I am so excited to be participating in Atlanta's Letters Festival next weekend! They have a rad three days of programming for you including free workshops, readings, and a small press book fair. I'm reading with CA Conrad, Lauren Watel, & Leesa Cross-Smith on 11/7, and then moderate a panel on "Female Perspectives in Independent Literature" on 11/8 with panelists Bruce Covey, Morgan Parker, Esther Lee, Leesa Cross-Smith and Aaron Burch. Much more info here.
I Eat Cannibals is out now! I'm really proud of it and super grateful to Steve Halle at co.im.press for designing such a perfect outfit for my text. Do it purchase it direct from co.im.press cuz small press is best.
Birds of Lace has been BUSY. there are three fantastic new chapbooks to feast your eyes/mind/hearts on:
Lucas de Lima'sTerraputa, Joohyun Kim'sAs Rhizomes We Will Live One Million Years or More, and Danielle Pafunda'sWhen You Left Me...can all be purchased at the BoL etsy shop. You can also purchase a 2014 subscription, which will get you all those plus Kristen Stone's do-si-do chapbook and our forthcoming broadside folio, feat. work by LaTasha N. Nevada Diggs, Cathy Park Hong, Christine Shan Shan Hou, and Niina Pollari.
p.s. For the month of September you can get free U.S. shipping by using the code "backtoschool" at checkout!
Paul Cunningham made this beautiful trailer for my new book, I Eat Cannibals, which will out next month from co.im.press. This trailer references several things from the title poem, including the song after which the book is named, Joanna Newsom's "Swansea," the film Badlands, Rachel Feinstein's sculptures, and the spooky guide of the book, the cassowary. Additionally, Arielle Greenberg said some nice things about the book:
“In I Eat Cannibals, the spacey-smart, anxious-bold, seriously funny speaker plays every possible role—zoo animal, redhead, pioneer, corset, priest—opposite women who are crushes, heroines and BFFs. The poems channel like mediums at seances, and they time-travel (though admittedly mostly just to shop), drawing Dickinson and Sharon Tate into a contemporary world of “spiritually iridescent horror” where the dominant mode of being is Complicit. “For what I’ve done / I’m sorry,” Abelkop writes, “I do it / every day.” Readers of this work are glad she does.”