Yellow Arrow Publishing Blog

Kapua Iao 4/18/23 Kapua Iao 4/18/23

What’s in a Name: Women in Literature

By Jackie Alvarez-Hernandez, written October 2022

When we think about women in literature, famous names come to mind. The Brontë Sisters. Mary Shelley. Toni Morrison. Emily Dickinson. Zora Neale Huston.

We know them by their names today, but these women (and many more) had their own struggles when it came to publishing their work. Sometimes, the only way to get their work published and taken seriously was to take on a new name—a pen name that leaned more masculine or androgynous, of course.

Stephen Smith, in his book An Inkwell of Pen Names (2006), was able to find a lot of these pseudonyms and the history behind them. For instance, the Brontë Sisters—Charlotte, Emily, and Anne Brontë—became the Bell Brothers when they first published their work. Charlotte became “Currer Bell,” Emily became “Ellis Bell,” and Anne was “Acton Bell.” Their first stories—Jane Eyre, Wuthering Heights, and Agnes Grey, respectively—were originally published under these male pseudonyms.

According to Charlotte, in the introduction she wrote for Wuthering Heights, they did it because they did not want to face prejudice for having written pieces that were not “female-like.” They did not want their words used as weapons against them by critics of the time. They also did not want to receive praise for the mere fact that they were women writing, as it would not be “true praise.”

(What’s funny is that the only reason the ruse was discovered was because, at that time, the critics assumed all the novels written by the sisters were by Charlotte or Currer Bell. That is, they thought the other two “brothers” didn’t exist. When a publisher wished to publish a work of Anne’s or Acton’s in the United States under Charlotte’s pen name, the two chose to head to the publisher’s office in person to clear the matter. In her account of the meeting, Charlotte claims she laughed at his expression when he realized who she was.)

Another famous writer who used a masculine pen name, Louisa May Alcott, did so whenever she wrote stories revolving around darker and more serious themes, under the name of A.M. Bernard, though sometimes she also wrote them anonymously.

Meanwhile, Louisa saved her real name for her children’s and young adult books. Since the discovery of this occurred after her lifetime, we can only assume her reason for doing so: to ensure no one would associate her, a family-friendly writer, with works that were considered sensational for society back then—something unfit for women.

The works under the A.M. Bernard pen name include a short story titled “Pauline’s Passion and Punishment,” which is a psychological thriller that explores the roles of men and women in society, and Behind a Mask, or A Woman’s Power, a tale about a governess who isn’t what she claims to be. It also includes short stories such as “Countess Vororoff” and “Dr. Dorn’s Revenge” that were published in Lady’s Magazine, edited by Henry Carter, who also went by a pen name—Frank Leslie—at the time.

This trend of women writers having to take on a new name—even a unisex one—to have their work judged without bias is something that continues even to the current day.

Nora Roberts, famed for her romance novels, began writing the In Death series in 1995 under the pen name J.D. Robb. As stated on the author’s website, Roberts was not only “ready for a writing challenge” but also eager to reach a new audience with her futuristic crime series. With a new genre, she felt a need to switch the name out. Eventually, she revealed the truth and to this day continues to write the series under the pen name.

The VIDA Count, which is an annual report that complies data from publications, journals, and press outlets regarding the diversity of the work they publish and review, revealed that in 2019, only three out of 15 of the largest publications had published at least 50% or more of women and nonbinary writers (which were Tin House, The New York Times Book Review, and Poetry Magazine.). Meanwhile, publications such as Harper’s Magazine, The Nation, and The Atlantic remained low, not reaching beyond 40%.

The VIDA Count also showed only 18 of the 24 literary magazines they reviewed had published at least 50% or more of writing by women and nonbinary authors.

So, what does this all mean, then?

It means a lot of what past women writers worried about during their time—bias, prejudice, and unwarranted criticism—are something women writers still worry about today. It means that even now, we still have a lot of work to do when it comes to getting words written by a woman seen by the world.

But every day, more women come forward, unafraid to write what they want, in the form they want, with the name they want. And that’s what makes Yellow Arrow Publishing’s mission even more important. Because with every publication we make, another woman gets to tell her story, without worrying about being silenced.

So hopefully, as time goes on, and more women get published, the less we’ll need to worry over the influence of a name.

Jaqueline Alvarez-Hernandez (or just Jackie) (she/her) was born and raised in Frederick, Maryland, and just graduated from Loyola University Maryland with a bachelor’s degree in writing. A fan of stories whether on the page or on the movie screen, she hopes to start a career in book publishing that will allow her to explore any and all types of writing. She loves to read and write short stories in both fantasy and horror genres. In her free time, she enjoys spending time with her family and playing video games with her fiance. You can find her on Facebook @jackie.alvarezhernandez.77 or on Instagram @honestlytrue16.

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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.

Kapua Iao 4/11/23 Kapua Iao 4/11/23

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.

Yellow Arrow 4/7/23 Yellow Arrow 4/7/23

Her View Friday

Yellow Arrow Publishing supports women-identifying writers from a wide variety of backgrounds, not just because it’s the right thing to do, but because it makes us stronger. Women’s voices have historically been underrepresented in literature, and we aim to elevate those voices and stories through our programs, publications, and support.

Part of our mission in supporting and uplifting women writers is to promote the Yellow Arrow community’s individual accomplishments. We’d like to further expand that support and promotion outside of our Yellow Arrow publications. Twice a month, we’d like to give a shout out to those within the Yellow Arrow community who recently published:

single-author publications
single pieces in journals, anthologies, etc. as well as prizes/awards

You can support our authors by reading this blog and their work, sharing their news, and commenting below or on the blog. Congratulations to all the included authors. We are so proud of you!

Every writer has a story to tell and every story is worth telling.

Author: Joanne Durham

Tell us about yourself: I am a retired educator living on the North Carolina coast. My poem “BABY!” was published in the RENASCENCE issue of Yellow Arrow Journal (spring 2021). I wrote a short piece on the Yellow Arrow blog about revision in May 2022. My first book was To Drink from a Wider Bowl, winner of the Sinclair Poetry Prize (Evening Street Press 2022), and my new chapbook is On Shifting Shoals (Kelsay Books, January 2023). You can find my poems also in Poetry South, CALYX, NC Literary Review, Ocotillo Review, Whale Road Review, and many other journals and anthologies. I consider myself incredibly lucky to be retired, living by the ocean with time to write and explore poetry with many poets I’ve met online.

Where are you from: Prince George’s County, Maryland

What describes your main writing space: expansiveness, ocean, immensity

Tell us about your publication: On Shifting Shoals (Kelsay Books, January 2023) includes 24 poems I’ve written over the past decade of living by the ocean. It explores my experiences of life in a southern beach town—the amazing beauty and sense of renewal of the ocean, environmental concerns in a time of climate change, and the sometimes humorous, sometimes uneasy relationships among the people who live there.

Why this book? Why now? How did it happen for you: When I moved to the North Carolina coast a decade ago, I started walking on the beach or riding my bike around my small town almost every day. I would take photos and started writing poems from those snapshots. The ocean, the people, the seasons—everything changes and invites new connections. Pretty soon I had a collection and I hoped it would appeal to anyone who never gets tired of the ocean.

What is your writing goal for the year: Erik Campbell once wrote, "I write poetry because I have a soul that needs a periodic tune-up." My goal is always that tune-up.

What advice do you have for other writers: Write as much and as often as you can, even if it’s just jotting thoughts in a journal. Take workshops if possible from poets whose work you admire and you will meet other poets with similar tastes to yours and they will be invaluable for supporting your writing and giving you honest feedback.

What else are you working on/doing that you’d like to share: I just keep writing. Lately it’s a lot about my concerns for the world we live in, how to live with the immense beauty and the immense cruelty that is everywhere.

You can find Joanne on Twitter @DurhamJoanne and Instagram @poetryjoanne.

Yellow Arrow (past and present) board, staff, interns, authors, residents, and instructors alike! Got a publication coming out? Let us help celebrate for you in Her View Friday.

Single-author publications: here.

Single pieces and awards/prizes: here.

Please read the instructions on each form carefully; we look forward to congratulating you!

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Kapua Iao 4/4/23 Kapua Iao 4/4/23

Meet a Staff Member: Allyson Waldon

Yellow Arrow Publishing would like to introduce our publication sales manager, Allyson Waldon. Ally’s entire world revolves around books. She recently received her MFA in creative writing and publishing arts from the University of Baltimore (UB). While at UB, Ally served as an editor for Welter, a literary magazine. When she isn’t writing, she manages operations at The Book Rack, a woman-run educational book distributor. In her free time, Ally performs with Baltimore-area community theaters and choirs. She is currently working on the creation of a new collaborative musical at Fells Point Corner Theater. She is also working on keeping her dog and cat from eating one another. Interior Lives, a self-published collection of short prose, can be found at allywaldon.com.

Ally states, “I’m excited to work with other creative people who share a similar vision. Lately, I’ve not been writing as much and I feel like working with Yellow Arrow will light up that area of my brain again. I also believe I have a lot to offer to the organization. My current workplace is sometimes reluctant to try new things to connect with a wider audience. It would be great to try and implement these ideas to build relationships with bookstores and to increase readership. I am eager to learn and to be able to use both my organizational workplace skills and my creative skills together in a productive way.”

Tell us a little something about yourself:

I really enjoy making, creating, performing. My MFA culminated in the creation and design of my own book (this includes everything except for physically printing them) and then a reading, which tapped into all of my interests. Who knew there were so many typefaces!

While at UB, I worked on a short-lived podcast for Welter in addition to serving as fiction editor. After graduating, one of my pieces was published in the magazine.

An interesting thing about my writing is that the basis of many of my stories come from a dream journal I keep in the Notes app on my phone. They can get very weird, but it is a great springboard for ideas.

What do you love most about Baltimore?

Baltimore has such a rich literary history (F. Scott Fitzgerald, Lucille Clifton, Edgar Allan Poe) and a great arts scene in general. It also is in close proximity to other east coast cities . . . no reading or concert or museum is more than a day trip away.

Baltimore has a certain quirkiness that many people don’t get, so it’s also a point of pride that I’m from here. Baltimoreans have a strong work ethic. We are resilient and resourceful, but we also know how to have a good time! Also, crabs are delicious. I mean, come on.

How did you get involved with Yellow Arrow and what do you do?

Annie Marhefka (Executive Director), my childhood babysitter, has known me since I was seven years old. Our mothers were best friends and coworkers who bonded over books, so this is in our blood! Annie mentioned to me that there was an opportunity to get involved with publication sales and building relationships with bookstores, which is a large part of my day job. It was meant to be.

What are you working on currently?

I’m collaborating with three other writers on a new musical at Fells Point Corner Theater about what it means to “try.” I’m also in the process of taking the helm at my workplace as the current owner retires. Daunting, but exciting.

What genre do you write (or read) the most and why?

I find that I’m most generative after reading memoir. Perhaps there’s some sort of lightning rod in the reality of someone else’s personal history that helps me tap into my own thoughts. I write flash and short fiction, but I also think flash can sometimes overlap with poetry. The lines are blurry for me.

What book is on the top of your to-be-read pile?

Secret Lives of Church Ladies by Deesha Philyaw is next on my list.

Who is your favorite writer and why?

Even though I’m a short form writer, I love and admire John Irving. It makes no sense why an elderly, white, male writer would resonate so deeply with me, but good craft is good craft, I suppose. I find myself getting fully absorbed in his books. The World According to Garp is probably my favorite of his.

Who has inspired and/or supported you most in your writing journey?

My mother has always encouraged me to pursue the things that I enjoyed doing rather than the things that would be the most lucrative. She has worked in books for many years and made sure I had access to anything and everything I wanted to read. My father was never ashamed to pick up a book that wasn’t necessarily written for him—a YA dystopian romance or a Hollywood memoir. It set a great example. I think wide exposure leads to better writing, so I have them both to thank for that.

What do you love most about writing?

Writing and creating in general is therapeutic to me. It helps me to dissect and even work out the things in my head. I love the research that comes along with writing. It takes everything in my power not to go off on tangents researching moon phases or the geography of Senegal (these are both real life examples), but I enjoy it immensely.

What advice do you have for new writers?

I would tell new writers to read beyond their genre. It broadens your worldview and helps your writing to be less insular. The best writers are good readers. I’ve been inspired by nonfiction and cookbooks and comic books and even Twitter threads.

What’s your vision for Yellow Arrow in 2023?

There is a lot to SPARK! This year, I hope to have a fire lit within me. I hated high school, but there were some good takeaways. Our school motto was “Lucem accepimus, lucem demus.” We have received light, let us give light. It might seem a little pretentious or even hokey, but it’s an ideal worth exemplifying. When creativity is sparked, it spreads. I hope the creative spark is lit within me, and I am able to tend to the flame in order to pass it on.

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Yellow Arrow 3/31/23 Yellow Arrow 3/31/23

Her View Friday

single-author publications
single pieces in journals, anthologies, etc. as well as prizes/awards

You can support our authors by reading this blog and their work, sharing their news, and commenting below or on the blog. Congratulations to all the included authors. We are so proud of you!

Every writer has a story to tell and every story is worth telling

“Mothers and Brothers” by Gargi Mehra FROM INDIA

Genre: poetry

Name of publisher: The Good Life Review

Date published: January 2023

Type of publication: online

thegoodlifereview.com/issue-ten/mothers-and-brothers-by-gargi-mehra/

"The Blue Tin" by Diann Leo-Omine from Sacramento, CALIFORNIA

Genre: creative nonfiction

Name of publisher: ANMLY

Date published: February 2023

Type of publication: online

medium.com/anomalyblog/from-the-fridge-to-the-frying-pan-the-blue-tin-8a5309095a30

Find Diann on Twitter @sweetleoomine, Instagram @sweetleoomine, and Facebook @diann.michelle.

Yellow Arrow (past and present) board, staff, interns, authors, residents, and instructors alike! Got a publication coming out? Let us help celebrate for you in Her View Friday.

Single-author publications: here.

Single pieces and awards/prizes: here.

Please read the instructions on each form carefully; we look forward to congratulating you!

*****

Kapua Iao 3/28/23 Kapua Iao 3/28/23

My Top 12 Books of 2023 to Read from Natasha Saar

By Natasha Saar

With March coming to a close, there’s still plenty of time for you to spend reading, reading, reading. If you can tear your eyes away from Yellow Arrow Publishing’s work, I've compiled a list of 2023 must-read books that might tickle a similar reading itch . . . and you’ll get to see what everyone’s reading nowadays.

1. Good for a Girl by Lauren Fleshmen (Penguin Press, get your copy here)

In this half-memoir, half-manifesto, Lauren Fleshmen tackles the world of running and commercialized sporting from its greatest highs to its greatest lows—and there are much more of the latter. Fleshmen gives voice to girls fitting into a sporting system designed to lift men and, with someone with her multitude of experience, she has a lot of it.

2. Yellowface by R.F. Kuang (Harper Collins, out in May, get your copy here)

After the death of fellow student and literary superstar Athena Liu, fame-hungry Jane Hayward is hit with an idea: steal Athena’s manuscript and pass it off as her own. So, what if it’s about Chinese laborers under the British and French in World War I? Even if Jane’s not from Athena’s exact background, shouldn’t this story get told? Reviewers seem to agree, but critics seem convinced there’s something Hayward isn’t telling them. . .

3. Age of Vice by Deepti Kapoor (Riverhead Books, get your copy here)

Sunny’s the lady-killer heir, Ajay’s the family maid, and Neda’s the plucky journalist. Their one similarity: a connection to the Mercedes that jumped the curb, killed five, and left one baffled servant. Now, they’re caught in a plot that spans towns, families, friendships, and romances, and you’d better hope it ends with them keeping their heads. It’s the Indian mystery thriller you always knew you wanted!

4. A House with Good Bones by T. Kingfisher (Nightfire, get your copy here)

If you’re like this blogger, you like a good Southern gothic—and if you’re not like this blogger, you might still want to give this one a look. After accepting an extended visit home, Sam discovers a house quieter, dustier, and emptier than she remembered. With her Mom’s trembling hands and the vultures circling overhead, Sam feels like there’s anything but a good omen rising.

5. Old Babes in the Wood: Stories by Margaret Atwood (Doubleday, get your copy here)

Margaret Atwood returns to short fiction for the first time since 2014 with a series of tales that depict a mother-daughter relationship. The twist? The mother purports to be a witch. It’s a bunch of bite-sized glimpses into what family means when it’s held down by baggage, fantasy, and complications.

6. Happy Place by Emily Henry (Berkley, get your copy here)

If you’re into some contemporary chick lit, Emily Henry has delivered yet again. This time, the package is in the form of a college romance, an annual getaway, and a breakup. Except this breakup happened six months ago, and they haven’t told their friends. Not wanting to ruin their yearly vacation, Harriet and Wyn agree to pretend to be a couple for one more week . . . but will the facade break, or stop being one at all? (Knowing the genre, probably the latter.)

7. The Faraway World: Stories by Patricia Engel (Avid Reader Press, get your copy here)

Engel takes us on a journey of Latin America's communities burdened by poverty, family, and grief, and there are a lot of them to be had. This compilation of 10 (previously published) short stories will give you a taste of the full breadth of human experiences with an authentic voice, witty writing, and vulnerability that will touch anyone.

8. My Last Innocent Year by Daisy Alpert Florin (Henry Holt, get your copy here)

Isabel Rosen is part of the prestigious elite, about to graduate into eliter, and has always felt out of place. After a nonconsensual encounter with one of the only other Jewish students on campus, she’s about to feel that even worse. A whirlwind affair with her older, married writing professor is the only thing she has to cope, but nothing about it seems to bode well for her.

9. Really Good, Actually by Monica Heise (William Morrow, get your copy here)

Maggie’s got it all: a dead-end thesis, a dead-end marriage, dead-end savings, and she’s not even 30. With her support group by her side, Maggie barrels through her first year newly single with wit, humor, and heavy self-deprecation. Emphasis on all three, and additional emphasis on it being a wild ride.

10. The Mostly True Story of Tanner and Louise by Colleen Oakley (Berkley, get your copy here)

Tanner’s chance to escape a life made up of 19 hours of video games comes with an opportunity to be an elderly woman’s live-in caregiver. Simple, except for the fact that Louise didn’t want a caretaker in the first place, looks weirdly similar to a prolific jewelry thief, and, one day, insists that they leave town immediately. Thus ensues a wacky road trip that spawns an equally wacky—and unlikely—friendship.

11. Wolfish: Wolf, Self, and the Stories We Tell About Fear by Erica Berry (Flatiron Books, get your copy here)

Erica Berry has walked a years-long quest to study the cultural legacy of the wolf, and this is the result. If you’re interested in wolves, this will tell you all you need to know. If you’re not, you can find criticism, journalism, and memoirs galore that let us peer into the world of predator and prey. What does it mean when we, as humans, can be both?

12. I Have Some Questions for You by Rebecca Makkai (Viking, get your copy here)

Bodie’s ready to leave her past behind her, but she can’t resist her ala mater inviting her back to campus to teach a course. That just means she’s back to thinking about her college roommate’s grisly murder, and how strange the conviction was, and how she has this nagging feeling that, back in 1995, she might’ve known the key to solving the case. But is it too late to run it back?

Have you read any of these already? Did I miss a few most-definitely, absolutely-necessary mentions? Tell us about it in a comment so that we can pick up a copy today.

Natasha Saar (she/her) is a senior at Loyola University Maryland, pursuing a BA in English, and the spring 2023 publications intern at Yellow Arrow Publishing. She’s in charge of editing nonfiction submissions at her university’s literary magazine, Corridors, and also works as a resident assistant in her dorm hall. In her free time, she enjoys folding origami, baking, and playing social deduction games.

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Kapua Iao 3/21/23 Kapua Iao 3/21/23

All My Languages: A Conversation with Elizabeth M. Castillo

By Melissa Nunez, written January 2023

In all my languages I have found there is no word for you. Although most vowels are the
same, no matter where they sit on your tongue, and life goes on, I’ve noticed, and tries to
drag one along with it. But my bags are not packed. – “New start”

Elizabeth M. Castillo is a British-Mauritian poet who writes in a variety of different languages under a variety of pen names. Her work has been featured in publications and anthologies across the globe such as FERAL: A Journal of Poetry and Art and Poetry Wales. In her writing Elizabeth explores the different countries and cultures she grew up with, as well as themes of race and ethnicity, motherhood, womanhood, language, love, and loss. She self-published her bilingual, debut collection Cajoncito: Poems on Love, Loss, y Otras Locuras in 2021. And we are excited that Elizabeth had poetry accepted to Yellow Arrow Journal, Vol. VIII, No. 1, KINDLING, coming out in May! Thank you for thinking of us in February when journal submissions were open.

Elizabeth engages the writing community with a confidence and open-minded grace that is admirable, and she energetically supports and promotes other indie authors. I was delighted we were able to coordinate a video conference despite a 12-hour time difference while she was spending some time in Mauritius. We had a conversation about the versatility and power of poetry, the lure of languages, and even connected over the homeschooling experience.

When did you first fall in love with poetry?

When I was a child, I loved Edward Lear. My parents would buy Victorian (and Edwardian) poetry, limericks, and silliness—I can still recite many of them now. That is where my love for the musicality and playfulness of words comes from. When I am writing poetry, I find that the syncopated rhythm from those early (think Rudyard Kipling) poems sometimes comes back to me. I also feel that I discovered poetry a second time, for myself, when I was a teenager. I was quite a depressed teenager even though I didn’t realize it at the time, we didn’t have that kind of vocabulary back then. I would write all my heartbreak and misunderstandings into poetry and that is when poetry became therapeutic for me. Now, as an adult, it is a mix of both. I can play with poetry, or it can be a help to me. I think poetry should be whatever you need it to be as a writer and as a reader.

Who are your favorite women writers?

Warsan Shire is the kind of poet I would love to emulate. Ada Limón is absolutely fantastic as well. There are several other inspiring poets I have discovered through social media, like Nikki Dudley, Melissa Hernandez, and Mary Ford Neal. I actually have a fangirl story here: I boosted Mary’s first book so much, out of pure love for it, that she acknowledged me in her second book!

As for nonfiction, Ariel Saramandi is an excellent Mauritian essayist. My relationship with Mauritius is a complicated one because I had a difficult time living here, but it is the biggest part of my heritage. I also grew up all over the place so there is that diasporic feeling of belonging/unbelonging present. Reading Saramandi’s work has given me an extra push into exploring that side of my reality and discovering more of what it means to be Mauritian, from the southern hemisphere, a woman of color, a writer of color, a linguistic minority, and all these things. Her writing is so impactful. You read her essays and you need to pause after each section and breathe before coming back to it.

How can I show them

what it is to talk;

how to cut the thoughts down to

word-shapes,

and coax the heart, and tongue, into

speaking?

Conditionals, perhaps?

The language of what could never be,

or what might have been. – “Paris, mi-octobre”

Writing on identity and heritage, especially in relation to the diaspora, is becoming more prevalent. I have been exploring my own connection to heritage, history, and language (trying to develop my Spanish and dig even deeper by researching Nahuatl) fueled by that feeling of unbelonging that you mention. Why do you think these stories are so resonant?

I follow some people on social media that post about Indigenous languages like Nahuatl and discuss the origins of words and what has been misused or appropriated. I feel like these resources are so important because otherwise we are shooting in the dark and there is this massive gap in identities. I am not someone who feels we need to just erase all of the literary canon so far and everything, but there is such space and such a rich diversity of stories that I believe people want to read. We are tired of reading the same perspective in poetry, at least in my case. I’ve picked up some of the acclaimed poets, especially North American poets, and there are one or two that I’m like, “Yeah, this is a banger.” But then there’s another poem about sitting in the woods looking at birds, and another on the same, and then at the country house looking at birds. First of all, who lives that life? Second, that is not what I want to read. It is not what makes me excited and inspires me to read and write. It is not what makes me feel seen and heard, what gives words to my experience. I believe a lot of that representation is found in these cultures and in these emerging voices like the ones platformed by publications like Yellow Arrow [Publishing]. So, it is exciting to see, whether it is an educational YouTube account, or a writer, or an essayist, these voices getting the attention not just that they deserve but that the world needs. It is what readers need.

Although I am not fully fluent in many languages, I am drawn to the musicality of different accents and sounds in different tongues. Do you ever switch languages in your poems after they’ve been drafted for the sound?

When I have worked in a language, when I work in Portuguese, or Spanish, or French, or Kreol, it is because the poem has come to me in that language. I don’t touch that because in some cases it’s not my first language or the language I am most comfortable working in. If they appear to me like that then I am not going to scare them away. I have, however, switched some poems into English. I have been working on a chapbook on motherhood and daughterhood (experiencing motherhood with mental illness, parentified children, and all that kind of thing) and I felt like I needed to focus more on French, but for some reason my muse isn’t a fan of La Francophonie. I would put things in French, and it would just feel so unnatural. Even though they were beautiful, they were just not working and so I would have to put them back into English.

Ya no soy aquella florecita- / I’m no longer that tiny little flower

En muchedumbre me converti, / I’ve become an entire horde,

En selva entera, ¡ten cuidado! / a whole jungle, but watch your step! – “Aquella florecita”

Do you have any favorite words that you often use, or have felt drawn to including in a piece?

I’ve spent some time in Chile (in fact my Spanish is Chilean more than anything else) and I love the sound of words in Mapudungun, the language of the Mapuche which are the indigenous tribes of mostly the south of Chile. Pichintún, which means “a little bit,” is in one of my poems. I say “pichintún of miel on my lengua,” which is a little bit of honey on my tongue. I love the word muchedumbre. I just think that it sounds like what it is. Even cajoncito is a word that I absolutely adore, the way it just rolls off the tongue and the way it just almost looks like what it is. Or maybe I’m just being a bit of a linguist about it. . . .

In a language workshop you led (through Crow Collective) you talked about writers being able to respectfully incorporate languages in their writing even if they are not native or fluent speakers. What advice do you have for those learning new languages and navigating the full context of usage without that experience?

There is such a fear nowadays of getting things wrong, of being seen as culturally appropriating or disrespecting something. It is a good consciousness to have but it mustn’t become a fear because then we don’t do anything. There is nothing wrong with acknowledging a mistake and apologizing for missing the mark on the meaning or context of a word. We are all learning and without this mindset we are promoting the opposite of diversity. We would all just be gatekeeping experiences until everybody is fluent or everybody has lived every experience and that is not possible. On the contrary, language and culture are fluid. They mix and they change as they encounter one another and that is the beauty of it. Just look at English and how it has evolved because so many people are speaking it all over the world. If you approach a new language with that humility and awareness, that it is something separate from you or related to you in whatever limited context, then I think that you can’t go too far wrong. There must be a respect, an admiration, and an understanding for it. The attitude should not be one of taking things and using them for personal gain, especially if you are operating from a place of privilege yourself, but rather handling them with respect and honor. That is what makes the difference. It might seem like a vague answer but that is my approach. The ability to acknowledge mistakes and say, “Hey, I messed this one up,” or “I didn’t understand it,” is underrated and gets you very far in life.

Do you have any tips for learning new languages or favorite resources to share?

Move to the country that speaks it and don’t speak your own language to anyone. Put yourself in the middle of the village . . . but no, that’s not always possible. As a language teacher I would say you find the medium that you enjoy. If you are very musical, plunge yourself into music and look up music interviews in the language. That is how I came to Spanish. I used to listen to Gloria Estefan and Shakira and look up the lyrics. I would use my knowledge of French to understand what I could and then translate the rest. That was literally my first start with Spanish when I was a teenager. If you are literary, look up short stories. Find something that you love and enter the language from there. Then, you will keep loving it when it gets tricky. Some languages, for example if you are a native Arabic speaker and you are coming to a Latin-based language, might require a couple of language classes (whether it is through an app or one-on-one) so you can get your head around the different language system. But many of us, I think, have some knowledge of most of the languages we want to speak and coming into it from a point of pleasure, of interest, of engagement will get you very far.

Come, fresh tears spilled into the clean laundry, come,

those few, thrilling seconds I hold myself underwater in the bath.

Come, sweet, bewitching intensity, step this way,

total disregard for consequence. – “Gathering my children to me”

Do you have a favorite poem that you have written or one you find the most fun to read?

I do. Well, favorite is difficult. It depends on the time of day really. I love the final poem in Cajoncito, “I thought of you today.” That poem just fell out of me. There is such catharsis in it and there was such catharsis from writing it. It is a happy-place poem. When I read it, I am very relaxed. I love “Gathering my children to me,” which actually doesn’t get much rep, like no one has ever said they love it. That is a personal favorite because I thought it was very clever when the idea came to me. It is very fun to perform because it is basically me telling all my faults to get in line because they have made a mess of where we are, and we have to leave. A poem that was written as a joke that everyone seems to adore and so I’ve come to love as well is the opening poem, “Can I send you my poems?” It was meant to be an absolute tongue-in-cheek, self-deprecating piece because I am so dramatic and feel all-the-things-all-the-time. It was meant to be that, and then I read it to my husband. He was like, “That’s excellent.” He is not in any way literary so for him to enjoy it was something. And when I shared it with other people, they also said it was good. There are a handful of shorter poems as well that are very personal and very precious to me, but I never read them. They still carry a bit of a sting, so I actually avoid them, but they mean a lot to me.

What advice would you give to those writing through grief/loss?

Keep writing. Until the pen and your heart are empty, just keep doing it. Let it all out. If you are in any way task-minded or outcome-minded, try your hardest to put that aside and just write. Don’t edit, don’t think of where it is going or what you can make of it. This can be hard because we don’t have that much time in the day and we want to be productive, to earn something, to publish something. But just keep writing and don’t think. Write and write and write and write. At some points it might feel like a hose that has a hole in it. You know there is water there and it is building up, but it is just coming out in drops. Or if there’s some big tangle, a good way of untangling it is just to shift your perspective. In a lot of my poetry, in many of my pieces from my new chapbooks I am working on, I have shifted the perspective and the speaker. I have written as myself outside of myself where I put my story from someone else or I have made my narrator male instead of female. I have also shifted the time frame and rather than after the loss I’ve written from before the loss. So, if ever it feels like a tangle, shift where you are standing and see if that helps. Sometimes that little shift suddenly brings the whole thing out. It is amazingly cathartic to the point where, for me, if you can read the poem, a personal poem that is a piece of your heart, and you feel nothing except enjoyment of your work, then you’ve got it. You’ve done it. You have achieved the goal. It is very satisfying to see something written literally laced in tears that is now just a great piece of writing.

I am running out of languages to grieve in. – “Saudades”

As a fellow homeschooling mom, I was excited to see that mentioned in your author bio. How do you feel homeschooling has affected your writing perspective or voice?

It affects my writing—full stop—because who has the time? A lot of homeschool moms tend to get the reputation of wanting everyone else to jump on the wagon with them, but I’m like, “No. Please don’t. You will fall off and hurt yourself. I’m barely hanging on to the wheel!” The choice to homeschool is a very personal one that every family must decide for themselves. If you do not have 1000% conviction to do it, do not do it. Writing and poetry take a lot from me. It is not just five or ten minutes; it takes time to sit down and work. One of my convictions in this life choice is that everything that comes outside of it is always something extra. Time spent on one thing is automatically time taken from something else. My only sort of barometer was that if my writing was in any way affecting my children, if they felt they were being deprived of me, then I would have to rethink what I was doing. At no point has that been the case. On the contrary, my daughters have blossomed seeing me write. They love to come and sit next to me when I’m writing with a pen and paper and write their own stories. Other times they will say, “Oh, mummy, can we write this as a poem? I want to write a poem about my little sister because I love her so much.” If anything, it is somehow joined into the homeschooling life of being creative and taking time to contemplate things. My creative time benefits them and I’m a better mother for it because it keeps me sane. I think homeschooling obviously adds to your workload as a mother. As a mother who suffers from anxiety and depression, I have times when I struggle with my mental health. I’m also fairly convinced that I have ADHD along with being severely dyslexic. It is already a lot to deal with, and I talk about it a lot in all those poems that come out as “What am I doing? Why did anyone trust me with kids?” If I had all my ducks in a row, then maybe I wouldn’t be able to write or feel the need to write about motherhood and daughterhood.

Writing also gives me such an intimate relationship with my children. It is incredibly inspiring to see the world from their perspective. I have a poem that is going into my new chapbook called “What My Four-Year-Old Tantrumed.” It is literally what my four-year-old shouted when she was having a tantrum and brushing her teeth. It was so poetic. It started with, “I just want to be in the dark and brush my teeth.” And I thought, “Yes, don’t we all.” It just went on and it sounded like a poem, and I mean terrible mother of the year award, but I was outside the door furiously typing what she was saying while she was having a tantrum. It made a great poem! I think these experiences definitely influence voice because you write about real things, which cycles back to what I said about wanting to read about reality. I know that is what I want as a reader. If I’m not going to read about reality, I want to read fantasy or science fiction. When I read poetry, I want to read something I can relate to, something that feels like “Yeah. Totally. That chick gets it.” All off these things can only happen when they are informed by reality, which is kids who are stroppy and tired and pushing your boundaries and have far more energy than should be legal. That definitely influences my poetry.

And finally, to bring this wonderful conversation to a close, what would you pick as your personal mascot?

I think I would probably be some kind of frog or other creature that stays very still and then moves around a lot and then stays very still again. That is literally me. I’d love to say something graceful and wondrous like a dolphin but that doesn’t fit. You know what? It would probably be an Octopus. It comes out, turns all these brilliant colors, and is odd and amazing but probably prefers to be in a hole somewhere pretending to be a piece of coral. An octopus, definitely.

Elizabeth M. Castillo’s bilingual, debut collection Cajoncito: Poems on Love, Loss, y Otras Locuras is for sale on Amazon, and her debut chapbook Not Quite an Ocean will be published by Nine Pens Press in 2023. You can connect with her on Twitter and Instagram as @EMCWritesPoetry or on her website elizabethmcastillo.net.

Melissa Nunez is a Latin@ writer and homeschooling mother of three from the Rio Grande Valley. Her essays have appeared in magazines like HerStory and Honey Literary. She has work forthcoming in Hypertext, Scrawl Place, and others. She is a columnist at The Daily Drunk and a staff writer for Alebrijes Review. You can follow her on Twitter @MelissaKNunez.

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Kapua Iao 3/14/23 Kapua Iao 3/14/23

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.

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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.

Kapua Iao 3/7/23 Kapua Iao 3/7/23

Meet a Board Member: Nikita Rimal Sharma

Yellow Arrow Publishing is incredibly excited to officially introduce our Director of Fundraising, Nikita Rimal Sharma, to the Yellow Arrow family. Nikita currently resides in Baltimore, Maryland, and is originally from Kathmandu, Nepal. Professionally, she works at B’More Clubhouse, a mental health nonprofit that is all about working toward reintegration and finding a community for adults living with mental illness. Her sources of joy include long walks with her dog, Stone, curling up with a good book, and documenting her thoughts and emotions. She also loves spending time with close family and friends, especially her husband, Prashant.

Nikita states, “I have been so inspired by the women at Yellow Arrow. The way everyone approaches their role with so much intention, love, confidence, and passion continues to give me the fuel to better myself and also believe in myself. I am looking forward to more magical moments like this.”

She recently took some time to answer some questions for us. Show her some love in the comments or on Facebook/Instagram!

Tell us a little something about yourself:

The title poem from my chapbook, The most beautiful garden, was just nominated for the Pushcart Prize by Yellow Arrow Publishing, and I could not be more thrilled and honored.

What do you love most about Baltimore?

I love how people in Baltimore seem more real and raw. Although the media and social structure may not have been fair to the city, I feel as if the people here have so much resiliency in the way they never give up. I also love how each neighborhood has its own personality as well.

How did you get involved with Yellow Arrow and what do you do?

Like Gwen Van Velsor (Yellow Arrow Founder) wanted it to be, [my joining Yellow Arrow] was serendipitous. I was just walking in the Highlandtown neighborhood with my colleague. The door to the then Yellow Arrow House was open, and it looked very inviting. I went in, learned a little, and googled about it later. I saw that there was a poetry class coming up which was Ann Quinn’s Poetry is Life class. I thought it was exactly what I needed then, and I was right.

What are you working on currently?

I am realizing that I need to be consistent with filling my days and time with things that bring me joy and inner fulfillment for my emotional and mental health. When life gets busy, it’s easy to stay preoccupied . . . and forget and move away from practices and habits that make you feel rested and grounded. I am trying to stay more consistent with doing things such as writing, reading, and going on long walks daily so I can continue to fill my cup with positive energy.

What genre do you write and why?

I write poetry because I love how I can say so much with so few words. Poetry is also great because it gives the reader a chance to interpret the poem to their liking and circumstances.

Who is your favorite writer and why?

I must go with Mary Oliver here. I love how she takes nature as an inspiration. When I am amidst nature, I feel like I am filled with wisdom about life, so I really appreciate reading her words.

Who has inspired and/or supported you most in your writing journey?

Whenever I get the opportunity to sit still and observe nature and humans going about their lives, it inspires me to write. Inspiration usually comes in the most ordinary things. I will say that my husband has been my biggest support. He reads and compliments everything I write like it is the most magical thing in the world and encourages me to follow my heart. I love him for that.

What do you love most about writing?

It helps me to slow down, reflect and digest the beauty, harshness, hope, and struggle that life has to offer. It makes me appreciate all the little things and is also a great tool to manage my emotions.

What advice do you have for new writers?

Whether it’s on an Instagram page or submitting to a journal, don’t be afraid to write and share (even when you think it’s horrible).

What’s your vision for Yellow Arrow in 2023?

My vision is to be able to share as much as I can about Yellow Arrow with the wider Baltimore community (and beyond). I have always written but being a part of Yellow Arrow has made me into a writer. I want to work toward creating this reality for more women.

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Kapua Iao 2/28/23 Kapua Iao 2/28/23

A Week as a Publications Intern

By Jackie Alvarez-Hernandez, written November 2022

When I was little, I adored the idea of being surrounded by books. In my head, my ideal world was one where I could spend every second of every day in the library, helping people find whichever story they wanted. And I could help people write stories and put them there in that library for others to find.

Obviously, this didn’t come to pass. Being a librarian takes a lot more work than my younger self imagined, and I had no idea of what went on in book publishing. But that desire to help people with their stories is something that’s remained the same. So when Yellow Arrow Publishing opened applications for an internship as a publications intern in the fall, I knew I had to take the chance.

I wasn’t sure what to expect, truly. I didn’t know how involved I would be—I had an internship in publishing beforehand, but that was in a different place. How many of the rules would be the same? How much would be different? It’s a common question everyone wonders when going somewhere new.

As it turns out, there’s a lot to do.

I usually start my week by looking at the schedule outlined for me by my supervisor, Kapua Iao (who is amazing and is always ready to answer my many, many questions), the editor-in-chief. The tasks can range from large to small, mainly projects that involve promoting or working on Yellow Arrow’s publications, both old and new.

For instance, I’m often tasked to read one of the chapbooks Yellow Arrow has published in the past or one of the previous issues of Yellow Arrow Journal. From there, I pick out five quotes from the pieces within and create promotional images for them on Canva to later publish on our social media accounts. This one is actually pretty fun to do—not only do I get to read some incredible poetry and creative nonfiction, but I also get to come up with images that represent the quote I selected. It can get very creative!

I also work on creating social media posts to celebrate certain holidays with a Yellow Arrow twist. This means crafting a promotional image on Canva, coming up with a fitting text description, and creating relevant hashtags for our Instagram posts. One of my first tasks had been to put together the black-and-white collage of the board and staff of Yellow Arrow for Women’s Business Day. I also worked on Black Poetry Day, sending an email to some of our African American poets beforehand and then organizing their answers for a post. I even put together the weekly posts for National Book Month 2022 and for NaNoWriMo 2022!

I’m also in charge of updating the blog posts for Her View Friday. This one requires some diligence, given that sometimes we receive some late submissions at the last second. Often the schedule will mention checking and double-checking the submissions list before the blog gets posted. Once the post is made, I’ll head over to Meta Business Suite and schedule the social media posts that will announce the new blog post.

Of course, it’s not all just social media. One big task that I’ve been helping with over numerous weeks is the next issue of Yellow Arrow Journal—in my case, it’s Vol. VII, No. 2, PEREGRINE. This involves voting on which submissions we should include as well as copyediting some of the pieces we chose. I’ve also helped proofread the issue to find any missed mistakes. Since we’re trying to get this published by November 22, keeping to deadlines is a must. Often, I’ve had to set aside some extra hours to have everything checked over and ready in time.

Sometimes I also assist with promoting new chapbooks we’re releasing, like putting together an email template before sending it off to bookstores on our mailing list (and really, sending an email should never be so nerve-wracking).

Other than these big tasks, I often get assigned some smaller ones that vary with each week. Sometimes it can be organizing the blog calendar, preparing it for next year. Or it can be updating our author list with their social media tags. (You know, the usual busy work that needs to get done.)

And then of course, sometimes I’m asked to write a blog post. Don’t worry, I do get to pick a topic ahead of time and schedule a date that I can finish it. Reasonably, of course.

It seems like a lot—and it is. This along with my schoolwork is not something simple.

But it’s worth it. I can say that everything I’ve done has helped me understand what goes on in book publishing, both online and in the real world. We do so much just to get our authors seen and heard. Obviously, I didn’t apply thinking it’d be easy.

But I also didn’t think it’d be this fulfilling. Seems like that’s one thing about books my younger self got right.

*****

Yellow Arrow 2/24/23 Yellow Arrow 2/24/23

Her View Friday

single-author publications
single pieces in journals, anthologies, etc. as well as prizes/awards

You can support our authors by reading this blog and their work, sharing their news, and commenting below or on the blog. Congratulations to all the included authors. We are so proud of you!

Every writer has a story to tell and every story is worth telling

“Connecticut Avenue” by ANN QUINN FROM MARYLAND

Genre: poetry

Name of publisher: Potomac Review

Date published: Fall 2022

Type of publication: print

mcblogs.montgomerycollege.edu/potomacreview/current-issue-2/

"Mother's Milk,” "Doctorly Gifts," "Before the Operation," and "Awakenings" by ute carson from austin, texas

Genre: poetry

Name of publisher: Flapper Press

Date published: January 2023

Type of publication: online

flapperpress.com/post/the-flapper-press-poetry-caf%C3%A9-the-poetic-intimacy-of-ute-carson

“After Reading Geohazard Warning Signs At Mt. Rainier” by Rebecca Brock from Leesburg, Virginia

Genre: poetry

Name of publisher: West Trestle Review

Date published: January 2023

Type of publication: online

westtrestlereview.com/west_trestle_rebecca_brock.html

“My Mother Suggests a Tranqulizer” by Rebecca Brock from Leesburg, Virginia

Genre: poetry

Name of publisher: Literary Mama

Date published: January/February 2023

Type of publication: online

literarymama.com/articles/departments/2023/01/my-mother-suggests-a-tranquilizer

PRIZES/AWARDS

“Raising Glaciers” by Rebecca Brock from Leesburg, Virginia

Prize/award: 2022 Kelsay Book Woman's Poetry Prize

Genre: poetry

Name of publisher: Kelsay Books

Type of publication: print and online

kelsaybooks.com/pages/winners-of-the-womens-contest

Rebecca Pelky from Potsdam, New york

Prize/award: 2023 National Endowment for the Arts Creative Writing Fellowship

Genre: poetry

arts.gov/impact/literary-arts/creative-writing-fellows

and

arts.gov/impact/literary-arts/creative-writing-fellows/rebecca-pelky

Find Rebecca on Facebook, Instagram, and Twitter @rebeccapelky.

"I Remember How I Believed" Poetry by Rebecca Brock from Leesburg, Virginia

Prize/award: finalist of the River Heron Review Editors' Prize

Genre: poetry

Name of publisher: River Heron Review

Date published: February 1, 2023

Type of publication: online

riverheronreview.com/2022-river-heron-editors-prize-1#/rebecca-brock

Find Rebecca on Twitter @wordsbyRB and Instagram @rebecca_brock.writer.

Yellow Arrow (past and present) board, staff, interns, authors, residents, and instructors alike! Got a publication coming out? Let us help celebrate for you in Her View Friday.

Single-author publications: here.

Single pieces and awards/prizes: here.

Please read the instructions on each form carefully; we look forward to congratulating you!

*****

Kapua Iao 2/21/23 Kapua Iao 2/21/23

Review of Jenn Koiter’s So Much of Everything by Naomi Thiers

Although Jenn Koiter’s exciting collection So Much of Everything isn’t formally broken into sections, it feels as if it is because the poems have many different moods and styles. This book won the 2021 DC Poet Project prize administered by D.C. arts group Day Eight (dayeight.org/dc-poet-project) and it has riches to offer. The book seems to move from the voice of someone who feels “different” and rather separate from others to the voice of someone fully experiencing grief for someone she lost.

Many of the first 13 poems center on a speaker who is a bit of a mess, a bit of an oddball, or at least has rotten timing. Several poems feature a character called The Messy Girl, who doesn’t have it together at all—and not just in terms of her appearance:

Lines of birds shift in the air like words that cannot stay still

on the page, latecomers looking for a place

in an already crowded field. What else is wrong?

She might be coming down with a cold. (There was a man with a cold.)

She might be pregnant. (There was a broken condom.)

Or consider (from “The Messy Girl Discovers She’s a Gay Camp Icon”)

She puts on

addiction like a rhinestone bustier, suffering

like a sheer black backless bodysuit.

And her love affairs are an earring, an earring,

and high, high heels.

“The Messy Girl Carries a Torch for the Boy Who Could Not Stop Washing” tells how this character is obsessed with other misfits and people with odd medical conditions. It may sound like it’s all just too quirky, but these poems are more human and relatable than that. I think readers—especially women—will feel Koiter echoes their own messy emotional and physical experiences. “The Messy Girl’s Hair Is a Mess” is packed with sensory details about hair and skin. In “Through Snow,” the speaker drives home through such blinding snow that she begins to doubt the evidence of her senses and isn’t sure she’s entering the right house when she pulls up to home. And in “Easter Night,” a woman realizes she slept through Easter day (“through hugs and handshakes of smiling strangers, earnest, quavery hymns”) and says:

I wish I were a woman who could

worship the sun rising.

I would stand with them and cheer.

Though someone must greet the dark

each day, and how much more

today, when all is new?

In the book’s middle are the “Candy Jones” poems, Candy Jones being a 1940s cover girl and beauty expert who published guides on beauty in the ‘50s and ‘60s. These are collage poems created using only sentences plucked from Jones’s beauty guides. They weren’t my favorites in the book, but the creative arrangements of semi-scolding, often contradictory, statements on how to be “beautiful” is impressive—and shows how weird and tiring it is to try to be what society expects of a woman.

Make a critical rundown of your imperfect features.

Hold your stomach absolutely flat

and tuck your buttocks in neatly.

Pay attention to your shoulders. Pay attention

to the condition of your shoes.

Observe swimsuit ads

and learn to stand gracefully

with your knees together.

Practice sitting and standing in front of a full-length mirror

until you’re certain

you place your legs in the most becoming positions.

And later, in “Ghazal, With Accessories”:

Make your first appearance upon your arrival wearing a hat.

Even if hats are not your favorite accessory, wear a hat.

[soon followed by]

Your goal is pureness of line and complete simplicity.

Choose your jewelry accents sparingly. Don’t wear a hat.

The collection then moves into free verse poems centered on various subjects: Travel to other countries (including “The Messy Girl Feels at Home in Delhi”), reflections on a religious upbringing and spirituality, and even a poem about a set of tools on the family farm the speaker was forbidden to touch as a child. Again, there’s a bit of emphasis on the speaker being “different.” But I love “Early Dinner Ending with a Line from Thomas Merton,” in which a woman sitting at a restaurant bar cringes at the behavior of some tacky tourists, but soon realizes she is the only one bothered; all others at the bar are accepting and enjoying each other. Even the speaker who feels herself so apart is one of the community.

The last four poems, starting with the long, sectioned poem “The Survivor,” are more spare in style. They take us into the shock and darkness of grieving for a loved one who has died suddenly. I found these the most moving poems in the book. They’re a gut punch, but because the speaker’s emotional expression is so direct, raw, and authentic, we feel a warm connection to her and compassion for her. Here are two excerpts from “The Survivor”:

I push my foot into my boot, and you die.

I put my toothbrush on its stand, and you die.

I put on my headset, and you die.

I fixed myself tea, I order Thai food, I smudge

the surface of my tablet, and you die. . . .

and

All I remember about your body

in its casket are the thick, black sutures

across the top of your bald head, and

the color of your skin: darkened,

mottled, like you were one big bruise.

Perhaps I should’ve taken,

another look, a longer look,

but how long can anyone stand

before miracle, and your body

stitched and purple and emptied, was

a miracle: wine back into water,

water back into the rock.

There are so many different moods, styles, voices, and language feats in these poems that I think any reader will find something here that feeds them.

You can find Jenn Koiter’s book So Much of Everything (2021) at Day Eight Books: day-eight-books.myshopify.com/products/so-much-of-everything-by-jenn-koiter.

Naomi Thiers (naomihope@comcast.net) grew up in California and Pittsburgh, but her chosen home is Washington D.C./northern Virginia. She is the author of four poetry collections: Only the Raw Hands Are Heaven, In Yolo County, She Was a Cathedral, and Made of Air. Her poems, book reviews, and essays have been published in Virginia Quarterly Review, Poet Lore, Colorado Review, Grist, Sojourners, and other magazines. Former editor of the journal Phoebe, she works as an editor for Educational Leadership magazine and lives on the banks of Four Mile Run in Arlington, Virginia.

*****

Annie Marhefka 2/16/23 Annie Marhefka 2/16/23

Workshop Wednesdays: Find your writing community with Yellow Arrow

By Annie Marhefka

We’ve been thinking and talking a lot about our Yellow Arrow community lately, about the women-identifying writers who seek solace in our words, whether through reading the latest issue of Yellow Arrow Journal, attending a poetry reading featuring one of our chapbook authors, or joining in our online workshops in search of a spark of inspiration. We’ve been asking you, at events, workshops, and through surveys, “What drew you to Yellow Arrow?” We get a variety of responses to this question, but there is always a common thread—the desire to explore this creative urge of yours. The desire to grow your craft, gain confidence in your work, and find inspiration. The desire to find others who also feel that inclination towards writing, and to connect with them.

When I first made the decision to refocus on my writing, I felt overwhelmed by what was out there. I found there were writing groups and communities on Facebook, Instagram, Twitter, Discord, BookTok (what even was BookTok?!), and some of them had numbers in the thousands or tens of thousands of members. I was unsure of myself as a writer (and also an introvert) and I didn’t know how best to immerse myself in the literary scene. Two things really were the catalyst for the change in my comfort level as a writer, and as a member of this literary sphere. The first was finding Yellow Arrow. It felt serendipitous: a local group of women-identifying writers each on their own unique journey, collectively encouraging each other on. The second was beginning to attend writing workshops.

I found writing workshops were a place of comfort for me—a place to hear about other writers’ inspirations, a space to pause and reflect, and a setting where, eventually, I started feeling brave enough to share my own writing with others. There is nothing more fulfilling to a writer than the support of other writers, the cheering on of each other, the moments when you can see that you’ve moved someone with your words.

This is exactly the type of nurturing environment we have tried to create with our Yellow Arrow workshops. Today, we’re announcing our full 2023 spring workshop schedule. In addition to our monthly workshops, Restorative Writing with Raychelle Heath and Poetry is Life with Ann Quinn, we’ve now opened enrollment for a series of Workshop Wednesdays. Each Workshop Wednesday has a different instructor with a different workshop topic, and we’re just thrilled to offer this variety of sessions to you. We’ve also made a firm commitment to ensuring our workshops are accessible to everyone, so Workshop Wednesday sessions are all just $25 each. Check out our Workshop Schedule for full workshop listings and sign up in our online store.

Our workshops are small, intimate groups that meet online to write and share together. They are intended for writers of all stages—even if you aren’t sure you would call yourself a writer (yet!). If that is you, know that you are welcome here. Come write with us! We’d love to create with you.

If you’re interested in both purchasing Yellow Arrow Journal and attending a workshop, check out our new membership option! Yellow Arrow members receive both 2023 issues of Yellow Arrow Journal, bonus items, and 50% off a workshop! We also have the option to donate a workshop space for a writer with a financial hardship available in our bookstore. If you have a financial hardship but wish to attend a workshop, we encourage you to sign up for our no-cost workshop wait list and we’ll contact you when a no-cost space becomes available!

At Yellow Arrow, we believe every writer has a story to tell, and every story is worth telling. Maybe your story starts with a Yellow Arrow workshop.

Enrollment is now open in our online store.

*****

Kapua Iao 2/14/23 Kapua Iao 2/14/23

A Heart’s Deepest Desire

“The key to finding happiness in this life is realizing that the only way to overcome is to transcend; to find happiness in the simple pleasures, to master the art of just being. The things you love about others are the things you love about yourself.”

~ Brianna Wiest (Instagram @briannawiest)

By Amanda Baker, written November 2022

I’m going to tell you something that you may not expect: you do not know what you want. When it comes down to truths, you likely do not fully know your heart’s deepest desire. You may think you want a fancy home, a high paying job, to be “chief of something,” to get a brand-new car, etc. But these are not your deepest desires.

Your deepest heart’s desires are buried under years and years of conditioning, learned beliefs, ego-driven satisfaction (some of these wants are really great, and they really may serve you and move you toward your truest, deepest desire). In Sanskrit the word sankulpa translates to “intention” or “to become one with.” And we can use our intentions to connect with our deepest heart’s desire. Moreover, what we believe we want can help us connect with what we truly desire, in a spontaneous and even symbolic way. It’s once you start to open it little by little that the magic happens. You can’t chase it like we are led to believe. Your deepest desires come to you.

Me, I’ve always wanted to feel whole, to be significant, to be remembered. But, I never wanted to be a poet, never dreamed of being a yoga instructor or using the therapeutic philosophy of yoga to treat my clients as a mental health therapist. Somehow, individual yoga-based therapy stumbled upon me when I was given referrals from an old supervisor. People in my yoga classes started asking for therapy yoga sessions. My business built itself, and I believe it’s because I did not fully seek it, obsess over it, or hustle for it.

I had wanted to be a mental health therapist since I was 18 years old. I followed the blueprint of “get my diploma, go to a reputable college, get my master’s in clinical social work,” and wa-la, I made it! I had a series of stable jobs, won some awards, and believe me, those things were gratifying. Connecting with young children, eventually adults, and being a catalyst for their happiness allowed for some really amazing moments. I also married my high school sweetheart, bought a home, and had a child; we were living the American Dream. So why did I continue to have a long-standing emptiness in me? This longing for something more? It stayed with me everywhere.

I never imagined that I could be a yoga instructor because in my mind, I am terrified of public speaking. My heart, though, knows that I am destined to share publicly in some way. I spontaneously signed up for 200-hour yoga teacher training in 2019 and from there my heart truly started to learn how to open.

Then, it was through yoga and fears of rejection, actual rejection, loss, and heartbreak that I returned to writing. Even though I never wanted to be a poet, repeating patterns in my life brought me back to what I loved to do at age seven: write poetry. I followed a yearning, I did not know was there, to self-publish old poems and to continue daily to write new ones. And here’s what I found out, sharing my poetry has lived in my heart’s desire since I was a child. I even call it an epiphany to go to my childhood home and read through my old diaries and journals. Now, it is through my prose poetry that I share deepest truths and connect, even resonate, in such an intimate way with others.

What you obsess over is not what you truly desire / it’s something that will get you close to safety / likely temporarily / then that will likely turn dull / boring / maybe even unsafe / and it’s because those things are external / safety is an internal state / sometimes fostered by an external anchor / maybe another person / a sensory experience / an expressive catalyst / like writing / music / or genuine authentic shared connection.

You have to open your heart / and you can only do that when you feel really, really safe / and the reality is / most of us don’t.

I hope you find safety / I hope you connect / I hope you come to understand your deepest heart's desire when it shows up at your feet or right in front of your face / and when it’s there / I hope you accept it.

Poetry is one way I open my heart and stay true to myself. Here are some suggestions for you:

Meditate for three to five minutes then engage in a “brain dump”: stream of consciousness writing; write whatever comes.
Set a sankulpa or “intention” for your day. State it as if it already happening: “I trust my inner wisdom.”
Practice restorative or gentle yoga with a focus on the heart chakra.
Do a loving-kindness meditation, a radical act of self-love and healing. “mindful: healthy mind, health life” and Jon Kabat-Zinn provide a great loving-kindness meditation (including audio!) at mindful.org/this-loving-kindness-meditation-is-a-radical-act-of-love.
Exercise self-compassion, for example, see Tara Brach’s RAIN technique at tarabrach.com/wp-content/uploads/pdf/RAIN-of-Self-Compassion2.pdf.
Write a love letter to yourself
Read creative nonfiction books by Brianna Wiest such as The Mountain is You and 101 Essays that Will Change the Way You Think.

So, all in all, when you open your heart, your deepest desires come to you. You will know when you feel it. My heart’s deepest desire is to connect with your heart’s deepest desire and bring it to life.

I write to remember

I write to forget

I write to elicit freedom

And rid regret

I write until it’s exhausted

Collecting negative unconscious

I write.

And so can you.

Amanda Baker believes that we are more authentic as our childlike selves than we are as adults. We are more likely to share our truth and live our truth as children, but who says we have to stop. 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. Her chapbook What is Another Word for Intimacy? was released October 2022.

*****

Kapua Iao 2/7/23 Kapua Iao 2/7/23

Meet a Board Member: Mickey Revenaugh

Yellow Arrow Publishing would like to introduce our new board president, Mickey Revenaugh. Mickey is an education innovator, mission-driven leader, and recovering journalist/current writer of creative nonfiction and fiction. In addition to cofounding a Maryland-based international network of virtual schools, she serves in board leadership for a New York City charter school, a national charitable foundation, and a global private school. Her writing has appeared in VICE, Chautauqua, Cleaver, Catapult, Louisiana Literature, Lunch Ticket, and many others. She holds an MFA from Bennington College, an MBA from New York University, and a BA in American Studies from Yale University. She lives and works in Brooklyn, New York, and can be found online at mickeyrevenaugh.com or on Instagram @mickeyrevenaugh.

Mickey states, “I look forward to joining forces with Yellow Arrow’s amazing corps of women-in-writing to bring forth the voices of others.” She further adds that her vision for Yellow Arrow in 2023 is “building on its inspiringly solid foundation to create an ever-growing, effectively sustaining community.”

Tell us a little something about yourself:

After an almost 20-year hiatus, I picked up creative writing again in 2014 when I entered the Bennington low-res MFA program, which did the trick! I produced a ton of material despite still working full time at my day job and got my degree (dual genre, nonfiction/fiction) in 2017, the year I turned 60. Now I am 65, have just retired from that same day job, and am excitedly/nervously diving into a daily writing routine. My current projects include a collection of short stories set in and around airports, and a nonfiction look at “21st century homeschooling.” I’ve also recently developed a love of flash and plan to keep producing and publishing short pieces, fictional and not. My publications and such are listed at mickeyrevenaugh.com.

What do you love most about where you live?

Baltimore is where the great professional adventure of my life took place—the founding and development of Connections Academy, a leading network of virtual schools now serving more than 100,000 students around the globe. Connections started in a borrowed office in Baltimore’s Inner Harbor area, with a founding staff made up mostly of Baltos and Marylanders (including more than a few now with Yellow Arrow, see below). The pilgrimage from Brooklyn, where I live, to Baltimore and back became a familiar rhythm of the next 20+ years. I earned super-elite frequent traveler status on Amtrak, memorized rest stops for the occasional times I drove, and regularly forced myself to explore outside the office and its immediate square blocks. I spent time in an elementary school in Coppin Heights, met parents in Dundalk, discovered tattoo parlors in Fells Point and took up a permanent seat in the FedEx Kinkos on Charles.

As Connections grew, Baltimore also evolved, gentrifying fast in the Inner Harbor, grappling with The Wire and Freddie Gray, always a dichotomy of have and have not, hopeful and desperate. Once the home office relocated to suburban Columbia and then closed altogether during the pandemic, the thing I missed most was that taxi ride from Baltimore Penn Station to Central and Fleet as the sun rose.

How did you get involved with Yellow Arrow and what do you do?

Yellow Arrow Executive Director Annie Marhefka and I worked together for years at Connections Academy, and she and I serve together on the board of a foundation named for our late founding CEO. As several other current and past Connections folks joined Yellow Arrow as board members and volunteers, Annie and I began talking about how I might be of service as well. I joined the Yellow Arrow board as president late fall 2022 and officially assumed office in January 2023.

What are you working on currently?

Now that I’ve retired from my corporate gig, I am working on developing a daily writing routine—now an official member of the #5amwritersclub!—with an eye to fleshing out my Airport Series short story collection, getting my nonfiction “21st century homeschooling” book project underway, and building up my portfolio of flash pieces. I am also leading several nonprofit boards, mentoring an array of rising professionals, and flexing my grabber tool for picking up track around the neighborhood.

What genre do you write and why?

I write creative nonfiction so I can draw on all the journalistic habits developed over a lifetime, and I write fiction because it’s such a relief sometimes just to make everything up.

Who is your favorite writer and why?

I’ve typically favored women writers, including Joan Didion, Louise Erdrich, Toni Morrison, Jumpha Lahiri, and Edith Wharton, but lately I’ve been inspired by George Saunders as both a writer and a teacher.

Who has inspired and/or supported you most in your writing journey?

My MFA advisor Dinah Lenney came into my writing life at a crucial time. She helped me see how the pieces fit together and gave me the confidence to imagine publishing. Also, my literary agent, Sharon Pelletier, manages to always be encouraging, even when sharing discouraging news.

What do you love most about writing?

I love making something solid and potentially lasting out of ephemeral moments, overheard scraps of conversation, imaginary connections among disparate objects.

What advice do you have for new writers?

Believe in your voice and your story enough to evolve a little every day.

*****

Welcome to the team Mickey! We are so excited to work with you this year. 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.

Yellow Arrow 2/3/23 Yellow Arrow 2/3/23

Her View Friday

single-author publications
single pieces in journals, anthologies, etc. as well as prizes/awards

You can support our authors by reading this blog and their work, sharing their news, and commenting below or on the blog. Congratulations to all the included authors. We are so proud of you!

Every writer has a story to tell and every story is worth telling.

Author: Zorina Exie Frey

Tell us about yourself: I am an essayist, screenwriter, spoken-word poet, content writer, and digital designer. Yellow Arrow Journal UpSpring published my poem, "Vitamin Seed."

Where are you from: Maryland

What describe your main writing space: Technology. Books. Cats.

Tell us about your publication: Poetry - Preaching 2 the Mic is a compilation of theatrical spoken-word poetry that speaks to cultural- and self-hypocrisy while seeking forgiveness and self-love.

Why this book? Why now? How did it happen for you: I wanted to publish all of the poems I've performed and published before I earned my MFA in creative writing (poetry and creative nonfiction). I want my readers to see the difference between my pre-MFA poetry and post-MFA poems.

What is your writing goal for the year: Get my creative thesis published.

What advice do you have for other writers: Establish your goals and research publishing options.

What else are you working on/doing that you’d like to share: Submitting, submitting, and submitting!

You can find Zorina on Twitter and Instagram @zorinaexie.

Author: Tricia Knoll

Tell us about yourself: Yellow Arrow Journal RENASCENCE published my poem, “Random Selection,” in 2021.

Where are you from: Williston, Vermont

What describe your main writing space: I write a lot about the outdoors and sit at a window looking at it when weather does not permit writing outside.

Tell us about your publication: One Bent Twig is poetry in praise of trees, from first loved trees to those endangered by climate change. It was published in January 2023.

Why this book? Why now? How did it happen for you: I have always loved trees, practiced as a Master Gardener, and see impacts of climate change on trees.

What is your writing goal for the year: I'd like to write 200 new poems and 300 haiku.

What advice do you have for other writers: Keep at it. No matter what. Keep working.

What else are you working on/doing that you’d like to share: I'm a gardener . . . for butterflies. I work to eliminate invasives from my woods.

You can find Tricia on Twitter and Instagram @triciaknollwind.

Author: Ellen Dooling Reynard

Tell us about yourself: I spent my childhood on a cattle ranch in Jackson, Montana and was one-time editor of Parabola Magazine, retiring to and living in Temecula, California. My first chapbook, No Batteries Required, was published in 2021 by Yellow Arrow Publishing. I have been nominated twice for the Pushcart Prize.

Where are you from: Temecula, California

What describe your main writing space: Complete with cats.

Tell us about your publication: Double Stream is a collection of ekphrastic poetry based on paintings and drawings by my late husband, the French painter Paul Leon Reynard. It was published in November 2022 by South Forty Press.

Why this book? Why now? How did it happen for you: My late husband, the French painter Paul Reynard, often asked me to write about his work, but I felt at the time that I didn’t know enough about art to do so. Fifteen years after he died, I started writing poetry, and it was at that time that I encountered the ekphrastic poetry of Rooja Mohassessy. I said to myself that I should write poems about my husband's art, and this book is the result of those efforts.

What is your writing goal for the year: To write more poetry.

What advice do you have for other writers: Send your best work out to online and print journals and don’t mind rejections—we all get them!

What else are you working on/doing that you’d like to share: I am reworking older poems that I had put aside.

You can find Ellen on Facebook @ellen.reynard.127.

Yellow Arrow (past and present) board, staff, interns, authors, residents, and instructors alike! Got a publication coming out? Let us help celebrate for you in Her View Friday.

Single-author publications: here.

Single pieces and awards/prizes: here.

Please read the instructions on each form carefully; we look forward to congratulating you!

*****

Kapua Iao 2/1/23 Kapua Iao 2/1/23

Yellow Arrow Journal (VIII/01) KINDLING Submissions are Now Open!

Yellow Arrow Publishing is excited to announce that submissions for our next issue of Yellow Arrow Journal, Vol. VIII, No. 1 (spring 2023) is open February 1–28 addressing the overarching concept of advocacy and community. Guest editor, Matilda Young, states,

The work of changemaking is the work of community and care, of recognizing how our lives and futures are inextricably linked. Our writing can reflect this vital work and be a part of how we bring change to life.

Maybe it is by sharing our full selves with the world or speaking clearly to the injustice of the past and present. Maybe it is sharing the story of how another person inspired us or helped us find healing or how we ourselves find healing and connection in the practice of community care. Like writing, changemaking is fundamentally an act of imagination: envisioning a world that does not yet exist but must.

This issue’s theme will be KINDLING

: easy combustible material for starting a fire

: something or someone that helps start (spark) a movement, an event,

changemaking, and/or advocacy

What is your vision for advocacy? How can you kindle changemaking in yourself? In others? How do people broaden their vision and their actions?
How have you (or how can you) create inspiration in yourself and in others?
How do you get yourself or someone else to join a journey toward advocacy?

Yellow Arrow Journal is looking for creative nonfiction, poetry, and cover art submissions by writers/artists who identify as women, on the theme of KINDLING. Submissions can be in any language as long as an English translation accompanies it. For more information regarding journal submission guidelines, please visit yellowarrowpublishing.com/submissions. Please read our guidelines carefully before submitting. To learn more about our editorial views and how important your voice is in your story, read About the Journal. This issue will be released in May 2023.

KINDLING’s guest editor, Matilda Young (she/they), is a poet with an MFA in poetry from the University of Maryland. She has been published in several journals, including Anatolios Magazine, Angel City Review, and Entropy Magazine’s Blackcackle. She enjoys Edgar Allan Poe jokes, not being in their apartment, and being obnoxious about the benefits of stovetop popcorn. Matilda’s poem “This Yes, This” was part of Yellow Arrow Journal FREEDOM, and Matilda was our .W.o.W. #7. Matilda was also one of our three fantastic Writers-in-Residence 2022 cohort. We are excited to work with Matilda over the next few months.

The journal is just one of many ways that Yellow Arrow Publishing works to support and inspire women through publication and access to the literary arts. Since its founding in 2016, Yellow Arrow has worked tirelessly to make an impact on the local and global community by advocating for writers who identify as women. Yellow Arrow proudly represents the voices of women from around the globe. Creating diversity in the literary world and providing a safe space is deeply important. Every writer has a story to tell, every story is worth telling.

*****

Kapua Iao 1/31/23 Kapua Iao 1/31/23

Beast at Every Threshold: An Exploration of the Balance Between Hope and Despair

By Beck Snyder, written October 2022

It has, admittedly, been a while since I decided to sit down and read a collection of poetry for reasons other than needing a good grade on a class assignment. Poetry is one of the realms of writing that often eludes my grasp—not because I don’t want to seek it out, but because fiction and nonfiction pieces usually end up getting there first. When it comes to Natalie Wee’s collection Beast at Every Threshold (2022), however, I immediately knew upon beginning that this was a book that would stick with me as clearly as any beloved fiction adventure from my childhood.

Beast at Every Threshold is best described as a careful balancing act between hope and despair as Natalie wades through both her past and present while considering her potential future. Within her poems, she openly acknowledges and explores the tragedies of life and loss, such as her grandmother’s Alzheimer’s and abuse she herself has suffered. She does not attempt to fool her audience into believing that every problem in life can be solved through having hope, but as she looks into the more depressing aspects of life, she still brings hope into the equation along with a strong sense of reclaiming power, as she does in the poem “Wei Yang Tells Me About Resurrection.” In the poem, she describes the pain that is necessary for resurrection but turns it on its head into using that pain to transform your own life and bring it under control: “Choose a hell / of your own making over the hell that unmakes you.” Her sense of hope also comes to a head in her poem “In My Next Life as a Fruit Tree,” where she muses on her potential next life and what she will become, and while she could choose anything, all she wishes to do is to provide love and care for those who come after her, and to simply exist peacefully: “but I’ll flower one crop each day for as long / as the palm reaching upwards needs something to adore / it.”

It’s a beautiful message that takes the idea of existence and works it into something that we do not have to prove we deserve, but something that we can simply enjoy. Within this collection, Natalie is no stranger to depression and pain, but is not interested in painting a grim, hopeless vision of the world around her. Natalie sees both hope and despair that exists within the world, and because of that, I was left feeling as though I was seeing real, unbridled truth on the pages before me.

Just as Natalie is a master of finding hope within despair, she also works within her poetry to find beauty within the unconventional. This is a theme that comes in right away in the first poem of the collection, “In Defense of My Roommate’s Dog,” which turns the somewhat embarrassing act of a dog humping a stuffed animal in front of guests into a breathtaking exploration of sexual longing and asks the reader why they find shame in masturbation when it is rooted in a longing for love and the need to survive: “Maybe the trade-off for resurrection is / shame vast enough to kill / us.” Natalie has turned this small, everyday act, which most of us would feel awkward about witnessing, into a radical questioning of our values, and why it is that we are so ashamed of basic human nature.

Natalie also continues this theme of unconventional beauty throughout the entire collection, most notably to me in the piece “Inside Joke,” where she uses texting lingo and internet memes, two things which are typically not considered to be poetic, into an exploration of togetherness and adoration.

“tbh, we are so damn lucky to be loved like this

w/ endless ways 2 bless one another

our voices crowned w/ something new

& tender

& no one else’s”

I wasn’t expecting to find a piece within this collection that hit quite so close to home, but as someone on the edge of Gen Z, this piece connected strongly with me as a kind of validation for the way the younger generations share our love and laughter with one another.

Natalie is also heavily interested in exploring immigrant culture and the experience of living separate from yet still connected to one’s home country. Nearly every poem in the collection connects to this overarching theme, whether that connection be overt or subtle. Natalie’s culture and mother tongue bleeds into every word she writes, in a way that proves that she could not separate herself from this aspect of her life. Throughout the collection, she explores the nature of being an immigrant through poems such as “An Abridged History,” “Frequent Flyer Program,” and “Immigrant Aubade,” all of which look into different aspects of her unique-yet-shared experience. Within these pieces there is clear trauma, as she discusses hate crimes and disconnect, but there is also love threaded in between as she connects with other women both within her family line and out of it, who have lived through her pain and understand it, and are all moving toward a more hopeful future of reconnecting and learning to carry the pain without allowing it to become overwhelming.

Another aspect that connects much of Natalie’s work, so much so that she describes herself first and foremost as a queer author, is an exploration of her queerness. Her love poems are unlike any I’ve read before, in a way that allows for tenderness to sit alongside doubt. Natalie writes of love as the very thing that allows her to become real, and the honesty and delicate nature she brings to that admission connected strongly with me as a reader while also taking my breath away. She writes of love as something to hold onto and call her own when everything else falls away, as a final reason to hang on to hope when the world is far too dark to see anything else. All too often, I see queer love described in ways that are meant to prove we are no different than anyone else, but Natalie writes about it as if that difference is the very core element that makes it beautiful and worthy of celebration. She does not shy away from anything risqué—instead, she brings it to light and asks us to celebrate alongside her: she is in love, she is real, she is worthy.

Overall, Natalie’s collection is a stunning look into the different parts of her life, where they connect, where they collide, and how she weaves them all together. It is a breathtaking balance between hope and despair, and a poetry collection that left me reaching out for more only to turn the page and find the acknowledgements waiting. In an age that is all too eager to push queer, immigrant stories into the background, Beast at Every Threshold is an honest, unashamed look at the life that exists around Natalie and one that demands to be listened to.

You can find Natalie Wee’s Beast of Every Threshold: Poems (2022) at Arsenal Pulp Press: arsenalpulp.com/Books/B/Beast-at-Every-Threshold.

Beck Snyder is a senior at Towson University studying both creative writing and film. They are from the tiny town of Clear Spring, Maryland, and while they enjoy small-town life, they cannot wait to get out of town and see what the world has to offer. They hope to graduate by the summer of 2023 and begin exploring immediately afterward. You can find more from Beck at their Instagram, @real_possiblyawesome.

*****

Yellow Arrow 1/27/23 Yellow Arrow 1/27/23

Her View Friday

single-author publications
single pieces in journals, anthologies, etc. as well as prizes/awards

You can support our authors by reading this blog and their work, sharing their news, and commenting below or on the blog. Congratulations to all the included authors. We are so proud of you!

Every writer has a story to tell and every story is worth telling.

*the last couple months of 2022 have been a blur . . . this blog celebrates these final achievements!

“I'll have an American Breakfast please, hold the (W)” by rASHNA waDIA from sANTA cLARA, cALIFORNIA

Genre: poetry

Name of publisher: Salt Hill Journal

Date published: Fall 2022

Type of publication: print

salthilljournal.net/sh48

“All This Was A Nice Place Once” by Laura Rockhold from Minnesota

Genre: poetry

Name of publisher: Black Fox Literary Magazine

Date published: September 16, 2022

Type of publication: print and online

issuu.com/blackfoxlit/docs/bflm_issue_23_final_draft_issuu_version

This poem is a golden root, a new poetic form created by Laura.

“Other~Land” by rASHNA waDIA from sANTA cLARA, cALIFORNIA

Genre: poetry

Name of publisher: Terrain.org

Date published: November 10, 2022

Type of publication: online

terrain.org/2022/poetry/rashna-wadia/

“Outline For A Relief Map” by Laura Rockhold from Minnesota

Genre: poetry

Name of publisher: The Ekphrastic Review

Date published: November 24, 2022

Type of publication: online

ekphrastic.net/the-ekphrastic-review/outline-for-a-relief-map-by-laura-rockhold

“Baby Boy, Born at 34 Weeks” by Heather Brown Barrett from Virginia

Genre: poetry

Name of publisher: The Ekphrastic Review

Date published: December 16, 2022

Type of publication: online

ekphrastic.net/the-ekphrastic-challenges/ekphrastic-writing-responses-rachel-ruysch

Find her on Instagram @heatherbrownbarrett.

“Daylight Saves” by Kay Smith-Blum from Seattle, Washington

Genre: creative nonfiction

Name of publisher: Adelaide Magazine

Date published: December 20, 2022

Type of publication: print and online

adelaidemagazine.org/2022/12/20/daylight-saves-by-kay-smith-blum

Find Kay on Instagram @discerningKSB, Twitter @KaySmithBlum, and Facebook @kay.smithblum.

“acquired taste” by Valerie Wong

Genre: poetry

Name of publisher: Superpresent Magazine

Date published: December 20, 2022

Type of publication: print and online

superpresentmag.com/current-issue/

Find Valerie on Instagram and Facebook @theglutenfreepoet.

“Anatomy of the Postpartum Mother” by Annie Marhefka from Baltimore, Maryland

Genre: creative nonfiction

Name of publisher: Fatal Flaw Literary Magazine

Date published: December 2022

Type of publication: online

fatalflawlit.com/essay-pieces/anatomy-of-the-postpartum-mother

Find Annie on Instagram @anniemarhefka and Twitter @charmcityannie.

LATEST ADDITION . . . PRIZES/AWARDS!

“The Taking Hands” by Laura Rockhold from Minnesota

Prize/award: First Place, Bring Back The Prairies Award

Genre: poetry

Name of publisher: League of Minnesota Poets 2022 Annual Poetry Contest

Date published: November 2022

mnpoets.org/wp-content/uploads/2022/11/2022-Contest-Results-for-posting-on-Website.pdf

“Paradise Parade” by Laura Rockhold from Minnesota

Prize/award: Third Place, Southern MN Poets Society Award

Genre: poetry

Name of publisher: League of Minnesota Poets 2022 Annual Poetry Contest

Date published: November 2022

mnpoets.org/wp-content/uploads/2022/11/2022-Contest-Results-for-posting-on-Website.pdf

“Pee is for Prejudice” by Zorina Exie Frey from Maryland

Prize/award: Pushcart Prize nominee

Genre: poetry

Name of publisher: Glassworks Publication

Date published: December 2022

Type of publication: print and online

rowanglassworks.org/pee-is-for-prejudice.html

Find Zorina on Instagram, Facebook, and Twitter @zorinaexie.

“What the Salt Meant” by Joanne Durham from North Carolina

Prize/award: Pushcart Prize nominee

Genre: poetry

Name of publisher: Poetry South

Date published: December 2022

Type of publication: print

poetrysouth.submittable.com/submit/210830/purchase-issue-14-dec-2022

Find Joanne on Instagram @poetryjoanne and Twitter @DurhamJoanne.

Yellow Arrow (past and present) board, staff, interns, authors, residents, and instructors alike! Got a publication coming out? Let us help celebrate for you in Her View Friday.

Single-author publications: here.

Single pieces and awards/prizes: here.

Please read the instructions on each form carefully; we look forward to congratulating you!

*****

Kapua Iao 1/24/23 Kapua Iao 1/24/23

Meet a Staff Member: Melissa Nunez

Yellow Arrow Publishing would like to introduce our on-staff interviewer, Melissa Nunez. Melissa lives and creates in the caffeinated spaces between awake and dreaming. She makes her home in the Rio Grande Valley region of South Texas, where she enjoys observing, exploring, and photographing the local flora and fauna with her three home-schooled children. She is a column contributor for The Daily Drunk Mag. She is also a staff writer for Alebrijes Review. Melissa contributed her nonfiction piece “What is Mine” to Yellow Arrow Journal’s Vol. VI, No. 1 issue on RENASCENCE. And most recently, Melissa wrote “Alight,” which was included in EMERGE: Coming Into View. Both publications are available in the Yellow Arrow bookstore. You can find her prerecorded reading of “Alight” on Yellow Arrow’s YouTube channel.

Melissa states, “I am looking forward to meeting and conversing with new/new-to-me writers. I love reading new works from new writers, becoming immersed in new ideas and perspectives, and being able to get that behind the scenes look at their processes. I am excited to continue sharing this with the Yellow Arrow community.”

Tell us a little something about yourself.

I recently started publishing photography and visual art. The experience has been one of growth and positivity. Expanding to new mediums has brought additional beauty and strength to my body of work.

What do you love most about living in Mission, Texas?

I love the continual journey of seeing my city through new eyes and falling in love with my surroundings. I appreciate the opportunities to become one with nature, to experience the richness of color and sound, and to delve deeper into local history.

How did you get involved with Yellow Arrow and what do you do?

Yellow Arrow was one of my first publications. The experience of publishing in the RENASCENCE issue and participating in the accompanying launch party/live reading was so fulfilling and motivating. The offer to continue to collaborate within this community was one I could not resist. They have been so welcoming and encouraging of my work, and I am so glad I started contributing blogs and interviews for the website.

What are you working on currently?

I am working on a collection of hybrid visual poetry.

What genre do you write and why?

I write a mix of nonfiction and poetry, and I recently branched out into visual art and flash fiction as well. Taking on new challenges has been so rewarding and I look forward to continuing to test my skills as an artist.

Who is your favorite writer and why?

I was very inspired by Louise Erdrich while pursuing my MFA, and her writing continues to move me. She tells such compelling stories. I love the way her characters come to life on the page, flawed but forgivable. I also deeply admire the work of Aurora Levins Morales. I love her heart for community and uplifting the voices of those outside positions of privilege. She has inspired my essay writing and education this past year.

Who has inspired and/or supported you most in your writing journey?

My family. My husband protects my writing time almost as fiercely as I do. He helps me find balance in my life for exercising my expressive outlets. My children celebrate each publication with me and brag about my successes to family and friends. They motivate me to continue making them and myself proud.

What do you love most about writing?

The creation of something new. The surprise you find within your words or work of art. It is an endless act of discovery, both of yourself and your world.

What advice do you have for new writers?

Remember to be happy with the voice within. Self-validation is so important. It can be hard at times not to get down when the publications or opportunities you want and work hard for don’t pan out, but your voice is the one that matters most. If you like and are proud of what you do, you don’t need that external approval.

You can follow her on Twitter @MelissaKNunez.

*****

Welcome to the team Melissa! 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.

“Mothers and Brothers” by Gargi Mehra FROM INDIA

"The Blue Tin" by Diann Leo-Omine from Sacramento, CALIFORNIA

“Connecticut Avenue” by ANN QUINN FROM MARYLAND

"Mother's Milk,” "Doctorly Gifts," "Before the Operation," and "Awakenings" by ute carson from austin, texas

“After Reading Geohazard Warning Signs At Mt. Rainier” by Rebecca Brock from Leesburg, Virginia

“My Mother Suggests a Tranqulizer” by Rebecca Brock from Leesburg, Virginia

PRIZES/AWARDS

“Raising Glaciers” by Rebecca Brock from Leesburg, Virginia

Rebecca Pelky from Potsdam, New york

"I Remember How I Believed" Poetry by Rebecca Brock from Leesburg, Virginia

“I'll have an American Breakfast please, hold the (W)” by rASHNA waDIA from sANTA cLARA, cALIFORNIA

“All This Was A Nice Place Once” by Laura Rockhold from Minnesota

“Other~Land” by rASHNA waDIA from sANTA cLARA, cALIFORNIA

“Outline For A Relief Map” by Laura Rockhold from Minnesota

“Baby Boy, Born at 34 Weeks” by Heather Brown Barrett from Virginia

“Daylight Saves” by Kay Smith-Blum from Seattle, Washington

“acquired taste” by Valerie Wong

“Anatomy of the Postpartum Mother” by Annie Marhefka from Baltimore, Maryland

LATEST ADDITION . . . PRIZES/AWARDS!

“The Taking Hands” by Laura Rockhold from Minnesota

“Paradise Parade” by Laura Rockhold from Minnesota

“Pee is for Prejudice” by Zorina Exie Frey from Maryland

“What the Salt Meant” by Joanne Durham from North Carolina

Subscribe to the Yellow Arrow Newsletter!