, Amy L. Bernstein, Catrice Greer, and Matilda Young. Since its establishment in 2016, Yellow Arrow has devoted its efforts to advocate for all women writers through inclusion in the biannual Yellow Arrow Journal as well as single- and multi-author publications, and by providing strong author support, writing workshops, and volunteering opportunities. We at Yellow Arrow are excited to continue our mission by supporting the residents in all their writing and publishing endeavors.

I (want to) love you, Baltimore is now available from the Yellow Arrow bookstore as a paperback and a PDF. A heartfelt thanks to Arao, Amy, Catrice, and Matilda for going on this journey with us. Visit yellowarrowpublishing.com/writerinresidence-program to learn more about the 2022 writers-in-residence.

 
 

Below, Yellow Arrow Executive Director Annie Marhefka, who accompanied the residents on their journey, dives deeper into what it means to be a Yellow Arrow resident and what it means to create and compile a publication as a group.


By Annie Marhefka

As writers, we like to seek out opportunities to explore our craft in a way that grounds us in place. Writing retreats are places you escape to in order to write, writing fellowships award you funds to write wherever you want, and writing residencies offer you a place to go to dedicate time to the pursuit of writing. A residency by definition is “the fact of living in a place.” Residency programs are meant to foster community among its participants. This year at Yellow Arrow Publishing, we decided to have a virtual writing residency for Baltimore residents, a thing that is at odds with itself, a thing that should not even exist.

Founder Gwen Van Velsor initially designed yellow Arrow’s residency program to accommodate emerging writers who could not spend weeks or months in a location far removed from where their obligations resided. The original residency was flexible—a place, the Yellow Arrow House, you could go to at hours of your own choosing, a space to call your own, for the sole purpose of writing. But in 2020 as we all know, our shared physical spaces became places where disease could spread rather than places where we could find community. In fact, my introduction to Yellow Arrow was through its residency program during this time; mine began in March of 2020. As a new mother who had quickly found it impossible to write, even with childcare, in my own noisy home, I was ecstatic to have been awarded a residency with Yellow Arrow. I hired a nanny to watch my child a few afternoons each week and headed off to my new writing space in Highlandtown.

The writing space was intimate—a small wooden desk in a corner by two windows that looked out over the intersection of South Conkling and Bank streets. Despite its plainness, it was apparent that someone [Gwen] had taken care to make the space feel cozy, safe, inspiring. One window was adorned with a large paper cutout of a woman writing. The silhouette cast a feminine shadow across the room when the sun peeked over the brick building across the street. An empty notebook whose cover was decorated with a picture of the Baltimore skyline laid upon the desk, along with a basket of pens, a vase of yellow flowers, and a yellow coffee mug.

While I had sought out the writing residency to escape others, to find solace in a place where I was isolated, it struck me once I arrived that the thing about the space that made it conducive to writing was the presence of other writers in the room. The only other piece of furniture in the room was a classic green chalkboard easel. On it, Gwen had drawn a swirly yellow arrow and written this quote by Emily Kamminga, a contributor to Yellow Arrow Journal, COURAGE (Vol. III):

 
 

On that first day, I wrote 3,000 words—almost an entire chapter for my work-in-progress, a memoir about my relationship with my late mother. I was elated. Then, several days later, I penned an article about the world shutting down for I Heart Highlandtown’s website. It is stunning to read that back to myself now—how I thought of it as temporary, how I thought of the pandemic story having an ending. Fast forward to 2021, when I took on the role of executive director of Yellow Arrow and had to re-envision how we would (how we could) host programs, like the writing residency, without a physical space. When our mission was centered around building community space for emerging writers and creatives, how could I create a community virtual space that was as sacred and nurturing to the soul as the space Gwen had created for me?

I knew immediately that the residency program could not be done in isolation in this way. We were all already isolating, physically; I could not then expect writers to pursue their creative endeavors alone in their rooms. They needed a safe zone. They needed a sanctuary. They needed a place—even if it was not a real, tangible location. We decided to create a virtual cohort of writers and the writers had to be in Baltimore. Even though they may never meet in person, they needed to have place in common. Places can amplify our differences and our commonalities; they can separate us, unite us, bond us. And Baltimore is where Yellow Arrow’s roots are, and where my roots are, so Charm City would be a requirement.

The four writers we selected, Arao, Amy, Catrice, and Matilda, submitted stunning portfolios of work, and would represent different facets of Baltimore—different neighborhoods, different experiences, different perspectives. My intention was to meet monthly with the four writers and check on their progress, as I did not want to overburden them in an already over-burdensome online landscape with more Zoom calls, but I also intended to let the writers guide me in how I facilitated the program. In our first meeting, they all agreed they preferred to meet weekly, and so that became the new plan. For several months, we met on Zoom and most days, we started our conversations with how everyone was doing personally. Sometimes, we let those check-ins drive our entire meeting space. Sometimes they needed to. We talked about our losses, our writing inspirations, and sometimes our inability to feel inspired at that moment.

But mostly, the writers shared their words. Arao, Amy, Catrice, and Matilda put their full selves forward throughout their residency program. The irony of having a virtual residency grounded in Baltimore was that it was not grounded in any place at all. For each Zoom call, we clicked on a web link, adjusted our lighting, and muted ourselves when we weren’t talking. Some of us even had faux backgrounds that blurred when we shifted too quickly to the left, and here we were talking about the city that surrounded us, and our relationship to it without really being in it together.

The only rule I had given them was that the writing had to incorporate Baltimore in some way—as setting, as background, as character. They drafted poems and read them aloud with a vulnerability that only a writer with a half-finished first draft fully understands. We sent clapping emojis and typed out lines that stood out to us in the chat with exclamation marks to convey how much the words impacted us, and we went off mute to cheer and cry and say, “Thank you for sharing that with us.”

Most importantly, we created a beautiful publication out of the residency program, now available from the Yellow Arrow bookstore as a paperback and a PDF. You can also search for I (want to) love you, Baltimore wherever you purchase your books including Amazon, Barnes & Noble, and Kobo. To learn more about the residents, check out our residents’ blog posts here.

I know that you, as a reader, will feel rooted in the place that inspired these beautiful poems: our Baltimore. And I know that you, as a reader, will be as thankful as I am that these writers shared their stories with us. They created for each other what I had only hoped to replicate from that tiny little writing studio in Highlandtown: the fact of living in a place, together.


Annie Marhefka is a writer and publishing professional in Baltimore. Her creative nonfiction and poetry have been published by Hobart, Literary Mama, Pithead Chapel, Anti-Heroin Chic, Sledgehammer, and others. Annie is the Executive Director at Yellow Arrow Publishing and is working on a memoir about mother/daughter relationships. Annie spent the majority of her career as an executive in human resources in the ed-tech industry before switching paths to focus on motherhood and creative writing. When she’s not writing or wrangling her children, she likes to spend her time on the Chesapeake Bay and other bodies of water. You can find Annie’s writing on Instagram @anniemarhefka, Twitter @charmcityannie, and at anniemarhefka.com.

*****

Yellow Arrow recently revamped and restructured its Yellow Arrow Journal subscription plan to include two levels. Do you think you are an Avid Reader or a Literary Lover? Find out more about the discounts and goodies involved at yellowarrowpublishing.com/store/yellow-arrow-journal-subscription. Yellow Arrow Publishing is a nonprofit supporting women writers through publication and access to the literary arts.

You can support us as we AWAKEN in a variety of ways: purchase one of our publications from the Yellow Arrow bookstore, join our newsletter, follow us on Facebook, Instagram, or Twitter or subscribe to our YouTube channel. Donations are appreciated via PayPal (staff@yellowarrowpublishing.com), Venmo (@yellowarrowpublishing), or US mail (PO Box 102, Glen Arm, MD 21057). More than anything, messages of support through any one of our channels are greatly appreciated.

Everything is cyclical: when the daffodils die, a chapbook by Darah Schillinger

 
 

Yellow Arrow Publishing announces the release of our latest chapbook, when the daffodils die, by Darah Schillinger. Since its establishment in 2016, Yellow Arrow has devoted its efforts to advocate for all women writers through inclusion in the biannual Yellow Arrow Journal as well as single-author publications, and by providing strong author support, writing workshops, and volunteering opportunities. We at Yellow Arrow are excited to continue our mission by supporting Darah in all her writing and publishing endeavors.

when the daffodils die includes an assortment of poems exploring love, loss, and the self. Within the pages are various references to the wonders of nature, providing her readers with the tangible to describe intangible feelings. From wintery landscapes to cloudy skies and yellow summer days, Darah wields her poetry within when the daffodils die to bring her readers on a journey through their (and her) relationship with themselves and with those they choose to surround themselves with. Young love, a mother’s love, self-love, spiritual love, all encompassing love. Her willingness to write about the many facets of love and the way she challenges both herself and the long-standing truths within society about women and their place within the world makes this collection of poetry one of courage, defiance, and an appreciation for the overlooked things in life.

Darah previously interned for the literary magazine EcoTheo Review in summer 2020 and has had poetry published in her school literary journal, AVATAR, on the Spillwords Press website, in issue one of the Solstice Literary Magazine, and in the Maryland Bard’s Poetry Review 2022. Darah currently lives in Perry Hall, Maryland, with her parents, and in her free time, she likes to write poetry and paint. She plans to pursue an MS in professional writing and hopes to establish a career in publishing after its completion.

The stunning, simplistic cover art and interior daffodils were created by Creative Director Alexa Laharty.

Paperback and PDF versions of when the daffodils die are now available from the Yellow Arrow bookstore. If interested in purchasing more than one paperback copy for friends and family, check out our discounted wholesale prices here. You can also search for when the daffodils die wherever you purchase your books including Amazon, Barnes & Noble, and Kobo. To learn more about Darah and when the daffodils die, check out our recent interview with her.

You can find Darah on Instagram @darahschillinger or @brokewritersociety and on Facebook @darah.schillinger, and connect with Yellow Arrow on Facebook and Instagram, to share some love for this chapbook. We’d love to hear from you.

*****

Yellow Arrow Publishing is a nonprofit supporting women writers through publication and access to the literary arts. Yellow Arrow recently revamped and restructured its Yellow Arrow Journal subscription plan to include two levels. Do you think you are an Avid Reader or a Literary Lover? Find out more about the discounts and goodies involved at yellowarrowpublishing.com/store/yellow-arrow-journal-subscription.

You can support us as we AWAKEN in a variety of ways: purchase one of our publications from the Yellow Arrow bookstore, join our newsletter, follow us on Facebook, Instagram, or Twitter or subscribe to our YouTube channel. Donations are appreciated via PayPal (staff@yellowarrowpublishing.com), Venmo (@yellowarrowpublishing), or US mail (PO Box 102, Glen Arm, MD 21057). More than anything, messages of support through any one of our channels are greatly appreciated.

Challenging Truths: A Conversation with Darah Schillinger

“I realize that what we tell ourselves, and what we tell women and children, influences how we think and how we perform,” says Darah Schillinger from her room at St. Mary’s College of Maryland. “And when we keep telling women that they can’t do something, then we are perpetuating the cycle.”

Darah Schillinger, the author of Yellow Arrow Publishing’s next chapbook, when the daffodils die, is passionately explaining the results of a study that she learned about in her “Feminism and Philosophy” class. The study itself is impressive as is Darah’s animated presence as she expresses her desire to support women, putting what she learned into practice. In fact, this study became the inspiration for Darah to write “When Mars and Venus Collide,” included within when the daffodils die. The poem highlights numerous influential women throughout history to now, including Tu Youyou, a chemist who helped find a treatment for malaria, and Susan La Flesche Picotte, the first Native American woman to earn a medical degree. But “When Mars and Venus Collide” is only one example of how Darah uses when the daffodils die to challenge long-standing truths within our society and change perspectives so that her readers can examine the scene from a new angle.

when the daffodils die is now available for PRERELEASE (click here for wholesale prices) and will be released July 12, 2022. Follow Yellow Arrow on Facebook and Instagram for Friday sneak peeks into when the daffodils die. The beautiful yet simplistic cover was created in-house by Creative Director Alexa Laharty after a few conversations with Darah about her vision. Darah notes, “My original design for the cover was simple because my poems tend to focus on finding beauty in the overlooked, and I wanted a simple, yet beautiful cover to reflect that. I also opted to keep the handwritten font (at the editor’s insistence!) because I think it reflects the humanness of poetry. It’s personal, and I wanted it to feel personal the second you see it. I’m thrilled with how the cover turned out. Alexa did a wonderful job bringing my original design to life.”

At the time of this interview with Vignette Managing Editor Siobhan McKenna, Darah was preparing for final exams and her college graduation, but graciously took the time to speak about her path to writing and her forthcoming publication. Within their conversation, they explored the themes that permeate when the daffodils die: humans and their relationships with nature, spirituality, and love.


Growing up in Baltimore County, in Maryland, Darah always loved writing but didn’t see herself becoming a poet. In middle school, she wrote fiction novels because she thought she was going “to do the big book think,” and it wasn’t until high school that she started writing poetry. From there, poetry became a hobby that she quickly realized she loved. Darah was able to expand on her passion by enrolling in collegiate-level creative writing courses and interning for several literary magazines, including with Yellow Arrow in 2021. Over the years, poetry has become a “safe space” for Darah; a place where she can explore her thoughts and ponder the state of the world. When not working, studying, or figuring out her next steps in life, Darah says that she enjoys filling the notes app in her iPhone with short lines or thoughts that she can later develop into complete poems.

Your collection revolves around natural imagery and a relationship with nature: have you always been attuned to nature and was there someone in your life who inspired this?

I’ve always been fascinated with nature. I can’t pinpoint when it started, but I’ve always incorporated natural imagery into my writing. College has also shaped me way more than I thought it would. [St. Mary’s College of Maryland] is a very nature-based campus. We have a pond and a riverside and in spring everything is in bloom. And going for a walk is the highlight of my day on this campus. So, it’s hard not to be inspired by nature here.

[Growing up, I lived in] Baltimore County, which is very crowded and is called a suburb but as close as you can get to the “city” without being a city. Which is why I also think I am so drawn to places like St. Mary’s and rural Pennsylvania because when I do visit those places it is such a stark contrast to where I grew up. There’s so much nature to see that I’m kind of awed by it, and it’s really nice to see places that haven’t been touched as much by humans.

When I was really young, I remember that it would be a big deal when my grandmother would take me to the state park nearby: Gunpowder State Park. We would go on a hike and sometimes go fishing . . . or we would swim in the river and play on the rocks. And my cousins and I would go rock climbing—very small-scale rock climbing, never anything big and those were treats for us! That was something that I looked forward to every summer, every spring. [Those trips] have stuck with me, and I find . . . being outside something special. And I definitely think my grandmother—my Mommom—has been a big influence on that because she adores nature. She loves going on her drives. She’ll go driving and one day, she texted me and said, “I’m out and I just saw 10 deer” and [the time] was 2:00 am! She’ll stay up all night just to see a deer—it’s a really special relationship she has, and I think she gave me a little bit of that.

The past few years, some of my friends and I have gotten more into herbalism and pagan traditions, and these small practices have helped me appreciate nature in ways I didn’t before.

I took a class on the literature of paganism and witchcraft where we also delved into herbal medicine. I even wrote my final paper on the significance of daffodils in herbalism. I think that [class] has influenced my relationship with nature as well and how healing it can be and how intimate people should be with [nature].

What would happen if I kept the windows down as I drove,

the gray air woven in my hair, the smell of a Pennsylvania winter

clinging heavy in my pores

“winter in Pennsylvania”


In your poem “herbal medicine,” you speak of nature as being able to heal. How have you used nature in your own life to heal?

I’m going to keep returning to it because I feel like it’s true: I think that sitting outside when it’s nice or [listening to rainstorms and thunder can be] healing. If I have the window cracked and I get to hear [the storm] then I can take a break from all the stress. And getting to sit outside and listen to the birds or look at the flowers . . . is healing. . . . I do that a lot [by myself] and I do that a lot with my friends. We sit on our patio and listen to a little music and enjoy the day. And I really hope that more people get to do that. We get so caught up in the stresses of everyday life that we don’t pay attention. And I know this is the stop-and-smell-the-roses [cliché], but it’s so true—if I didn’t take those 30 minutes a day to sit and relax, I don’t know what I would do.

In the last several years, especially among college students and recent college graduates, I’ve seen a resurgence of herbalism and a focus on nature as a belief system on social media. Why do you think that your generation is beginning to take inspiration from pagan ideals and herbal medicine?

I think it is a combination of things. On social media, it has become trendy to be into paganism, witchcraft, and herbal medicine. But I also think that—and this is speculation—a lot of people my age and younger that I know aren’t religious. But I think that for [other older generations] religion always seemed to be something that people found solace in, and it was comforting to believe in something. [Now,] people my age, myself included, don’t necessarily adhere to one [religion], so I think it’s comforting to believe in nature. And I know that sounds very hippie-dippie, but it feels very grounding to trust in nature, to enjoy nature, and to find comfort in it. And while it’s not necessarily an established religion, I think that a lot of people my age enjoy it for those reasons.


Here, let the drops of peppermint oil and patience drip-drip

from your palms like

VapoRub for the rattled soul

“herbal medicine”


In your poem “Eden,” you reference the often-unmentioned biblical figure of Lilith, what was your spiritual upbringing like and how did you learn of Lilith?

I don’t know when I first heard about Lilith. [The story of Lilith] was always kind of something that my mom and I thought was interesting. I grew up Episcopalian . . . and when I fell out of a strict Christian religion, I looked more into other [beliefs] and I brought it to my mom, and I was like “Hey . . . why haven’t we talked about Lilith?” And she was all on board to talk about it because she didn’t know that much about [her and her story] either. So, we looked into the story of the first woman, [Lilith,] who wasn’t made from Adam—and I’m not that familiar with it but based on the research that I have done [my understanding is that] because she didn’t want to obey [Adam] she was cast out [of Eden]. And then another woman, [Eve,] was made from Adam to serve Adam. And [after learning more about her] my question was: why was this myth created if no one wants to talk about it? And I was so fascinated by the story because it is everything that I talk about with my friends and in college and with my mom: women aren’t made to obey people. That’s something I’ve never believed in. My mother always told me that I am my own person. . . . And I think that the basis of the story is that an independent woman is demonized, and I want more women to know about [the story of] Lilith.


Lilith, do you think of Eve, when you run with your night creatures?

When you fly into the dark air, hated but free?

“Eden”


Young love and being in the eye of one’s lover are themes that repeat throughout your poems and is also a timeless theme in poetry. Why do you think that poetry has been a vessel for love for so long?

I think that love is poetic. I know that’s not a great answer, but [love] is something that no one is able to come up with a good definition for and I think that keeps us writing about it. Because, if [you ask someone] to describe love, every single person is going to give a different answer. And [their answers] might be related to each other, but everyone’s interpretation of love and how they love is unique. And I think that keeps [the theme of] love going in poems and in stories and songs because it is something that we can never officially pin down.

A lot of my poems are about my relationship with my partner and some of them are fictionalized because I’ve been with my partner for a very long time, and we are very committed to one another. But I also identify as a bisexual woman and I’m in a straight passing relationship. . . . I think there are a lot of ways to love and types of love, and I fictionalize it because I am so obsessed with it. Love is something that I have experienced, and I am experiencing, but there are different types of love that I may never experience, but I am able to explore those types through my writing.

What do you hope your readers gain from reading when the daffodils die or how do you think the poems will sit with your readers?

I hope that they enjoy them, but I also hope that someone, somewhere relates to something I’ve written. It doesn’t have to be that everybody likes it or hates it; I want someone to walk away from it [thinking] I enjoyed myself while I was reading and maybe thought of something in a way that I hadn’t before. Maybe, “I’m gonna look at nature differently,” or maybe, “I saw myself in one of the relationship poems and it made me happy.” I want people to open it and relate [to the poems] in some way.


On cloudy days I’d lay at the very edge of the bed on my back

[. . .]

and wait to see if I could feel the

world stop turning

if I held my breath. it was a good use of the day when the sky was full

to watch the trees sway

and think about abortion rights

or privilege

or poverty

 “cloudy days”


You first worked with Yellow Arrow as a 2021 summer intern, helping with publications and writing several blogs, even now. How did you originally find out about Yellow Arrow?

I actually reached out to Yellow Arrow because I was looking up places [near my home in Maryland] that I could intern for . . . I saw Yellow Arrow while I was researching, and they were my top choice because I loved the message. I loved that it’s women-owned, women-run, women supporting women, and it’s not just that, there’s also diversity. It’s not just white women who are having their voices heard and who are getting the chance to be published and talk about how awesome writing is, but all types of women.

From whom or what do you seek inspiration?

Everywhere. All the time. I write very much in the present, so I tend to write about whatever I’m seeing or feeling or reading about in the moment. That’s why I love the notes app on my phone. I’ll be walking back from work, and I’ll see an especially big tuft of onion grass . . . and I just write down a quick note about onion grass, and then it shows up [in a poem] later on. [My writing is] very in the moment and it is usually just snippets of something and later I’ll make it into a broader poem.


I fall in love daily

with the sky and the sea and

the pollen watering my eyes

“marriage”


Do you have a favorite poet?

I had a big Sylvia Plath tapestry for a long time, so definitely Sylvia. I’ve gotten very into Bell Hooks recently, and I was kind of devastated when she passed [a short time ago]. I actually wrote a poem about Bell Hooks’ passing. And over quarantine, I got very into Sappho. So I ordered myself a big collection of Sappho poetry in order to pass the time.

Daffodil imagery is a large presence throughout your chapbook: it’s the name of the book as well as your final piece. Why did you end your collection with the eponymous poem, “the daffodils die”?

As soon as I wrote the short daffodil poem, when I was putting together the collection, I was like this has to be the last one. And I think it’s because I thought daffodils symbolize death, but they also symbolize rebirth and the beginning of spring. But I think that when things end, other things begin so it is very much a cycle; just as the book is ending, the daffodils die, but there is still a continuation.

I have to ask—even though I think I know the answer—what is your favorite flower?

Definitely daffodils. I know—very on the nose. We have the gulch here [at St Mary’s College in Maryland], which is what the last poem is written about, and every March the entire [hillside] blooms and everything is yellow and green and it’s beautiful. [There’s a path on the hillside] that winds down to a hidden beach and it’s just my favorite place to go in March. I just like the idea of daffodils—they don’t even get to see spring, but they announce spring is here.

****

Since this interview, Darah graduated from St. Mary’s College of Maryland with a BA in English and a minor in creative writing. This summer she will work part-time before starting her MS in professional writing at Towson University in the fall. Please show your support of Darah by preordering your copy of when the daffodils die today.

Thank you, Darah and Siobhan, for sharing your conversation. Yellow Arrow Publishing is a nonprofit supporting women writers through publication and access to the literary arts. Yellow Arrow recently revamped and restructured its Yellow Arrow Journal subscription plan to include two levels. Do you think you are an Avid Reader or a Literary Lover? Find out more about the discounts and goodies involved at yellowarrowpublishing.com/store/yellow-arrow-journal-subscription.

You can support us as we AWAKEN in a variety of ways: purchase one of our publications from the Yellow Arrow bookstore, join our newsletter, follow us on Facebook, Instagram, or Twitter or subscribe to our YouTube channel. Donations are appreciated via PayPal (staff@yellowarrowpublishing.com), Venmo (@yellowarrowpublishing), or US mail (PO Box 102, Glen Arm, MD 21057). More than anything, messages of support through any one of our channels are greatly appreciated.

From Kathmandu to Baltimore: The most beautiful garden by Nikita Rimal Sharma

Yellow Arrow Publishing announces the release of our latest chapbook, The most beautiful garden, by Nikita Rimal Sharma. Since its establishment in 2016, Yellow Arrow has devoted its efforts to advocate for all women writers through inclusion in the biannual Yellow Arrow Journal as well as single-author publications, and by providing strong author support, writing workshops, and volunteering opportunities. We at Yellow Arrow are excited to continue our mission by supporting Nikita in all her writing and publishing endeavors.

The most beautiful garden is an expression of Nikita. It is a collection of poems that includes themes such as mental health, South Asian culture, her mother, and family. It reflects on deep heartaches, dark moments and light moments, pride, joy, and love, with the hope that anyone who reads The most beautiful garden also gets a chance to reflect on the beautiful being they are in spite of the baggage and everything they hold.

The incredible cover art was created by Creative Director Alexa Laharty based on a photograph Nikita provided of her mother. Interior images were also drawn by Alexa.

Nikita currently resides in Baltimore, Maryland with her husband and Pitbull Terrier, Stone, and works at B’More Clubhouse, a community-based mental health nonprofit. She is originally from Kathmandu, Nepal. Nikita is a typical homebody who gets a lot of joy from slow running, short hikes, reading, and deep thoughts. She has always loved writing and started writing at the age of seven when she wrote a fairy tale titled “Star Girls.” Nikita wishes she had saved a copy of it.

Paperback and PDF versions of The most beautiful garden are now available from the Yellow Arrow bookstore. If interested in purchasing more than one paperback copy for friends and family, check out our discounted wholesale prices here. You can also search for The most beautiful garden wherever you purchase your books including Amazon, Barnes & Noble, and Kobo. To learn more about Nikita and The most beautiful garden, check out our recent interview with her.

You can find Nikita on Instagram @nikita.playwithwords, and connect with Yellow Arrow on Facebook and Instagram, to share some love for this chapbook. We’ll let everyone know about her book launch soon.

Happy National Poetry Month!

*****

Yellow Arrow Publishing is a nonprofit supporting women writers through publication and access to the literary arts.

You can support us as we AWAKEN in a variety of ways: purchase one of our publications from the Yellow Arrow bookstore, join our newsletter, follow us on Facebook, Instagram, or Twitter or subscribe to our YouTube channel. Donations are appreciated via PayPal (staff@yellowarrowpublishing.com), Venmo (@yellowarrowpublishing), or US mail (PO Box 102, Glen Arm, MD 21057). More than anything, messages of support through any one of our channels are greatly appreciated.

Believing in the Power of Love Too Much: A Conversation with Nikita Rimal Sharma

 

A mere matchstick

I thought myself to be,

feeble in structure.

Needing several strikes for a single second of flame.

 

(not) just a matchstick

 

“I believe in the power of love too much,” says Nikita Rimal Sharma, the author of Yellow Arrow Publishing’s next chapbook, The most beautiful garden. This stunning sentiment about the inspiration behind her latest work summarizes the message of her chapbook beautifully: the world is not perfect and yet, we must keep loving it. Nikita’s unconditional love for our world in spite of all the tragedy, frustration, and nonsense is the underlying thread that runs through her collection. Throughout The most beautiful garden, which we cannot wait for you to read, Nikita’s poems touch on the struggles of depression, immigration, and identity and yet are grounded in the understanding that even during bouts of despair there is still hope to be found. Nikita emphasizes that “believing in the power of love too much” allows us to be aware of the brutal realities of the world while still unearthing strength and beauty in ourselves, others, and nature.

And that beautiful sentiment is definitely something visible in the incredible cover of The most beautiful garden, drawn by Yellow Arrow Creative Director Alexa Laharty. After seeing the cover, Nikita exclaimed, “Alexa put my imagination into a lovely form of art for the cover page. It summarizes the title poem perfectly and also the way I would like to approach life: making the best out of what you have, noticing beauty and the vividness of colors in yourself and the things around you. Thank you so much, Alexa, for all that you and the Yellow Arrow team have done for me during this process.”

The most beautiful garden is now available for PRERELEASE (click here for wholesale prices) and will be released April 12, 2022. Follow Yellow Arrow on Facebook and Instagram for Friday sneak peeks into The most beautiful garden, starting this Friday and continuing through April 8. Recently, Editorial Associate Siobhan McKenna took some time to get to know Nikita and the inspiration behind The most beautiful garden.


 

Kathmandu is the root to my being

[. . .]

Wichita was the blank canvas for the rest of my life

[. . .]

Baltimore is the city that helped me fly

 

The places that made me

 

Originally born and raised in Kathmandu, Nepal, Nikita moved with her husband to Wichita, Kansas at the age of 25. There, she completed her master’s degree and eventually moved to Baltimore, Maryland, her current home. In Baltimore, she stumbled upon Yellow Arrow House while walking through the Highlandtown neighborhood; she decided to go inside. “It was almost like serendipity. I got a business card and looked on the website and saw that there was an upcoming class.” The class was “A Year in Poetry” with Ann Quinn and many of the poems that she started in that class are part of her forthcoming collection.

Although “A Year in Poetry” class honed her poetry skills, Nikita has always loved writing as a method to process her emotions. Throughout her life, she has written journal entries, poems, and letters to herself as a way of honoring the ending of one chapter and the beginning of another. In many ways, Nikita’s The most beautiful garden is a work of reflection and synthesis as she braids together her Nepali roots with the life and identity that she has established and continues to create in the United States.

Throughout The most beautiful garden, it sounds like not all Nepali culture resonated with you. How did you navigate this? Are there any Nepali customs that you hold onto?

I had a happy childhood. Here [in the U.S.], I am [a brown minority], but there [in Nepal] I had the privileges of a white person: so [many] good opportunities, but with that came a lot of pressure. But for me, [the pressure] didn’t really benefit me, because every action that I did was judged very badly. I was [in a generation with] access to technology and some things I did were modern, but some members of my extended family were really traditional. So, no matter what I did I was always judged and as a patriarchal society, it was all very toxic for me.

Here, I feel like I live for myself now, but when in Nepal, you live for others. “What are people gonna say?” is at the forefront of every decision-making, and I don’t do well with that. I also saw how my mom as a daughter-in-law or just as a woman was treated because she was from one generation above me and she had less opportunities than me. And all of that really bothered me and never fostered my growth and those are the pains that [I still hold in my heart]. But now that I’m here, I’m able to work through that and create a life that feels more like myself. And that does not mean I am going to give up everything. Obviously, there are cultural things, [family] and friends I will never be able to let go of.

Overall, being from a different culture lends me a different eye when solving problems or in viewing the world. Also, just the food that I eat. I’ve come to realize how the food that I grew up eating was actually a really healthy diet—and I hated that food as a child. It was lentils, rice— the daal bhaat is what we call it, and every meal was that. Now, I can’t wait to have it. So, any time I can have homemade food like that, I feel like I’m home again. And there are so many smaller and bigger things that I take [from my culture] and I treasure them. 

You talk about how your culture growing up wasn’t as beneficial for who you are as a person. Can you talk more about the expectations of South Asian women?

[Those sentiments] are specific to my mom’s or mother-in-law’s generation. They have never been taught to know themselves or to explore themselves, and I feel very lucky to be able to do that. If you ask anyone from my mom’s generation: what do you like or what are things you enjoy doing? They don’t usually have an answer. Instead, they will say: “Oh, whatever you like” or “The happiness of others.” And of course, service and making others happy is very essential. But I feel that [they] have been taught to only find purpose in the well-being of others so that they forget to think about themselves and about what is good for them, and you just reach a point in your life where all of that keeps getting piled up and it was never sorted out or healed or worked through and I feel like that continues the vicious cycle of intergenerational trauma.

Obviously, the U.S. has its own problems in regard to the ways we treat women, but do you see similar parallels between your experience in Nepal and the United States?

Kind of, in different ways. I do think that with a lot of things [in the U.S.] we are way ahead although I don’t think [our journey for equality] will ever end. But in Nepal, there are some very basic constructs for women. [For example] when I was on my period, I wasn’t able to go in the kitchen. Of course, those things changed as I grew older and times changed, but those are things that you don’t have to think about in the United States.

In a later email, Nikita added, “There are communities in Nepal that still follow the practice of isolation during a woman’s period and some women have even lost their life due to negligence during the isolation.

Have you found yourself at peace in your merging of Nepalese and U.S. cultures?

Well, I have merged into a lot of things, but I think there are parts of me that will never fully merge no matter how much I try and that’s OK and that’s the beauty of it. Like I said, food is a big example or when talking about pop culture there are so many things! You can mention a song and I’ve never heard of it and that is a barrier. So, there are gentle reminders in my everyday life that make it harder for me to merge fully. At the same time, in recent years, I have been able to understand both cultures to be able to take some of my learnings from this culture and be able to communicate that with my mom and help her navigate her own life [in Nepal].


 

It is up to us,

to remain a sapling,

or

give ourselves the permission

to dig deeper

 

Growth

 

How has poetry helped your mental health?

A lot. I think writing this whole chapbook has helped with my mental health. I [wrote The most beautiful garden] during the pandemic and that’s when time was slower, and I was also going through a lot of emotional changes. There were things happening in my personal life, and I had a lot of very strong emotions, and I was trying to work on all of that. And writing [about my emotions] and sharing it was hard, but it also helped me sort through feelings. I also sought help from a psychiatrist and therapist, and that helped, but poetry was definitely one of the tools that I used for healing.

Why do we—mainly people who identify as women—still allow ourselves to be shamed by numbers and images even when understanding all the good our bodies do?

I wish I knew the answer because this is an ongoing struggle. In my 30s, I’ve been the strongest that I’ve ever been. I work out more consistently. I run. I eat better. I eat whatever I want. I’ve never been diagnosed with an eating disorder, but there was a point in my life when I was very restrictive with my diet. Now, I eat whatever I want, but that came from a reflection of how all the women I’ve talked to or anyone who identifies as a woman have at least one body part that they are insecure about. It does not matter how much you weigh or your body shape.

I think that . . . I don’t know the answer.

We have made progress as a society to accept our bodies as they are, but I still find it very hard to think of myself that way and I’m sure I’ll learn, and I’ll reframe. But even at this point no matter how much progress I make, I’ll always struggle with body image. If you find the answer, let me know.


 

Try to love people when it’s hard for you to love:

[ . . . ]

Let the wings of your heart fly to places it doesn’t want to go.

 

Maybe, this is how we can make the world a better place?

 

You write about loving people even when they are dissimilar to yourself. This sentiment seems especially relevant right now. How do you see that in action in our society today?

I think a lot about this. Right now, politically the world seems so polariz[ed]. No matter what: my opinion is right, no matter what side you’re on. And it does matter [to an extent] in politics and law and decision-making, but we make it matter more than it should sometimes. And our whole media and the entire world and social media are geared toward making us see all the differences, but then we don’t give enough time and attention to see the things that we have in common.

I believe in the power of love too much. Differences exist. And I don’t like certain opinions, I feel like they’re wrong, but they are opinions in the end. They are not your identity, and they are not the struggles that humans go through. So, it’s important to have opinions based on fact and science, but if we are not willing to find a common ground and to approach things with love and understanding—approach other humans who are different and try to think from their perspective—then I feel like no matter how much progress we make it still won’t be complete or whole for me.

Later, Nikita added, “Opinions do matter especially in a country like the United States where we have people from all over the world and varied cultures.”

You also mention using your voice to spread peace through nonviolence. How do you envision change being made through nonviolent communication?

I think nonviolent communication leads to more understanding. It helps us slow down and think and reflect a bit more. So that the change may be slower, but more sustainable. But I do hope with my language I want to get more involved with mental health advocacy and write more in those areas in a way that is more understanding and relatable.

I also want to use my writing as a way to find more things in common with people rather than attacking [them]. I don’t appreciate on social media when humans say, “Hey, what you’re doing is wrong.” And in coming from [a nonviolent] place, I think we’d bring about more change.

Finally, you mentioned that you’ve fallen in love with Baltimore. At Yellow Arrow, the city of Baltimore is very close to our hearts, but for most people outside of Baltimore, it’s a very underrated city. What has kept you in Baltimore?

I think people are very authentic here and that’s what has kept me in Baltimore. Everyone I have interacted with [seems to “keep it real”]. I have an example. I live in South Baltimore now, but I used to live downtown and the UPS guy in our apartment was the best human that I’ve ever met. Whenever he came in with a package, he always had the most genuine smile. It wasn’t just a customer service smile. It was a hey, I’m-here-I’m-happy smile. In December 2016, I was going through a pretty bad bout of depression, and I think seeing him would always make my day and he has no idea the difference that he made in my life. But just things like that when you’re walking around the city: people do greet you and not in an I-have-to-be-friendly kind of way. They really mean it. When people help here, it comes from the heart, and I think that’s what has me glued to the city—I really love that. For the size of the city, it really is community-oriented. 

*****

Thank you, Nikita and Siobhan, for sharing your conversation. Yellow Arrow Publishing is a nonprofit supporting women writers through publication and access to the literary arts.

You can support us as we AWAKEN in a variety of ways: purchase one of our publications from the Yellow Arrow bookstore, join our newsletter, follow us on Facebook, Instagram, or Twitter or subscribe to our YouTube channel. Donations are appreciated via PayPal (staff@yellowarrowpublishing.com), Venmo (@yellowarrowpublishing), or US mail (PO Box 102, Glen Arm, MD 21057). More than anything, messages of support through any one of our channels are greatly appreciated.

Poetry is Life: How it Happened

So far, 2022 has been a jam-packed year for Yellow Arrow Publishing. We have chosen to AWAKEN in 2022, to reopen, reintroduce, reactivate, and restructure many of our core programs, including our Writers-in-Residence program (application open February 7–25), workshops (first class at the end of February!), and publications. Ann Quinn, Yellow Arrow Journal’s poetry editor and our only workshop instructor in 2020, has played a major role throughout the first month of 2022.

Her workshop “Poetry is Life” will begin again in March and as you all know, we just released the fantastic Poetry is Life: Writing with Yellow Arrow, a guidebook for both readers and writers of poetry, alike.

Find your copy of Poetry is Life in the Yellow Arrow bookstore and reserve your spot in her class today. The live reading of Poetry is Life was on February 6 and is now available on the Yellow Arrow YouTube channel: youtu.be/cg7x3c_uVwo.

So, how did it all happen?


By Ann Quinn

 

Our first meeting was in person. March 7, 2020, was to be the first of 12-monthly sessions—a year of poetry—in Yellow Arrow’s new house, decorated by volunteers with donated furniture and fixtures and lots of yellow paint. It still smelled a bit mildewy, but it was ours. Eight strangers gathered, with that slight prickle of mistrust—what will she ask of me, what will they think of me—but before long we were reading a poem together and parsing it and starting to break down the walls, just a little bit. Two hours later, we had shared, we had seen one another in our writing, we had eaten donuts from Hoehn’s Bakery, and we promised to come back in April.

And you know what happened next. But this class had been a dream of mine, and I was not about to let it go because of a pandemic. I called Gwen Van Velsor, Yellow Arrow’s founder, and said that I wanted to continue on Zoom. She agreed, somewhat doubtfully, I think, as long as I provided the account.

This was the class I had wanted to take, for decades. When I was 26, my mom gifted me a poetry weekend with Sandy Lyon, a poet who hosted weekend workshops in his home in Bethesda, Maryland. At that point, I had done some journaling, and I had written the occasional sonnet, but I was not alert to the magic latent in words arranged carefully and sparely on the page. And then the weekend was over, and I didn’t know how to carry this coolness on all by myself. So I returned to the rest of my messy life and was just a bit more inclined to read poems when they showed up and to wonder how the writer did that. And to take every opportunity, rare as it was, to write with others. And to return over and over to the question that Mary Oliver asks, “What is it you plan to do with your one wild and precious life?”

Twenty years later—after graduate school in music, a year in an ashram, a brief stint in acupuncture school, lots of freelance work, marriage, and two kids—I interviewed a neighbor, Michael Collier, former Poet Laureate of Maryland, in order to write an article about him. In preparation for our meeting, I read one of his books. I read the poems one at a time, in waiting rooms, at the playground, in the minutes between my kids’ bedtime and mine. And the poems circled in my head and made me think and wonder and see things in new ways. And after the interview, Michael gave me a book that included an essay on how he decided to become a poet. You could decide to become a poet? Your poems could be bad at first, and then gradually improve? It seems so obvious now, but at the time it felt revelatory. I began reading voraciously and getting up early to try to write. I longed to take a class, but the nearest class was an hour’s drive, if I was lucky, down 95, 495, and Connecticut Avenue, and I couldn’t count on getting back by the end of my kids’ school day. My passion slowed to a simmer. My family came first.

Then my mom died. If you’ve experienced grief, you know how life-changing it can be. And if you’re reading this, you probably know how healing poetry can be as an outlet. Now poetry felt crucial. And my kids were older. I found a way to get to Bethesda one day a week for a Poetry 101 class with Nan Fry. I got into an advanced poetry class at the University of Maryland, Baltimore County, with the marvelous Lia Purpura. I’ll never forget the feeling of walking into the undergraduate classroom at 50. How keenly I felt my age, and yet at the same time I felt 12. But how my heart sang. That semester, and the following (in which I took Intermediate Poetry with Lia—and I would happily take Beginning Poetry with her, too), were days in which I carried a light in my chest—it was like a low-grade, long-lasting feeling of being in love. And still, I would cry at the slightest remembering that my mother was gone. Meanwhile, the poetry poured forth.

Lia told me about a low-residency MFA program in Tacoma, Washington. I got in. Three years later, I graduated. I had some publishing success, including a book, Final Deployment (2018) from Finishing Line Press. But I was keenly interested in teaching, and I was looking for opportunities. I volunteered to lead a writing group at my church;  before long, the free class had sorted itself into a small but dedicated group of writers who were willing to be vulnerable and real, confirming that yes, this was what I wanted to do.

Doors don’t always open at first. Poetry, like any of the arts, has a certain self-imposed hierarchy, where sometimes it feels as if obscurity wins the prizes. This is a shame because poetry has so much to offer everyone. And coming out of an MFA program, many people wonder which path to take. I think everyone has an important story, and what my study has given me is a way to gently lead those who would write poetry down the path of craft, for that is where delight lies.

Gwen created Yellow Arrow to open more doors to writers who might not otherwise be heard. Teaching here, and helping edit the journal, I feel like I’m helping these voices find their way. This class has been a gift. From the very first session on Zoom, we’ve had students from the West Coast, the Midwest, the South, and even Canada. A cohesive group has formed, and while we welcome others into the class, there are eight regulars who have attended almost since the beginning (three of whom were there on the donut day). We felt it was time to show you what we’ve done so far, which is how Poetry is Life: Writing with Yellow Arrow happened. “Poetry is Life” is the class I wanted to take, all those years ago. And Poetry is Life is a way to share it with you.

You can find a copy of Poetry is Life in the Yellow Arrow bookstore and through most online distributors. Poetry is Life was compiled by Ann and includes contributions by Linda Gail Francis, Patrick W. Gibson, Jessica Gregg, Sara Palmer, Julia W. Prentice, Patti Ross, Nikita Rimal Sharma, and Jobie Townshend-Zellner. Cover art, “Coastal Vibrancy,” is by Claudia Cameron and the cover design is by Alexa Laharty.


Ann Quinn is a poet, editor, teacher, mentor, mother, and classical clarinetist. Her award-winning work has been published in Poet Lore, Potomac Review, Little Patuxent Review, Broadkill Review, The Ekphrastic Review, Haibun Today, and Snapdragon, and is included in the anthology Red Sky: Poetry on the Global Epidemic of Violence Against Women. Her chapbook, Final Deployment, is published by Finishing Line Press. She teaches at the Writer’s Center in Bethesda and for Yellow Arrow Publishing and is the poetry editor for Yellow Arrow Journal. Ann holds an MFA in poetry from Pacific Lutheran University and lives in Catonsville, Maryland with her family. Visit her at annquinn.net.

*****

Yellow Arrow Publishing is a nonprofit supporting women writers through publication and access to the literary arts.

You can support us as we AWAKEN in a variety of ways: purchase one of our publications from the Yellow Arrow bookstore, join our newsletter, follow us on Facebook, Instagram, or Twitter or subscribe to our YouTube channel. Donations are appreciated via PayPal (staff@yellowarrowpublishing.com), Venmo (@yellowarrowpublishing), or US mail (PO Box 102, Glen Arm, MD 21057). More than anything, messages of support through any one of our channels are greatly appreciated.