We Call Upon the Author to Explain—S.G. Huerta

It’s the first instalment of We Call Upon the Author to Explain for 2026, and we couldn’t pick a better way to start. This month we spoke to S.G. Huerta about their fantastic nonfiction collection GOOD GRIEF out from fifth wheel press. The collection explores issues of racism, queerphobia, assault, and yes, a good deal of grief. But through all the darkness, Huerta finds a way to write with wit and warmth. It’s a lovely and thoughtful collection and we’re so excited they agreed to answer some of our questions.

Ada Wofford: The writer Anne Lamott talks about writing as a way of understanding ourselves and helping us discover the truth within ourselves. How did writing this book help you better understand yourself?

S.G. Huerta: As I was writing the different pieces in GOOD GRIEF, I didn’t yet conceive of the whole thing as a cohesive manuscript. While workshopping the pieces at Roots Wounds Words, I realized there was a common thread of grief pulling the whole thing together. Writing this book helped me understand how integral grief had become in my life, for better or worse. I also realized how empowering writing about trauma can be.

AW: In children’s literature, books are often discussed as being either mirrors or windows; a way for a child to see themselves or for them to see and understand others. The confessional memoir form can function in the same way. In choosing to write and publish this work, were your expectations for it to serve as a mirror, a window, or both? Can you speak about the importance of that and if you could, say a bit about the type of response you’ve received?

SH: I’d say both. While writing, especially some of the more difficult experiences in my life, I was writing as proof of survival, of how far I’ve come. I hope my writing connects with others who have experienced trauma, complicated grief, bipolar disorder, or any of the other themes I write about.

AW: In “Crash & Burn” you use the phrase, “Disordered moods and processes and writings.” I took it to mean that there are processes for dealing with mental health and processes for writing, can you speak about how these processes are linked for you?

SH: I love your interpretation of that line! I spent a lot of time thinking about the different labels and terms for bipolar disorder, like mood disorder. On that same thread, I thought about how the way I process anything, and my process for doing most things, may seem disordered. My writing is very much a part of me, and if I have this disorder, surely my writing is disordered too.

AW: Can you talk about your use of blank space in the book, particularly in “I Text My Partner i love being beholden to the delicate feelings of white ppl! At Least Once A Week”?

SH: I have to shout out my Roots Wounds Words cohort for this suggestion again! I think having the different quotes on otherwise blank pages makes the reader sit with the words much like I did.

AW: In “How to Survive a Depressive Episode in the Aftermath of Your Dad’s Suicide” you use the phrase “Only alive on the page” in a way that could mean both your father and you as a writer. This connects to the end of the final essay in which you write, “I recognize me pen in hand, scrawling anything and everything into another notebook. Creating signs of life.” This may connect to the first question a bit but in the context of these two moments in the book, can you speak a bit about how writing gives you life and allows you to create life?

SH: I love this question, it reminds me of the poem “Arte Poética” by Vicente Huidobro, where he says poets give and take life. Writing about my dad keeps him alive for me. It can also revive some memories that only he and I shared. It can be powerful, too, to omit some things and keep them from staying alive. Nonfiction writers are always discerning what does and doesn’t deserve space, or, to keep the metaphor going, life on the page.

AW: While the title GOOD GRIEF is a well-known idiom, in the context of the book it makes me think of the term much more literally; that there is some grief that is good for us. Is this how you intended the title to be understood and what are your thoughts on that concept, that some forms or causes of grief can be good for us?

SH: I wanted the title to be multifaceted in the ways you mentioned. I believe grief should be destigmatized and talked about more, especially complicated grief. I also wanted the title to feel a bit ironic, like a “laugh so you don’t cry” situation. I hope that the piñata on the wonderful cover nat raum designed achieves this too.

AW: And finally, is there anything else you’d like readers to know, either about this work or about a new or forthcoming work?

SH: My debut poetry collection Burns will be out in January with Sundress Publications!

GOOD GRIEF is available through fifth wheel press


Latinx person with long black hair, large glasses, a straw vaquero hat, and a keffiyeh. They are standing in front of cactus and looking off to the side.

SG Huerta is a queer Xicanx writer and organizer. They are a Roots Wounds Words Fellow and Tin House alum. They are the author of the nonfiction chapbook GOOD GRIEF (fifth wheel press 2025) and their debut poetry collection Burns is out with Sundress Publications as of January 2026. SG’s work has appeared in Honey Literary, The Offing, Infrarrealista Review, and elsewhere. Find them at sghuertawriting.com, or in Tejas with their partner and cats, working towards liberation for oppressed peoples everywhere. They encourage you to find tangible ways to support Palestinian liberation.

A black and white selfie of Ada in front of their bookshelf. They are
wearing glasses, a black beret, a black blazer, and a gray button-up shirt with a mandarin
collar.
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Ada Wofford (they/them) holds advanced degrees in English and Library Studies. In addition to working at a rare book shop, they are an associate poetry editor at Sundress Publications and the non-fiction editor at Stirring: A Literary Collection. Their writing has appeared in The Blue Nib, McSweeney’s Internet Tendency, Autostraddle, Capable Magazine, Sundress Reads, and more. Their chapbook, I Remember Learning How to Dive, was published in 2020, from which a selection earned them a Pushcart Prize
nomination.

Sundress Reads: Review of
The Watch: Time to Witness the Beauty of It All

Sundress Reads logo, which shows a sheep reading, with glasses on and a book. Logo is black and white.
Cover of the book The Watch, showing a clock in clouds

An introspective memoir about loss and life, The Watch: Time to Witness the Beauty of It All (Wildhouse Publications, 2025) by Paula Sager is a healing walk through the process of being present while a loved one passes away. The Watch is part diary and part philosophy, the author using her strong mind-body connection as a teacher of the Alexander Technique to feel her way through what her soul is undergoing. Collecting many quotes from various authors, philosophers, and family members, Paula Sager offers that our emotions can be processed through the Discipline of Authentic Movement, and that it’s possible to stay mentally present even in the most difficult of times. Trigger warning: If you’ve had a loved one pass away or expect someone to pass soon, this can be a healing, but also at times difficult read. Please give yourself time and private space to process thoughts and emotions while paddling through this book.

While reading The Watch, I felt like I traveled back in time to when my grandparents were completing their life cycles, only this time, I felt more present in my memories. If you’ve had a loved one die slowly of cancer or other medical issues, this book will deeply resonate with you. Sager’s writing captures daily life, the little and big tasks that continue to need doing, while also showing how she stays present and tries to enjoy every moment she can before there are no more moments. One quote from Sager’s father, Bob, continues to float in my mind:

  “These are the waves of yesterday’s wind.” (Sager 53)

This small sentence encapsulates what it feels like after realizing that someone you’re close to has little time left. You’re propelled forward by the waves from yesterday’s wind that blew your life onto a new path that will soon depart from the path of your loved one. Dwelling on the circle of life and her family members that are still in the beginning or middle of the life cycle helps Sager through the process. She writes of her brothers and her children, as well as how their pasts and futures seem to mirror not only her own, but her passing father’s. The watch, which began mysteriously falling apart after Sager’s father died, appears recurrently as a reminder of time, both precious and fleeting. When Sager trades watches with her father, it’s as if she’s giving him the best gift she can: more time with her and love.

Despite life’s limitations, a sense of calmness and acceptance imbues the book. The way Sager bares her raw emotions for the reader and conveys a calmness is rather wonderous. Some of her conversations with her father are true gems. For example, Sager’s father Bob says at one point, still a bit hazy from anesthesia:

  “I want to tell you about something I dreamed … First there was the dream of death
   … And it was fine! … And then there was the dream of birth—and it was spectacular!
   … They really have it figured out. It all makes sense, and there is nothing to worry
   about.” (Sager 65)

It’s hard to accept death, even though we know it’s coming. The most amazing takeaway for me personally from The Watch is a new sense that I might finally be able to let go of fear of the unknown. Somehow, through reading about Sager’s life, her peaceful moments, her father’s insights, she has talked me free of fear of the unknown. One of her and her family’s extraordinary abilities seems to be to take life in stride. Although there are certainly tough time periods, overall, Sager enjoys the last moments with her father and calmly accepts her experiences, letting fear depart as well.

Sager’s father loved to kayak, and the family ultimately return him to the water he loved in a unique kayak flotilla funeral. This poem Sager quotes is quite fitting:

“Wave of sorrow,
Do not drown me now:
I see the island
Still ahead somehow.

I see the island
And its sands are fair:
Wave of sorrow,
Take me there.”
(Sager 51, quoting “Island” by Langston Hughes)

Sager takes readers there, showing us the beauty of our lives that remain after loss and the love of memories we will have forever. She also touches on some intriguing supernatural experiences she has had surrounding her father and his passing period, such as feeling pain at the same time as him, a swan flying up to the family that seems to embody some presence of her father’s, the watch falling apart after he died, and unusual mind-body connections she experiences through Janet Adler’s Discipline of Authentic Movement.

I recommend this book for readers that are of the “middle generation,” that have both children as well as parents in their lives. I would also like to recommend the following tea pairing with this book: Tulsi & Ginger Tea from Traditional Medicinals. This tea provides calming stress relief and warming ginger to heal your body and soul.

The Watch: Time to Witness the Beauty of It All is available from Wildhouse Publications


Ana Mourant sitting on grass reading a book. She has light skin and blonde hair, has a sunflower in her hair, and is wearing a green sundress.

Ana Mourant (she/her) 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, edits, and proofreads, as well as provides 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 November Reading Series

The Sundress Academy for the Arts (SAFTA) is pleased to announce the guests for the November installment of our virtual reading series. This event will take place on Wednesday, November 17, 2021, on Zoom (http://tiny.utk.edu/sundress, password: safta) from 7-8 PM EST.

Joy Jones is a trainer, performance poet, playwright and author of several books, including Private Lessons: A Book of Meditations for Teachers; Tambourine Moon; and Fearless Public Speaking. She has won awards for her writing from the D.C. Commission on the Arts & Humanities, and the Colonial Players Promising Playwrights Competition. Her most recent book is Jayla Jumps In (Albert Whitman & Co, 2020).

Anna Leahy is the author of the poetry collections What Happened Was:, Aperture, and Constituents of Matter and the nonfiction book Tumor. Her work has appeared at Aeon, Atlanta Review, The Atlantic, BuzzFeed, Poetry, Scientific American, The Southern Review, and elsewhere, and her essays have won top awards from Mississippi Review, Los Angeles Review, Ninth Letter, and Dogwood. She directs the MFA in Creative Writing program at Chapman University and edits the international Tab Journal. More at https://amleahy.com.

Kimberly Ann Priest is the author of Slaughter the One Bird (Sundress 2021) and chapbooks The Optimist Shelters in Place (forthcoming Harbor Editions 2022), Still Life (PANK, 2020), Parrot Flower (Glass, 2020) and White Goat Black Sheep (FLP, 2018). Winner of the 2019 Heartland Poetry Prize from New American Press, her work has appeared in North Dakota Quarterly, Salamander, Slipstream, The Berkeley Poetry Review, Lunch Ticket, Borderland, etc. She is an Assistant Professor of First Year Writing at Michigan State University and serves as an associate poetry editor for the Nimrod International Journal of Prose and Poetry. Find her work at kimberlyannpriest.com.


The Sundress Academy for the Arts (SAFTA) is a writers residency and arts collective that hosts workshops, retreats, and residencies for writers in all genres including poetry, fiction, nonfiction, journalism, academic writing, playwriting, and more. The land on which Sundress Publications operates is part of the traditional territory of the Tsalagi peoples (now Eastern Band of Cherokee Indians, Cherokee Nation of Oklahoma, and United Keetoowah Band of Cherokee Indians) and Tsoyaha peoples (Yuchi, Muscogee Creek).

Sundress Reads: Review of Pittsburgh and the Urban League Movement: A Century of Social Service and Activism

Pittsburgh and the Urban League Movement: A Century of Social Service and Activism by Joe William Trotter, Jr. (The University Press of Kentucky, 2020) details the history of the Urban League of Pittsburgh, an organization with over a century of social service and activism in the Greater Pittsburgh Metropolitan Area. The Urban League of Pittsburgh is a branch of the National Urban League, and this book breaks down 100 years of its goals, actions, how they were perceived, and the sometimes controversial approach they took to alleviate racial and class inequality. It also contextualizes and provides insight into the various events, biases, and ongoing, concurrent social struggles that factored into and influenced the Urban League Movement, giving readers an in-depth look at the often untold side of the history of Pittsburgh—and of the United States.

The book is divided into a prologue, three sections, and an epilogue. The three sections move in chronological order, from the Pittsburgh Urban League’s establishment, to changes brought about by the New Deal and the Black Freedom Movement. The epilogue concludes with the author’s thoughts on the Urban League Movement’s overall positive effects in connecting its social justice movements with social science research and social services. The book draws deeply from both primary and secondary sources, working across the Urban League’s files, newspapers, and oral histories, and is supplemented by relevant charts, clippings, and images from sources that include the census and the 1923 Pittsburgh Courier, though the book is almost entirely text.

The prologue provides both a helpful introduction to and a succinct summary of the book’s contents. Together with Part I—which details the beginnings of the ULP—we learn many of the themes and overall advocacy focuses that will be expanded on throughout the book, such as the push against racism in employment and housing and the ULP’s collaboration with other organizations, including those of the state government. By detailing the Urban League of Pittsburgh’s early practices and changing focuses, the author expands on the factors that led to these decisions: the workforce was volatile, influenced not just by wartime practices, but also rampant racism and sexism from employers and non-Black employees, who fought for lower wages and decreased opportunities for Black people. The percentage of Black people in the area also changed significantly, impacted by anti-enticement laws, labor shortages, discriminatory housing and employment practices, and living conditions.

The narrative delves into the interrelated nature of housing, employment, and community, and how they influence one another. For instance, better housing conditions led to better job performances and increased job stability. The ULP’s extensive research helped its staff pinpoint need areas and make crucial decisions on where to divert its resources, and Trotter concisely describes the results of these studies and consequences of its initiatives. Of the ULP’s research on the steel industry’s labor process, Trotter writes, “According to one branch research report, the so-called unskilled worker displayed considerable technical knowledge in the ‘conserving of his health and strength, personally avoiding burns or other accidents and protecting his fellow workman from same.’” These early chapters, which, on the surface, give a detailed history of the Urban League of Pittsburgh in its early years, describe the intersection of capital, labor, racial, gender, and class relations that continues throughout the history detailed in the book and persists today.

As the ULP evolved in the early 20s, it developed more of a focus on disparities in medical treatment of Black people and education. The first part of the book deals with post–World War I upheaval and its lingering effects, while the second describes the struggle of Pittsburgh’s Black community during the Great Depression and the continued turbulence brought about by World War II. Here, the pace picks up, with several years of struggle often condensed into single sentences and paragraphs. However, the narrative remains firmly dedicated to highlighting the most significant or representative events within the timeframe. The third section moves into post-WWII struggles and victories, including the Cold War’s influence on Black employment opportunities, the ULP’s role in the expansion of the African American middle class and the fall of Jim Crow, and the branch’s involvement in the Civil Rights Movement. Crucially, as the ULP shifted its philosophy from using social services exclusively to using the principles of social services, the book shifts into a broader overview of the ULP’s actions, following its larger-scale efforts and activity. However, Trotter’s attention to details brings the narrative to more personal levels, pinpointing actions and policy decisions to specific people. The final chapter moves through the postindustrial era and late twentieth century into the present. As policies enacted in the earlier decades fell apart, the fight for equality continued to shift, with many struggles still ongoing. The epilogue reflects on the changes and steps made toward justice and the ULP’s impact on and connection with racial relations and social service work while pointing out the unequal treatment that remains.

Though the author’s descriptions of the Urban League of Pittsburgh’s actions and responses reveal his overall positive view of the branch, they highlight some of its potential controversies, such as the end of John T. Clark’s ULP tenure and mishandled or misguided policies. The book does not shy away from describing the biases that plagued the ULP itself, such as its classism, sexism, and even racism toward the very people it claimed to support. The effects of the ULP’s actions, both positive and negative, are made clear—the upticks in employment as a result of direct recommendations and advocacy, and the periods of stagnancy when even the ULP’s strongest advocates could not sway the racism of employers.

One of the points that makes this book stand out is its specificity: whenever possible, names, dates, direct quotes, and detailed summaries are provided, even with the source going as far back as 100 years. The details are balanced, though, with small time jumps and concise summaries—never too loaded or distracting. While reading this book, it was easy to imagine some of the events unfolding before me, especially the exchanges between Urban League staff and the people to whom they made recommendations (and arguments).

Overall, the book was a fascinating, insightful case study into the history of not just the Urban League in Pittsburgh, but the area’s changing Black communities, landscape, and society. I found the summaries at the beginning of each chapter helpful in understanding key takeaways and priming myself for the upcoming sections. These sections are divided by common themes while the chronological order of events is mostly preserved, leading to easy organization and fluency.

After reading this, I now feel it is impossible to truly learn about Pittsburgh’s history and governmental and societal treatment of Black people without an understanding of the role of the Urban League Movement in the area. Like the book’s inability to speak of one without the other, racial relations and general community disparity and controversy are deeply entangled with the organization’s actions, connections, and advocacy. This book is a crucial read for understanding not only history, but also the present.

Pittsburgh and the Urban League Movement: A Century of Social Service and Activism is available at The University Press of Kentucky


Stephi Cham holds a BM in Music Therapy with a Minor in Psychology from Southern Methodist University. She is currently working toward her MA in Publishing at Rosemont College, where she manages the publishing program’s communications as a graduate assistant. She is a freelance editor and the author of the Great Asian-Americans series published by Capstone Press, and her work has appeared in Strange Horizons.

Sundress Academy for the Arts Presents “Finding an Appetite: Poetry, Creative Nonfiction, and Food Writing”

The Sundress Academy for the Arts is proud to present the next installment of their workshop series, “Finding an Appetite: Poetry Creative Nonfiction, and Food Writing.”  This workshop will be led by Katie Culligan and will be held in Room 252 in the Hodges Library from 6 to 7 pm on October 28th. This event is free and open to the public.

Mark Twain said, “Part of the secret of success is to eat what you like and let the food fight it out inside.” When we begin to consider this active role that food plays in our lives and bodies, we must think about the senses, the land we live on, our families, both nuclear and national, and the labor-system-latticework we all must somehow live in the cracks of. In this workshop, we will investigate together how these considerations, and how food writing in general, can enrich your personal essays and poetry. If you’ve ever grown a mint plant in your kitchen, or waited a table, or eaten a hot dog that your mother cut up to look like an octopus, then you have enough to write about for the foreseeable future. Writers we read together will include those who specialize in both journalism and lyric nonfiction. We will not be reading Mark Twain.

Katie Culligan is a nonfiction writer living in Knoxville, TN, where she is the Fall 2019 Writer in Residence at 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

This event is co-sponsored by the University of Tennessee Creative Writing Program and is free and open to the public.

The Sundress Academy for the Arts (SAFTA) is an artists’ residency that hosts workshops, retreats, and residencies for writers, actors, filmmakers, and visual artists. All are guided by experienced, professional instructors from a variety of creative disciplines who are dedicated to cultivating the arts in East Tennessee.

Doubleback Books is Looking for Authors of Out-of-Print Books

Doubleback_Header_ImageDoubleback Books is Looking for Authors of Out-of-Print Books

An imprint of Sundress Publications, Doubleback Books, is holding a call for submissions for authors of out-of-print books.

At Doubleback Books, we believe that out of print should not mean out of mind. Although other publishers rescue works that have fallen into the public domain from obscurity, few reprint books from small, independent presses that have folded during the twenty-first century and (often through no fault of their own) left new, exciting books to go out of print before their time.

If you are the author of a book that has recently gone out of print because the press closed, we want to read it. We are hosting an open reading period in June-August 2019. Authors of works that have gone out of print due to the closure of the original press may submit full-length or short books, including novels, novellas, chapbooks, short story collections, poetry collections, essay collections, and memoirs. To be eligible, works must have been both published and out of print after 2000.

Accepted manuscripts will be released as free downloadable e-books on the Sundress Publications website. Previous titles include Colleen S. Harris’s These Terrible Sacraments, Virginia Chase Sutton’s What Brings You to Del Amo, and Sarah J. Sloat’s In the Voice of a Minor Saint.

To submit, email the following to doubleback@sundresspublications.com:

  • Your manuscript(s) in .PDF or .DOC format
  • A brief cover letter in the body of the email telling us a little bit about your work and yourself, and noting the genre of the manuscript
  • The name of the manuscript’s original publisher
  • The name and contact information of the publisher’s former editor-in-chief, if available.

Please note: we do not republish translated work or previously self-published work.

Doubleback Books is an imprint of Sundress Publications. More information can be found HERE.

 

The Wardrobe is Looking for Books that Honor National Suicide Prevention Week

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As a part of Sundress’s ongoing commitment to providing a platform for marginalized voices, Sundress Publications is accepting submissions in honor of National Suicide Prevention Week (September 8–14).

We at Sundress hope to champion writers whose work helps to break the stigma of mental health issues and highlights the very human struggles that can lead to thoughts of suicide, suicide attempts, and suicide survivors. We are looking for submissions that challenge the misconceptions surrounding suicide and that work to shed some light the silent struggle.

Authors or publishers of books published in any genre in the past twelve months may submit to The Wardrobe. To do so, please forward an electronic copy of the book (PDFs preferred), author bio, photo of the cover, and a link to the publisher’s website to The Wardrobe’s email with the subject line “Suicide Prevention.” In addition, we request that one print copy be mailed to Sundress Academy for the Arts, ATTN: The Wardrobe, 195 Tobby Hollow Lane, Knoxville, TN 37931.

Submissions to The Wardrobe will remain eligible for this “Best Dressed” selection for one year. Hard copies will become a permanent part of the Sundress Academy for the Arts library and be made available for review by our editors and/or affiliate journals.

For the complete details and rules, please see The Wardrobe website.

 

Sundress Releases Manticore: Hybrid Writing from Hybrid Identities

Sundress Releases Manticore: Hybrid Writing from Hybrid Identities
edited by Nicole Oquendo

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Sundress Publications announces the release of Manticore: Hybrid Writing from Hybrid Identities, an anthology edited by Nicole Oquendo. The anthology features the work of Jennifer E. Hudgens, Nic Campeotto, Nina Sudhakar, and Emily Corwin, along with over two-dozen writers and artists tasked with uniquely articulating what it means to occupy a hybrid identity.

In these poems, narratives, photographs, and striking hybrids of genre, Manticore compellingly reveals the ways in which the seemingly unified self is composed of infinite ways of being in the world. The anthology is not only populated with beautiful, multimodal works of art, but also includes statements by each contributor about how they conceptualize and are inspired by the notion of hybridity. Though not all of Manticore’s pieces are explicitly presented as autobiographical works of nonfiction, they each offer the honesty and vulnerability of the intensely personal. The result is an intimate, powerful, and visually striking collection that is as unique as its talented group of contributors.

“Hybridity, for me, has always equated to possibility, and the creative work I enjoy most inhabits multiple genres at once. Within the last few years, growing and changing along with the labels that make up my identity—nonbinary, disabled, queer, Latinx, brujx, and so much more—I have discovered there is a glorious intersection of identity and form when it comes to the creation of work outside the boundaries of what is traditionally accepted. In gathering the work for this anthology, I wanted to focus on hybrid identities and the hybrid work these identities inspire, and I believe this collection—in the form of various media, highlighting both the truth and what is imagined—is a fantastic representation of what we can do when we embrace possibility with ferocity.” -Nicole Oquendo, Editor

Manticore is as surprising as it is lovely; exquisite, gut-wrenching hybridities that capture what it is to be outside. This collection of stories, poems, and images will captivate readers—its venom heady and delightful as it is deadly. A monstrous kind of magic is afoot here.” – M.R. Sheffield, author of Marvels

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Nicole Oquendo is a writer and visual artist that combines these elements to craftmultimodal nonfiction, poetry, and fiction, as well as translations of these forms. Their work can be found in literary journals like BOAAT, CutBank, DIAGRAM, and Gulf Stream, among others. They are the author of the hybrid memoir Telomeres, as well as five chapbooks, including their most recent, Space Baby: Episodes I-III.

The anthology is available for free download HERE.

Sundress Academy for the Arts Announces Writing Retreat for Survival and Healing

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Sundress Academy for the Arts Announces
Writing Retreat for Survival and Healing

Sundress Academy for the Arts is excited to announce its third annual generative writing retreat celebrating survival and healing on July 6-7, 2019. This two-day retreat for sexual assault survivors will be held in Oak Ridge, TN and will be a safe space for creativity, generative writing exercises, discussions on ways to write trauma, advice on publishing, and more. Come join us in mutual support for a weekend of writing time for healing, safety, and comfort.

A weekend pass includes one-on-one and group instruction, writing supplies, meals, drinks, and all on-site amenities for $75.

The event will be open to writers of all backgrounds and provide an opportunity to work with many talented, published fiction writers and poets from around the country, including Beth Couture, Rax King, Krista Cox, and Macy French.

coutureBeth Couture is the author of Women Born with Fur (Jaded Ibis Press, 2014) and has published fiction in various journals and anthologies. She holds a PhD from the Center for Writers at the University of Southern Mississippi, an MFA from the University of Notre Dame, and a Master’s in Social Service from Bryn Mawr College, and works as a therapist in the Counseling Center at the University of the Arts in Philadelphia. She is a licensed social worker (LSW) in the state of Pennsylvania and is beginning training as a registered biblio/poetry therapist. Her approach to therapy is person-centered, psychodynamic, and feminist, and she frequently uses expressive writing and journaling with her clients. She has extensive experience working with college-age students, survivors of sexual trauma, and the trans and LGBTQ communities.

kingRax King is a dog-loving, hedgehog-mothering, beer-swilling, gay and disabled sumbitch who occasionally writes poetry and works as assistant editor for Sundress Publications. She is the author of the collection The People’s Elbow: Thirty Recitatives on Rape and Wrestling (Ursus Americanus, 2018). Her work can also be found in Barrelhouse, Peach Mag, and Glass Poetry.

 

coxFor money, Krista Cox is a paralegal. For joy, she’s an associate poetry editor at Stirring: A Literary Collection, a member of the board of the Feminist Humanist Alliance, and Executive Director of Lit Literary Collective, a nonprofit serving her local literary community. Her poetry has appeared in Columbia Journal, Crab Fat Magazine, The Humanist, and elsewhere. There’s more fascinating information about Krista to be found at http://kristacox.me.

 

 

frenchMacy French is poet from East Tennessee. Her work has appeared in Connotation Press, DASH Literary Journal, Gravel Magazine and others. She is a graduate of Tusculum University with a bachelor’s degree in English and is currently working toward her M.Ed. in Elementary Education.

 

 

 

 

 

We have two full scholarships available for the retreat as well as limited 20% scholarships for those with financial need. To apply for a scholarship, send a packet of no more than (8) pages of creative writing along with a brief statement on why you would like to attend this workshop to Erin Elizabeth Smith at erin@sundresspublications.com no later than May 15th, 2018. Scholarship recipients will be announced in late May.

Space at this workshop is limited to 14 writers, so reserve your place today at https://squareup.com/store/sundress-publications/item/retreat-for-survival-and-healing

The Sundress Academy for the Arts (SAFTA) is an artists’ residency that hosts workshops, retreats, and residencies for writers, actors, filmmakers, and visual artists. All are guided by experienced, professional instructors from a variety of creative disciplines who are dedicated to cultivating the arts in East Tennessee.