Meet Our New Intern: Ana Mourant

Ana Mourant, a young woman, with blonde hair and light skin, wearing an explorer's hat, a short-sleeve shirt, shorts, and sandals, walking on a rope bridge high up in a forest

Growing up in rural Alaska, my family lived a largely subsistence lifestyle, which is the term we use when a family obtains most of its food from the wild rather than a store. We foraged for berries, fished for salmon, and hunted moose. We didn’t have a TV when I was young, nor computers, mobile phones, or even running water. Books, however, we did have. My family’s village had a small library, with many more books than people. Only about thirty people lived in the village year-round (yes, thirty, not thirty thousand), and our small library had around ten thousand books. With this book-to-people ratio, it’s no wonder that I became an introverted bibliophile.

People began to attract my attention as a teenager when I became interested in languages and met several foreign exchange students after we moved to the city. I use the word “city” loosely, since Juneau is a small town from most of the world’s point of view. But for us, Juneau was considered the “big city,” with its population of thirty thousand (yes, thirty thousand, instead of just thirty). I took linguistics, French, and Latin in school, and learned a bit of various other languages, including Greek, Italian, Mandarin, and Cantonese. My family decided to host an exchange student, after which I launched myself off on my own series of exchange programs to Greece, France, and Czechia, and spent my junior year of high school abroad in Germany (adding fluent German to my list).

In college, I knew I wanted work with literature, and initially thought I would become a writer. From my extensive language background (at that point I could speak five languages, to varying degrees), I knew I wanted to procure a thorough education not just in English literature, but the English language as well, from a linguistic point of view. I found the program I wanted which offered a major in English Language and Literature, with a minor in Professional Writing. I completed my BA and was also awarded membership to Sigma Tau Delta International English Honor Society.

College life was fun, mine especially so since I had the pleasure of studying English and global literature written from the beginning of the Old English language up to the present. Still, my heart has to get off the pages and into the woods sometimes. No matter what country I’m in or how many buildings I’m temporarily surrounded by, I always make time to return to the forest, the mountains, or whatever form of nature I can get to. I also make time to listen to Indigenous storytellers whenever the opportunity arises. Growing up in Alaska, I was immersed in both Indigenous as well as Euro-American culture. When I wasn’t out playing in the forest or reading, I was often listening to others tell their stories. In Alaska, we’re lucky that live storytelling is popular, both in casual settings as well as large ticketed events in cities. During the latter half of my college years, I began to realize that my true passion lies not in writing my own creations, but in helping others to tell their stories.

When I discovered editing, I knew that this was the path for me: helping others tell their stories. My mind is analytical, my background is strong in language, and my heart is with storytellers who have braved the wilds of life and have enthralling experiences to share. I found that I enjoy helping others more than writing my own pieces from scratch. I love the process of analysis. I love seeing the forest through the trees and helping the story shine. I love getting a rough manuscript and working as a team with the author to form it, see it grow, and watch it bloom.

After I finished my undergraduate program, I pursued this passion and went to grad school at the University of Washington to obtain my editing certificate. I graduated in June 2025, not only with my editing certificate, but also with a certificate in storytelling and content strategy. I am now equipped to help authors find their voice and bring stories to the world.

During my time at the University of Washington, and since then, I’ve edited books, news articles, and websites. I’ve worked with well-known authors, first-time authors, international journalists, and businesses around the world. I enjoy editing a wide variety of material, my favorites being nature writing and anything by or about Indigenous Peoples. As of this writing, besides my editorial internship with Sundress Publications, I’m the copyeditor for journalist Marcie Sillman, and I continue to freelance edit for a wide variety of publishing houses, authors, and businesses. My three favorite authors are Robert Macfarlane and Tristan Gooley, both nature writers, and Wes Henry, whose wonderful prose makes me smile every time I work on his humorous teaching memoir manuscript (in the substantive editing phase as of this writing).

Stay tuned for my Sundress Reads book reviews coming up in the next couple months, as well as my Sundress TikToks. I’m so excited to work with Sundress Publications and happy to be a part of this team!


Ana Mourant is an editorial intern for Sundress Publications and a recent graduate of the University of Washington’s editing program. She holds a Certificate in Editing as well as a Certificate in Storytelling and Content Strategy, and a BA in English Language and Literature, with a minor in Professional Writing. Ana conducts manuscript evaluations, developmental edits, structural edits, line edits, copyedits, proofreads, and beta reads, as well as authenticity and sensitivity readings for Indigenous Peoples content. Ana loves nature writing and Indigenous cultures, and, when she’s not working, is often out in the wilderness tracking animals, Nordic skiing, or just enjoying nature.

Stirring Call for Submissions

Stirring: A Literary Collection is seeking submissions on a rolling basis for fiction, nonfiction, poetry, and visual art. They share, “Our goal is to elevate writing and art. We like to see creative work from all writing genres and a variety of visual art media. We are continually striving to publish underserved voices, POC, LGBTQ+, and other marginalized beings. We do not consider translations or previously published pieces.”

Guidelines and what Stirring is looking for in each genre are listed below:

Fiction: Submit no more than 5,000 words total but each piece can be between 250-2,500 words. We are looking for short fiction that bursts with sensory detail and places the reader fully in a time and location rooted in diverse perspectives. We love distinctive places, vivid sensory textures, character-driven tension, cultural specificity, and stories outside the mainstream. Send to Shaun Turner stirring.fiction@gmail.com.                      

Nonfiction: Submit no more than 5,000 words total but can be multiple smaller/flash pieces. We are looking for creative nonfiction with a personal connection to a broader social narrative. Creative pieces that intersect with hybrid presentations of narrative are always appreciated. Send to Ada Woofard stirring.nonfiction@gmail.com.

Poetry: Up to five poems that can be connected as a series or standalone. We are looking for pieces that question the self, challenge forms, examine identity, engage with a solid emotional core, and attention to craft. We always enjoy a poem that can make us laugh and cry and think. Send to Luci Roller stirring.poetry@gmail.com.

Visual art: Up to ten visual files that can be connected as a series or standalone. We are looking for art that deals with painting and photography mediums, but collage is also welcome. We enjoy work that incorporates the natural world and also incorporates bold visuals. Send to Stephanie Phillips stirring.artphoto@gmail.com.

If you have any questions, please contact Stirring here.

Sundress Academy for the Arts Presents September Poetry Xfit

The Sundress Academy for the Arts is excited to present Poetry Xfit hosted by Rachel Mekdeci. This generative workshop event will take place on Sunday, September 28th, from 2 to 4 pm EST via Zoom. Join us at the link tiny.utk.edu/sundress with the password “safta”.

Poetry Xfit isn’t about throwing tires or heavy ropes, but the idea of confusing our muscles is the same. You will receive ideas, guidelines, and more as part of this generative workshop series in order to complete three poems in two hours. A new set of prompts will be provided after the writers have written collaboratively for thirty minutes. The goal is to create material that can be later modified and transformed into artwork rather than producing flawless final versions. The event is open to prose authors as well!

Rachel Mekdeci (she/her) is a foul-mouthed, mixed-race, Caribbean-immigrant Taurus with a bleeding heart passionate for the arts. With her undergraduate degree in English Literature from the University of Tennessee, she takes every opportunity to write, talk, and yell about queer studies and intersectional feminism. Her number one mission in life is to further the reach of the arts and maybe own a house

While this is a free event, donations can be made to the Sundress Academy for the Arts here: https://sundress-publications.square.site/product/donate-to-sundress/107?cs=true

The Wardrobe’s Best Dressed: Power Point by Jane Muschenetz


This selection, chosen by guest editor Alexis Ivy, is from Power Point by Jane Muschenetz (Sheila-Na-Gig Editions, 2024).

poem printed on color paper - purple to pink to creme ombre

MAKE BELIEF

Let us pretend, just for this lifetime, that we are not angels
that we have no wings, no powers beyond the ordinary
to perceive, to dance with universes, that our senses
(being only human) cannot taste possibility and time
as anything but linear and fixed, cannot mix truths
bursting in and out of existence, varying in color,
wavelengths, and dimension—infinite, nuanced,
burning with intention, the multifaceted
exponential potential of all things,
eludes us! Let us despair and fret
over our impediments and
limitations, as if they
were reality and
immortality—

     Did you forget already?
     Did you pretend too well?


Jane Muschenetz Recognized in 2023 by San Diego County for excellence in poetry performance, Jane has appeared on KPBS Midday Edition and in numerous publications. Her debut chapbook, All the Bad Girls Wear Russian Accents (Kelsay Books, 2023), won the 2024 California Press Women Communications Prize in Creative Verse and the 2024 San Diego Writers Festival Short Poetry Collection of the Year. An emerging writer and artist, Jane’s additional honors include multiple Best of the Net and Pushcart Prize nominations and The Good Life Review Honeybee Poetry Prize (2022). Connect with Jane and more of her work at www.PalmFrondZoo.com

Alexis Ivy is a 2018 recipient of the Massachusetts Cultural Council Fellowship in Poetry. She is the author of Romance with Small-Time Crooks (BlazeVOX [books], 2013), and Taking the Homeless Census (Saturnalia Books, 2020) which won the 2018 Saturnalia Editors Prize. She is co-editor of Essential Voices: A COVID-19 Anthology (West Virginia University Press, 2023). A recent resident of the Sundress Academy for the Arts, she lives in her hometown Boston, working as an advocate for the homeless, and teaching in the PoemWorks community.

The Wardrobe’s Best Dressed: Power Point by Jane Muschenetz


This selection, chosen by guest editor Alexis Ivy, is from Power Point by Jane Muschenetz (Sheila-Na-Gig Editions, 2024).

GENDER NEUTRAL

They’re studying the effects of gendering on language19
and cultural norms,
how the moon (luna) is feminine in Spanish and Russian
but masculine in German (Mond)
how this alters
our perception of its qualifications—
whether we believe it to be
beautiful, changeable (f) or
stoic, abrupt (m)—
over 1000 Google links discuss at length

The moon is the moon.

Some promote doing away with sex, but I
(having learned gender from my Mother Tongue
and feeling its lack like a missing limb when I try bending English)
am fascinated, mouth-hungry
to embrace each understanding of our world,
uncomfortable and broken as it is
learning to speak again and again.
There is something revealing about seeing the moon
through every lexiconic, scientific, and artistic notion
and still not having enough
words to fill the sky


19. S. Briggs, “Do gender fair languages affect gender equality? Here's the research,” Berlitz, July 2022, https://www.berlitz.com/blog/does-language-affectgender-equality

Jane Muschenetz Recognized in 2023 by San Diego County for excellence in poetry performance, Jane has appeared on KPBS Midday Edition and in numerous publications. Her debut chapbook, All the Bad Girls Wear Russian Accents (Kelsay Books, 2023), won the 2024 California Press Women Communications Prize in Creative Verse and the 2024 San Diego Writers Festival Short Poetry Collection of the Year. An emerging writer and artist, Jane’s additional honors include multiple Best of the Net and Pushcart Prize nominations and The Good Life Review Honeybee Poetry Prize (2022). Connect with Jane and more of her work at www.PalmFrondZoo.com

Alexis Ivy is a 2018 recipient of the Massachusetts Cultural Council Fellowship in Poetry. She is the author of Romance with Small-Time Crooks (BlazeVOX [books], 2013), and Taking the Homeless Census (Saturnalia Books, 2020) which won the 2018 Saturnalia Editors Prize. She is co-editor of Essential Voices: A COVID-19 Anthology (West Virginia University Press, 2023). A recent resident of the Sundress Academy for the Arts, she lives in her hometown Boston, working as an advocate for the homeless, and teaching in the PoemWorks community.

The Wardrobe’s Best Dressed: Dark Beds by Diana Whitney


This selection, chosen by guest editor Alexis Ivy, is from Dark Beds by Diana Whitney (June Road Press, 2023).

Fusion

The sun isn’t hot
because it’s burning.
Ask your daughter

the real reason, ask her
what a star’s made of,
how hot it is, how hot

she’s supposed to be
starting in sixth grade. Count
the evidence: your stolen

mascara, your missing
lace thong, cut with scissors
and sewn crooked up the side,

your red tweezers, your Venus
razor, bathroom tools
weaponized in the quest

for hotness—wide-eyed
and hairless, flawless
and bright. Middle school

is its own galaxy.
You can’t imagine
the scrutiny, the endless

reactions, dense agitation
at 30 million degrees.
So much pressure

at the core creates heat
and light. She wants to flare
out of her skin, release

pure energy, transform
from flesh to magnetic field:
something blazing

and magnificent, orbiting
nothing.


Diana Whitney writes across genres with a focus on feminism, motherhood, and sexuality. Dark Beds, her second poetry collection, was published by June Road Press in 2023 and named a finalist for the Poetry Society of Virginia’s North American Book Award. She is also the editor of the bestselling anthology You Don’t Have to Be Everything: Poems for Girls Becoming Themselves (2021), winner of the Claudia Lewis Award. Her work has appeared in The New York TimesThe Kenyon ReviewGlamourElectric Literature, and elsewhere. Her first book, Wanting It, won the Rubery Book Award, and her third collection, Girl Trouble, is forthcoming from CavanKerry Press in 2026. Diana has received numerous grants for her writing, including from the Sustainable Arts Foundation and the Vermont Arts Council, and holds an MFA in poetry from New England College. A feminist activist in her Vermont hometown and beyond, she advocates for survivors of sexual violence and works as a writing coach and as a community organizer for a rural LGBTQ+ nonprofit.

Alexis Ivy is a 2018 recipient of the Massachusetts Cultural Council Fellowship in Poetry. She is the author of Romance with Small-Time Crooks (BlazeVOX [books], 2013), and Taking the Homeless Census (Saturnalia Books, 2020) which won the 2018 Saturnalia Editors Prize. She is co-editor of Essential Voices: A COVID-19 Anthology (West Virginia University Press, 2023). A recent resident of the Sundress Academy for the Arts, she lives in her hometown Boston, working as an advocate for the homeless, and teaching in the PoemWorks community.

The Wardrobe’s Best Dressed: Dark Beds by Diana Whitney


This selection, chosen by guest editor Alexis Ivy, is from Dark Beds by Diana Whitney (June Road Press, 2023).

Etymology of Fidelity

from Latin fides: faith
from Old English bide: to beg, persuade
careful observance of duty
adherence to a person to whom one is bound

The exact truth wrenched free:
brutal nail in the framing joist.
I have betrayed, lied, withheld
essentials, played you for a fool
for a fern-wrapped haiku
and a ragged bouquet of loosestrife.

Sacrifice is needed—to shun
the possible selves, resist the intoxicating
forest of the unknown, secret
euphoria of hidden poems.

Here is my allegiance—to hold
in balance what is sworn
and what is possible,
to keep watch, guard the fortress.

Heart, I bid you: obey.
Return again to the altar
where we began, kneeling by the stove
in a cold cabin by a frozen lake,
kneeling before iron with one lit match,
blowing on kindling
through our cupped hands.


Diana Whitney writes across genres with a focus on feminism, motherhood, and sexuality. Dark Beds, her second poetry collection, was published by June Road Press in 2023 and named a finalist for the Poetry Society of Virginia’s North American Book Award. She is also the editor of the bestselling anthology You Don’t Have to Be Everything: Poems for Girls Becoming Themselves (2021), winner of the Claudia Lewis Award. Her work has appeared in The New York TimesThe Kenyon ReviewGlamourElectric Literature, and elsewhere. Her first book, Wanting It, won the Rubery Book Award, and her third collection, Girl Trouble, is forthcoming from CavanKerry Press in 2026. Diana has received numerous grants for her writing, including from the Sustainable Arts Foundation and the Vermont Arts Council, and holds an MFA in poetry from New England College. A feminist activist in her Vermont hometown and beyond, she advocates for survivors of sexual violence and works as a writing coach and as a community organizer for a rural LGBTQ+ nonprofit.

Alexis Ivy is a 2018 recipient of the Massachusetts Cultural Council Fellowship in Poetry. She is the author of Romance with Small-Time Crooks (BlazeVOX [books], 2013), and Taking the Homeless Census (Saturnalia Books, 2020) which won the 2018 Saturnalia Editors Prize. She is co-editor of Essential Voices: A COVID-19 Anthology (West Virginia University Press, 2023). A recent resident of the Sundress Academy for the Arts, she lives in her hometown Boston, working as an advocate for the homeless, and teaching in the PoemWorks community.

The Wardrobe’s Best Dressed: Dark Beds by Diana Whitney


This selection, chosen by guest editor Alexis Ivy, is from Dark Beds by Diana Whitney (June Road Press, 2023).

Ice House

1.

Hazard lights in the breakdown lane—
three semis stuck halfway up Searsburg Mountain,
the state trooper bending to set flares

on treacherous ice roads winding slow
east/west over the ridge
where my mother is re-learning how to knit.

Her marled stitches furl into a ribbon,
loose scarf for an imaginary child, another
project she’ll never finish. She carries

the soft cowl from room to room,
couch to chair, with the mystery
she’s been reading since August.


2.

Why aren’t the windmills turning when we pass?
They razed the ridgeline but those giant blades
stand sentinel above the riddled snowpack.

Tension is just trapped energy, the teacher says,
rubbing the knot at the nape of my neck.
I want to believe her, I breathe

into the interstices, imagine
I’d be different with a different man,
would soften like a rag beneath his grip.

3.

Out on the Meadows, the fishermen arrive
in darkness, live bait in lidded buckets.
They light the woodstove in the metal house,

bore a hole through the ice,
revealing the netherworld: murky reeds
and black mud, the promise
of slow perch in cold water.
They hook a minnow below the dorsal fin
and it swims around the hole all day

tethered to an invisible line, battering
the smooth walls. The only way out
is to be consumed, the only freedom a mouth

darker and colder than this frozen river.


Diana Whitney writes across genres with a focus on feminism, motherhood, and sexuality. Dark Beds, her second poetry collection, was published by June Road Press in 2023 and named a finalist for the Poetry Society of Virginia’s North American Book Award. She is also the editor of the bestselling anthology You Don’t Have to Be Everything: Poems for Girls Becoming Themselves (2021), winner of the Claudia Lewis Award. Her work has appeared in The New York TimesThe Kenyon ReviewGlamourElectric Literature, and elsewhere. Her first book, Wanting It, won the Rubery Book Award, and her third collection, Girl Trouble, is forthcoming from CavanKerry Press in 2026. Diana has received numerous grants for her writing, including from the Sustainable Arts Foundation and the Vermont Arts Council, and holds an MFA in poetry from New England College. A feminist activist in her Vermont hometown and beyond, she advocates for survivors of sexual violence and works as a writing coach and as a community organizer for a rural LGBTQ+ nonprofit.

Alexis Ivy is a 2018 recipient of the Massachusetts Cultural Council Fellowship in Poetry. She is the author of Romance with Small-Time Crooks (BlazeVOX [books], 2013), and Taking the Homeless Census (Saturnalia Books, 2020) which won the 2018 Saturnalia Editors Prize. She is co-editor of Essential Voices: A COVID-19 Anthology (West Virginia University Press, 2023). A recent resident of the Sundress Academy for the Arts, she lives in her hometown Boston, working as an advocate for the homeless, and teaching in the PoemWorks community.

Sundress Reads: Review of tether & lung

Sundress Reads black-and-white logo with a sheep sitting on a stool next to the words "Sundress Reads." The sheep is wearing glasses and holding a cup filled with a hot drink in one hoof and holding an open book in the other.
A square metal case is engraved with a horse and person on the side. A used cigarette stub is next to the case. The background it the corner of a couch with orange and cream colored designs. "tether & lung" is at the top with "poems" below that in smaller font. "Kimberly Ann Priest" is at the bottom left hand corner.

Kimberly Ann Priest’s fifth poetry collection tether & lung (Texas Review Press, 2025) is a fierce, dynamic, and deeply personal collection about grief, forgiveness, fury, and sexuality. tether & lung has an intensity that is at once severe, haunting, and tender. Priest’s work is often focused on gender-based trauma and domestic ecologies, and this collection is no departure from that. Divided into four sub-sections, “The Gelding,” “Her Hand,” “A Tether,” and “Of Lungs,” tether & lung indulges in what it means to be a sensual, yet brutal woman facing the aftermath of heartbreak—but not the kind you are thinking of. 

Lush with nature personification, tether & lung employs nature as a way to reckon with one’s own feelings. Horses, barns, as well as vivid imagery of the surrounding planes of rural Michigan invite readers into Priest’s home. Nature becomes an anchor that Priest uses to connect her own suffering with that of her husband’s. The natural world around Priest and her family, as well as a particular horse, “The Gelding,” become characters of their own in the collection, dictating the direction of Priest’s journey of healing. An additional foundation of the collection lies heavily in the ecodomestic setting surrounding Priest and her family. A narrative foundation underpins Tether and Lung, which tells the story of Priest’s husband emerging into his sexuality, disrupting her marriage. Her children are integrated into several poems, filling in a portrait of Priest’s very own domestic ecology, such as in “We Dance” and “On Needing Someone to Be a Little Like God.” Themes of grief, compassion, gender, sexuality, divorce, and motherhood ebb and flow throughout the collection. 

A striking echoing of 24th Poet Laureate Ada Limon’s work appears in tether & lung. While reading this sensual, melancholic collection, I couldn’t help but think of Limon’s own interest with horses (“How to Triumph Like a Girl) and tendency to dwell on the mundane features of nature in order to illustrate a larger pain. Much to my delight, Limon is mentioned in one of the poems, “Gomorrah”! Specifically Bright Dead Things (Mildweed Editions, 2015) is quoted: “There are dead things—bright dead things says the poet / Ada Limón—in my flower sink” (Priest 55). This allusion is sharp and well-done, and a similar evocative style leads Priest’s collection to affect readers in similar ways as Limon’s work.

While Limon lingers in the pages of tether & lung, Brenda Shaughnessy poem “Our Andromeda” comes to mind along the topics of pregnancy and motherhood in Priest’s poetry. Shaughnessy writes, “We will find our kind in Andromeda, / we will become our true selves. / I will be the mother who / never hurt you, and you will have your / childhood back in full blossom, / whole hog. Wherein Shaughnessy focuses on wanting a different path for her son, Priest writes about how her children are affected by their father. Her children’s relationship with their father is explored as well as her own challenges with parenting. This was, perhaps, the most surprising feature of tether & lung. Priest’s children embody a small space in the collection, one that is potent with the malleability of childhood, the importance of receiving support from an early age.

These poems are filled with kindness and a deep sense of introspection that will be sure to impress readers. Poems “The Good Wife,” “After My Husband Tells Me He is Gay, My Body Contemplates Suicide,” “Nest,” and “A Most Harmless Hour” are, in my opinion, the strongest poems in the collection, the poems that conveyed the most impressive sense of vulnerability, intimacy, and power through Priest’s voice. For readers who enjoy the combination of narrative driven stories and symbolic language and the natural world, tether & lung is sure to inspire. 

The poems within tether & lung spark a deeper conversation on gender and sexuality. Priest’s exploration of sexuality, and of her husband’s, is gentle and intimate. Even bold at times. She elaborates on the plasticity that surrounds her own relationship with her husband. In a particularly beautiful poem, “A Young Man is Beautiful,” Priest writes,

“Late,

I stood in our bedroom doorframe

enacting a private exploration of his features

like a schoolgirl seeing a young man is beautiful

for the first time. He was

Beautiful, stirring as I laid down beside him

and murmuring something against

the side of his face.” (59)

The courage of Priest’s own emotional journey is tested as poems like this depict the dialectical nature of forgiveness, or change. Priest is able to detest her husband, while also allowing space to grieve and love the man she once knew, and still does. 

Beyond anything else, though, this collection is brave. The forms undertaken in several poems, such as “Film Noir [with Car & Cigarette]”, are experimental and successful. The vulnerability required to tell the story the Priest shares with readers requires an astute sense of courage and perspective. These qualities are what makes tether & lung anything but ordinary. The collection speaks volumes on the emotional journey of healing, forgiving, and the refusal to resist loving the ones you hold close. It is brave, beautiful, and sure to affect readers looking for narrative-driven, imagery-dependent poetry.

tether & lung is available from Texas Review Press


Emma Goss is a senior English major with minors in Film and Linguistic Anthropology. A passionate reader, she prefers to always be juggling a poetry collection, a literary fiction novel, and an audiobook. Emma is especially drawn to poetry rooted in nature symbolism and metaphor. Some of her favorite collections include The Tradition by Jericho Brown, War of the Foxes by Richard Siken, What the Living Do by Marie Howe, and Jane: A Murder by Maggie Nelson. Her poetry has been published in Pangyrus Magazine and by the Princeton Leonard L. Milberg ’53 Poetry Contest. Originally from Los Angeles, she spends her time hiking local trails or browsing the poetry shelves at Barnes & Noble Studio City when not at Vassar.

The Wardrobe’s Best Dressed: Dark Beds by Diana Whitney


This selection, chosen by guest editor Alexis Ivy, is from Dark Beds by Diana Whitney (June Road Press, 2023).

Medicine

Anything can be medicine.
A jar of spring water,

a dropper of oil, windchimes
at dusk by a door no one enters.

The smallest cat venturing
onto your lap, circling
to make her day bed.

There is medicine in her purr, her paws
kneading your sweater,

medicine in the glow
of the creased old heating pad, borrowed
long ago from your mother.

See, it still works.
Lay it over your belly.

TV can be medicine
if you’re too sore to sleep.
Even the childproof vial

of hard white pills, concocted in a factory
on another continent, rattling
like teeth in the vitamin drawer,
is necessary medicine
for despair.

Stop gritting your jaw,
calculating your failures.
Anything can be medicine.

Open the cap, tip the pearls
into your palm.

Forgive yourself everything.
Swallow.


Diana Whitney writes across genres with a focus on feminism, motherhood, and sexuality. Dark Beds, her second poetry collection, was published by June Road Press in 2023 and named a finalist for the Poetry Society of Virginia’s North American Book Award. She is also the editor of the bestselling anthology You Don’t Have to Be Everything: Poems for Girls Becoming Themselves (2021), winner of the Claudia Lewis Award. Her work has appeared in The New York TimesThe Kenyon ReviewGlamourElectric Literature, and elsewhere. Her first book, Wanting It, won the Rubery Book Award, and her third collection, Girl Trouble, is forthcoming from CavanKerry Press in 2026. Diana has received numerous grants for her writing, including from the Sustainable Arts Foundation and the Vermont Arts Council, and holds an MFA in poetry from New England College. A feminist activist in her Vermont hometown and beyond, she advocates for survivors of sexual violence and works as a writing coach and as a community organizer for a rural LGBTQ+ nonprofit.

Alexis Ivy is a 2018 recipient of the Massachusetts Cultural Council Fellowship in Poetry. She is the author of Romance with Small-Time Crooks (BlazeVOX [books], 2013), and Taking the Homeless Census (Saturnalia Books, 2020) which won the 2018 Saturnalia Editors Prize. She is co-editor of Essential Voices: A COVID-19 Anthology (West Virginia University Press, 2023). A recent resident of the Sundress Academy for the Arts, she lives in her hometown Boston, working as an advocate for the homeless, and teaching in the PoemWorks community.