Sundress Publications is pleased to announce that the readers for our 2023 AWP off-site reading include Barbara Fant, Kimberly Ann Priest, Stacey Balkun, Athena Nassar, jason b. crawford, Sunni Wilkinson, Nicole Arocho Hernández, Amanda Galvan Huynh, Cynthia Guardado, Dani Putney, and Donna Vorreyer. The reading will take place on March 10th, 2023, from 7:00 PM to 9:00 PM PST at Old Stove Brewing Co, 600 W. Nickerson St., Queen Anne, Seattle, WA 98119.
Amanda Galvan Huynh (She/Her) is a Xicana writer and educator from Texas. She is the author of Where My Umbilical is Buried (Sundress Publications 2023) and Co-Editor of Of Color: Poets’ Ways of Making: An Anthology of Essays on Transformative Poetics (The Operating System 2019).
Athena Nassar is an Egyptian-American poet, essayist, and short story writer from Atlanta, Georgia. She is the author of the debut poetry collection Little Houses, published by Sundress Publications. Her work has appeared in Academy of AmericanPoets,The Missouri Review,Southern Humanities Review, Pleiades,The Chattahoochee Review, Salt Hill, Lake Effect, New Orleans Review, Zone 3, The Los Angeles Review, PANK, and elsewhere.
Barbara Fant has been writing and performing for over 15 years. She has competed in nine National Poetry Slams and is a World Poetry Slam finalist. She is the author of two full-length poetry collections, Paint, Inside Out (2010) and Mouths of Garden (2022). Her work has been featured in the Academy of American Poets, McNeese Review, Button Poetry, and Def Poetry Jam, among others. She believes in the transformative power of art and considers poetry her ministry.
Cynthia Guardado (she/her/hers) is a Los-Angeles born queer Salvadoran poet and professor. She is the author of two collections of poetry: Cenizas, (University of Arizona Press 2022) and ENDEAVOR, (World Stage Press 2017).
Dani Putney is a queer, non-binary, mixed-race Filipinx, and neurodivergent writer originally from Sacramento, California. Their debut collection, Salamat sa Intersectionality (Okay Donkey Press, 2021), was a finalist for the 2022 Lambda Literary Award in Transgender Poetry. They’re also the author of the poetry chapbook Dela Torre (Sundress Publications, 2022).
Donna Vorreyer is the author of To Everything There Is (2020), Every Love Story is an Apocalypse Story (2016) and A House of Many Windows (2013), all from Sundress Publications. She hosts the monthly online reading series A Hundred Pitchers of Honey.
jason b. crawford (They/Them) was born in Washington DC and raised in Lansing, MI. Their debut Full-Length Year of the Unicorn Kidz is out from Sundress Publications. They are currently an MFA Candidate at The New School in Poetry.
Kimberly Ann Priest is the author of Slaughter the One Bird, finalist in the American Best Book Awards, and chapbooks The Optimist Shelters in Place, Parrot Flower, and Still Life. She is an associate poetry editor for Nimrod International Journal of Prose and Poetry and assistant professor at Michigan State University.
Nicole Arocho Hernández is a Puerto Rican poet and translator. Her poems have been published in The Acentos Review, Electric Literature, Honey Literary, The Academy of American Poets, and elsewhere. Her chapbook, I Have No Ocean, was published by Sundress Publications. She is the Translations Editor at Hayden’s Ferry Review and an MFA candidate at Arizona State University.
Stacey Balkun is the author of Sweetbitter & co-editor of Fiolet & Wing. Winner of the 2019 New South Writing Contest, her creative work has appeared in Best New Poets, Mississippi Review, Pleiades, & several other anthologies & journals. Stacey holds an MFA from Fresno State & teaches online at The Poetry Barn and The Loft.
Sunni Brown Wilkinson is the author of The Marriage of the Moon and the Field (Black Lawrence Press) and The Ache & The Wing (winner of the Sundress Chapbook Prize). Her work has been awarded the New Ohio Review’s NORward Poetry Prize, the Joy Harjo Prize, and the Sherwin Howard Award.
Ahead of the release, Sundress author syan jay sat down to discuss their forthcoming collection, Bury Me in Thunder(Sundress Publications, 2020) with editorial intern Kimberly Ann Priest. In the discussion they touched on writing through trauma, moving against colonial notions of research, landscapes as memory, and the ways we carry our homes with us wherever we go.
Kimberly Ann Priest: The book covers topics on abuse, confusion, intimacy, and pain. Were there ever moments when you felt like you were saying too much on these topics? Too little?
syan jay: Bury Me in Thunder was put together with care and thoughtful intention. Yes, it explores intergenerational trauma, illness, and pain. It also celebrates love, kinships, and the ways in which we learn to heal. To call back to my interview with Frontier Poetry, prioritizing my boundaries with writing is key. Every word, image, and piece, I reviewed to be mindful of what I was saying and how I was saying those things. I only felt the manuscript was completely finished when I felt fully in control of my narrative.
KAP: How do you make aesthetic choices and know where to break lines in a poem? Why the winding nature of these poems?
sj: I am a visual learner, and in understanding that landscapes are not linear, neither is my writing. Some pieces call for such breath, to expand and move as a river. Others call for structure. The poems tell me how they want to be made by how I write. Most of it comes through experimentation and trust in the process of self-editing.
KAP: Tell me, what research went into writing these poems?
sj: Quite a few of these poems are from personal or invented places. I remember Kaveh Akbar discussing Zbigniew Herbert and how there are cat writers and ox writers. Cat writers may wait for extended periods of time before being “hit” by inspiration and suddenly burst into writing. A majority of these pieces were written during these moments of spontaneity. Even the ones that did involve subsequent research, such as my poem “The Infant Machine”, were written without planning. I was listening to a podcast and the topic fit into scraps I had kept of other poems to work into a larger, final piece.
At the same time, I think the idea of research within poems is often within a colonial, Westernized framework. It carries the idea that there must be a source cited or be verified by some “objective” truth. This does not allow for Indigenous knowledge to exist on the same plane. Oral storytelling is research; how I carry the culture of my people through connections and sharing of knowledge is research. This process of Indigenous research was at the core of this book.
KAP: Do you feel it is important to draw attention to how traumas from our past and past generations inform our present and our future as individuals?
sj: Of course—we do not exist as singularities. Trauma is carried in our DNA, through memory, and in the body. BMIT seeks to draw on my own experiences. I don’t want to try and think that I can understand or claim the narratives of other people and their trauma. I do not experience the same violence and struggles that are faced by Brown and Black Indigenous people. BMIT was a reckoning toward my own healing, and being able to find clarity in what my ancestors, my family, and myself have experienced.
KAP: Talk about the women in your life. How have they formed and shaped you? How have they influenced you as a writer? And why do you think it is so important to write about the lives of women?
sj: Well, to start, I am not a woman but I was raised in girlhood. This book wasn’t looking to only discuss the lives of women. Much of it discusses my grandfather. I talk about missing and murdered Indigenous women because it is ongoing. Settler colonialism is a continuous project.
I dedicated this book to my mother, who has survived abuse and other traumas. She was the one who taught me how to write poetry as a way to show others my world and how I describe it. It helped me navigate the frightening experiences I was going through and to find another connection to land, beauty, and love. Even if the writing was filled with pain, it ultimately comes from a place of love and acceptance. She raised me with my siblings, most of whom are women.
My culture is matrilineal. Perhaps the work can be read as maternal and about women, but it is for myself and the generations that came before me. My priority will always be to my transgender and gender non-conforming kinships.
KAP: Talk about landscapes. I see a strong desert motif in the poems, but you also mention other places such as Nebraska and Oregon. Tell us about your relationship with landscapes; specifically, as home or lack of home and how it relates to your ancestors in this book.
sj: Deserts are not exclusive to the Southwest. My homelands have forests, mountains, and beautiful rivers too. Oregon has deserts, green valleys, and long coastlines. There is so much space to know and be with, and I wanted to acknowledge all of these places.
BMIT tells stories of all the places I’ve lived or where my loved ones lived, or even as I was on a plane flying over Nebraska writing a poem that one day became the title for this book. I am of the land and connected to it. I have a responsibility for its care because it takes care of me. This is how I was raised. It felt natural, then, while writing these poems to call to the land.
We are always tied to place, even if we leave it, because it exists in our memory. How we remember, what we remember, they inform our relationships to a place. I was not raised on my ancestral homelands, but it will always be a part of me because it is where my ancestors lived, it is near where my mother grew up. Home is a place you always carry with you, even as you create new homes and find new places.
KAP: What is significant about “teeth” in these poems? What do they represent or allude to?
sj: Our teeth provide evidence of where we are from. The land and what we have access to during childhood will influence how our bones grow. Scientists use isotope chemistry to look at tooth enamel and bone in order to measure geochemical signatures that carry evidence of where a person lived as a child. We can tell how someone lived, what they ate, and their access or barriers to nutritional food and clean water. The body carries so much and yet, we do not think of what we can find beyond what we say. What can the body say? What can teeth tell us about intergenerational trauma, legacies of forced malnourishment through cutting off access to traditional diets?
KAP: Tell us how you came to name your book and what this title means for you as an overall statement of the book’s content.
sj:Bury Me in Thunder was originally the title of a poem included in this book. I had been considering which of my poems could tie together all of the themes. The first versions of the manuscript were titled Mother Warhorse, from another poem. Eventually, I decided upon BMIT as I wanted to utilize the storm to frame these complex issues and stories. Thunderstorms are integral to my culture for many reasons, and it serves as an anchor to who I am. BMIT honors the legacies of where I come from and the process by which we heal. There will be ruptures and storms, but eventually, clear skies follow.
syan jay is an agender, Dził Łigai Si’an N’dee (White Mountain Apache) poet who resides in Massachusett/Nipmuc/Wampanoag land. They are the winner of the 2018 Pacific Spirit Poetry Prize and are Frontier Poetry’s 2019 Frontier New Voices Fellow. Their work is published/upcoming with The Shallow Ends, WILDNESS, Glass: A Journal of Poetry, and Black Warrior Review. You can find more of their work at www.syanjay.com.
Kimberly Ann Priest is the author of Still Life (PANK, forthcoming 2020), Parrot Flower (Glass Poetry Press, forthcoming 2020) and White Goat Black Sheep (FLP, 2018). Her work has appeared in several journals, including The Laurel Review, The Berkeley Poetry Review, and The New Delta Review. You can find her work at kimberlyannpriest.com.
The Sundress Reading Series is excited to welcome Ellene Glenn Moore, Kimberly Ann Priest, and Katie Culligan for the October installment of our reading series! This event will take place from 1-3 p.m. on Sunday, October 13th at Hexagon Brewing Co., located at 1002 Dutch Valley Dr STE 101, Knoxville, TN 37918.
Ellene Glenn Moore is a writer living in sunny South Florida. She earned her MFA in Poetry from Florida International University and her BA in Creative Writing from Carnegie Mellon University. Ellene has been the recipient of a John S. and James L. Knight Foundation Fellowship, a scholarship to the New York State Summer Writers Institute, and a residency at The Studios of Key West. She is the co-Founding Editor of the Plath Poetry Project, a collaborative writing project dedicated to engaging with the work of Sylvia Plath. Ellene’s poetry, lyr ic non-fiction, and critical work has appeared in Lake Effect, The Journal, Best New Poets, Fjords Review, Poetry Northwest, Brevity, Salamander, Ninth Letter Online, and elsewhere. Her chapbook The Dark Edge of the Bluff (Green Writers Press, 2017) was runner-up for The Hopper Prize for Young Poets.
from “Driving the Blue Ridge Parkway Above Asheville”
This is a different kind of deliverance;
not from circumstance, but from ourselves.
Winter light turns the bare-boned trees into quicksilver.
Everything important rises to the top—[…]
Kimberly Ann Priest is the author of White Goat Black Sheep (FLP). She is an MFA graduate in Creative Writing from New England College, already holding an MA in English Language & Literature from Central Michigan University. A proud Michigan native, she has taught composition and creative writing courses for Michigan State University, Central Michigan University, and Alma College, and participated in local initiatives to increase awareness concerning sexual assault, survivorship, and healing through artistic expression. She is also an editorial intern and scholarship recipient with Sundress Publications in Knoxville, TN. Her academic and creative writing carefully observes the intersections between motherhood, violence, displacement, religion, sexual identity, and sexual trauma; and her poetry has appeared in several literary journals including The Coachella Review, The Comstock Review, Welter, Ruminate Magazine, RiverSedge, and The Berkeley Poetry Review. Currently, she is an Assistant Professor of First-Year Writing at Michigan State University, editorial intern with Sundress, book reviewer for New Pages, and an editor for the Nimrod International Journal of Prose and Poetry.
“Autumn. Leaves drip and turn over,
round like the goblet of a thigh torn from its animal.
Daylight folds into creases,
a jumbled marathon of birds strung loosely along
and my hair canvasing light paned across the bed’s
worn coverlet. (. . . )” –from Practice
Katie Culligan is a nonfiction writer living in Knoxville, TN, where she is the Writer-in-Residence for Sundress Academy for the Arts. She is the recipient of the 2019 Eleanora Burke Award for Nonfiction and the Margaret Artley Woodruff Award for Creative Writing from the University of Tennessee. Recent work appears in Geometry, Noble / Gas Qtrly, Columbia Journal, American Chordata, and others. She can be reached at katieculliganwriting.com.
“Henri de Toulouse-Lautrec’s ‘At the Moulin Rouge’ (1895) is frequently called a ‘haunted
painting.’ In it, a milky-swath of Parisian bohemians sit around a table, shoulder-to-shoulder; in
the right margin, however, a battery-acid face, seemingly lit below, like scary-story flashlights at
The reason that I have become so fixated on this painting, too, is that it was cut. I say this to all
my friends and get frustrated when they don’t have the physiological reaction that I want them
to. The basest assumption of making art, of leaving our houses inside human bodies every
morning, is that all of it, the material at the very least, will remain intact.”
The Sundress Reading Series is an award-winning literary reading series that is held monthly at 1 p.m. at Hexagon Brewing Co. just outside of downtown Knoxville. The Sundress Reading Series is free and open to the public.
I’m a poet and an educator, but I didn’t become either until my late thirties when divorce propelled me to seek therapeutic tools to map experience and explore a catalogue of emotions that had been repressed for several of my adult years. As acts of both survival and exploration, I earned a BA, MA, and MFA—all with a focus on creative writing—and began to write and publish poems. These endeavors naturally led me to take on a number of academic teaching roles, primarily instructing first-year composition courses, but with a few opportunities to teach creative writing here and there.
Over the past six years, I’ve had the good fortune to learn from some excellent faculty/poets and have my work published in several notable journals including The Berkeley Poetry Review, and Welter, in addition to the publication of my first chapbook White Goat Black Sheep—a series of lyric stanzas about two young sisters reeling in the wake of sexual assault. Most of my poetry explores themes related to trauma, sexuality, the female body, and motherhood. Writing on these topics has opened my world, both in terms of internal space and public interaction. I’ve been able to write through personal traumas and help others do the same.
Currently, as a writing professor at Michigan State University, I am working with a number of inspiring teachers and writers who are equally interested in how various forms of written composition impact health and well-being and I’m looking forward to leading workshops in the community to help survivors integrate grief and stabilize self via artistic expression. I am a strong believer in art, broadly defined, as essential to navigate difficult experiences, order chaos, beautify madness, and enact empowerment by re-shaping stories. When life spirals out of our control, art allows us to regain individual agency and invite community to share in that process.
This is why I’m delighted to be an intern with Sundress Publications and support their visionary concerns for community, diversity, and healing. I look forward to discovering how this internship will broaden my understanding of the publishing world, expand my writing community, and enhance my practicum as an educator.
Kimberly Ann Priest is a professor of first-year writing at Michigan State University, a poet, and a mother of two very-recently-inaugurated young adults. She likes to buy coffee mugs from coffee shops that impress her during her travels. Though she’s already visited nearly all of the forty-eight mainland United States, she will never turn down a road trip. You will either find her contemplating life and writing poetry or cruising in her Mini Cooper “Marilyn” (Monroe). This year, she has work forthcoming in The Coachella Review and Glass Poetry.