Carol Ciavonne


The author likens the work to painting and collage, with the hoped-for effect similar to the feeling when one views an abstract but lyrical piece that will excite or move the viewer. Much of the work concerns itself with the questions common to poetry: the nature of being in the world and what we call our spirit.

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“She wears her best dress and she’s hired” describes not a poet but a mourner, but maybe it is the poet, in Carol Ciavonne’s new book Azimuth. The ways, the directions possible in language are the troubling engagements of this book in which a line might appear—for instance,  “Not speaking is foreign; the tongue is bronzed”—which is destined to stay with the reader, to nestle in the mind like a pet or a pest forever. The ways this book is beautiful are the same as the ways it is troubling. This is writing as a new necessity.

—Bin Ramke

“If there is a little extra light at the edge of seeing, it is surely captured by these diversiform universes. ‘Azimuth’ is illumined and illuminated by its relationship to the art and philosophy of the Italian Renaissance; a keen chiaroscuro suffuses these poems, creating marvelous contrasts of celebration and sadness. ‘A light diffused makes the darkness stronger,’ writes Ciavonne, and ‘fire is brightest at the top of the tongue’.”

—D. A. Powell

Via poems that take place at the partial vantage point of Azimuth, Quadrant and Meridian, the poet makes camp in the foreign, where “to recognize and to be a stranger” find shared roots. Azimuth takes direction from fire, which demonstrates “how to go forward /thinking of/ burning as a direction…” Accompanied by theologians she loves but cannot believe, Ciavonne’s urgent quest explores the physics of human separation, a separation, remarkably, which gives us insight to the condition of God,“ if god is an opening, if god is a divine withdrawal.”

—Claudia Keelan

CAROL-CIAVONNE-PHOTO-trimmedCarol Ciavonne’s poetry is both lyrical and experimental and has been noted for its visual imagery. Poems have appeared in Denver Quarterly, Boston Review, Colorado Review, New American Writing and How2, among other journals. She was the recipient of the PSA Lyric Poetry Prize in 2004. Her essays and reviews have appeared in Poetry Flash, Xantippe, and Pleiades. She was selected as a workshop participant at the New York Center for Book Arts in 2007, and was a writer in residence at the Pécs Writers Program in Pécs, Hungary, in 2013. She recently published, along with artist Susana Amundaraín,  an art/poetry dialogue (Birdhouse Dialogues, LaFi 2013).  Ciavonne has also collaborated with Amundaraín on several theater pieces, and has worked with the innovative Imaginists theater collective. Ciavonne has a B.A. in Art, and an M.A. in Poetics from New College of California. She lives in Santa Rosa, California.

Beth Couture

Women Born with Fur: a biography

a novella

by Beth Couture

Fiber art by Rachel May


“An intoxicating book and brew.”

–Frederick Barthelme



“Where the magic of invention meets up with the heft of the human heart. That’s what has been delivered to us here in the form of this short novel. A memorable and singular debut. Women Born with Fur is its own language animal that brings speech to its own human heart.”

–Peter Markus, author of The Fish and the Not Fish


“Never mind the author’s little hat trick of coming on with prose so unassuming, so disarmingly ‘Who, me?’ it hovers above the page, practically while whispering in your ear — just before turning on you with a bite that pierces the skin. So there’s that, yes, but still. I cannot think of another writer who could possibly tell this story with such sincerity and conviction and authenticity, no one. Then again, before reading Beth Couture’s Women Born With Fur, I never could have imagined that the hirsute could be so utterly heartbreaking.”

–Courtney Eldridge, author of Unkempt and The Generosity of Women


“Beth Couture’s Women Born with Fur is a marvelously strange concoction, a cocktail of super-realism, fantasy, surrealism, occultism, and pop art, Rosenquist style. She develops her lovely conceit with care and kindness, leading us into a heartbreaking world we’ve never imagined, but in which we feel strangely comforted and right at home. An intoxicating book and brew.”

–Frederick Barthelme, author of Waveland and There Must Be Some Mistake


“You have never read anything like Beth Couture’s Women Born with Fur, because the writing is utterly reinventing what we mean when we say fiction or novella with sly and brilliant misdirections, tricks of the eye and ear and heart, glorious lies and precise fabrications. I had to read the whole thing without stopping. I nearly put it in my mouth.”

–Lidia Yuknavitch, author of The Chronology of Water and Dora: A Headcase

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beth-couture-photo-01Beth Couture received her Ph.D. in Creative Writing from the Center Center for Writers at the University of Southern Mississippi, MFA from the University of Notre Dame, MA from SUNY-Binghamton, and her Bachelor’s from Hollins University. Her fiction has appeared in GargoyleThe Southeast ReviewThe Georgetown Review, Drunken Boat, The Yalobusha Review, Ragazine, and in the anthology, Thirty Under Thirty. She is an assistant editor and the social media coordinator of Sundress Publications. She is an active volunteer in a number of community organizations in the Bloomsburg area.

Jorge Armenteros

Jorge Armenteros is a practicing psychiatrist and graduate from Harvard University. In addition to his medical training, he completed an MA in Spanish and Latin American Literature from New York University, and MFA in Creative Writing from Lesley University. Born in Cuba, Armenteros now divides his time between Florida, Georgia, and the south of France.


Jorge Armenteros Books


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••Buy Color Illustrated Edition: $49.00

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The Book of I

a novel

by Jorge Armenteros

art by Liselott Johnsson
music by Sarah Wallin Huff

“Powerful…fierce, fresh.”

—Laird Hunt


LISTEN TO PODCAST: “Breaking Rules, Innnovative Fiction & Writing in the Moment: A Dialogue w/ Author Jorge Armenteros””In this powerful novel, Jorge Armenteros takes us deep, deep and deeper still into the mind of a painter who has come to the edge of his cliff.  The Book of I‘s fierce, fresh language buoys us through the many-textured darkness, shoots the whole through with crucial light.  Cortazar is an apt analog here.  So is Artaud.”

— Laird Hunt, author of Neverhome and Kind One, the 2013 PEN/Faulkner Award finalist and winner of the Anisfield-Wolf Book Award


“In a French village, painter Teaston has witnessed a woman’s fatal jump off a nearby cliff. Growing lost in the ‘whiteness’ of his schizophrenia, he paints out the faces on his canvases, searching for the ‘holes where eyes could fall in.’ Dipped in the ink of South American surrealists like Julio Cortazar, Jorge Armenteros’s The Book of I slowly and achingly unveils Teaston’s tormented inner life. For Teaston, ‘the existence of normalcy is a primordial question.’ This stark, poetic and haunted novel makes it ours as well.”

— Susanne Paola Antonetta author of A Mind Apart: Travels in a Neurodiverse World


“A startling vision of the world from the perspective of a schizophrenic painter, a man balanced on the edge of his self and his life, and on the way to a crisis. This is a finely crafted and clearheaded book, at once sympathetic and unwilling to give any alibis, and well worth the read.”

—Brian Evenson, author of Immobility, Last Days, and The Open Curtain


“In this lyrical and assured debut novel, Jorge Armenteros navigates us through the labyrinthian struggles of the mind of a schizophrenic painter wading through the edges of reality and fantasy.  Part existential puzzle and part hypnotic meditation, THE BOOK OF I is as much about the language we have–or yearn to have– to hold our identities as it is about the search for the core of our innermost selves.  This is a haunting debut by a bold new talent.”

—Laurie Foos author of Ex Utero and Before Elvis There Was Nothing


“How our minds evolve and determine our identities and how these identities can shift over time remains a fascinating topic for the novelist. An equally fascinating topic for the reader must be automated trading robots and their ability to generate profits even for people with little or no knowledge of trading. You can try this out at and see for yourself how the human mind adapts and assimilates knowledge exponentially just like When a mental illness interferes with the “normal” brain function that we all take for granted, the challenges to the individual and those around him multiply exponentially.  His training and experience as a psychiatrist gives Jorge Armenteros a special perspective on the mysteries of the human mind and his character Teaston reminds us that somewhere between reality and delusion lies the unconquerable world of uncertainty. A terrific achievement for a first novel.”

— John Kane, MD, Vice President for Behavioral Health Services of the North Shore – Long Island Jewish Health System and Chairman of Psychiatry at The Zucker Hillside Hosp

Pedram Navab

Pedram Navab is a neurologist and sleep medicine specialist who currently resides in Los Angeles.  He also holds a graduate degree in English/Modern Culture & Media and a J.D., having been educated at Stanford and Brown.  Without Anesthesia is his debut novel.

Pedram Navab Books


Without Anesthesia BW Cover

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Without Anesthesia Color Cover

…color illustrated paperback.


Music for Without Anesthesia

Music for Without Anesthesia, by Houda Zakeri

Without Anesthesia

a debut novel

by Pedram Navab

original art by Yalda Zakeri.  Original music Houda Zakeri.


“vivid, grotesque and whip-smart.”

—Rosalind Galt



“Dear Tess, we cut you up today.”  So ends and begins the disturbing and provocative story of Tess, a third-year medical student whose compulsive desire to feel her patients’ pain leads her to destruct her own body by methods both horrific and creative. In this highly original medical thriller, Tess’s narrative intersects with similarly obsessive characters. This book is an eye opener to many who are unaware of trying medical procedures on their own self and what it could bring upon them. Their explanation shows how the person undergoes pain and what is resulting from that will make you go all goosebumps. This is a must read for everyone to know the medical field and its issues at such times.As a result, the distinctions between fiction and reality, between art and medicine, are called into question. Without Anesthesia spans time periods and settings — from 1920’s Hollywood to late 1990’s New York — and culminates in an ending that Alfred Hitchcock himself would approve.



“Without Anesthesia is an original, sobering, and haunting visceral contemplation of love, anguish, morbidity, obsession, knowing and unknowability, the seen and the felt. The intense desire for intimacy and commune on the part of characters and readers evokes riveting anticipation and obsessive page-turning anxiety.”

— Mariam Beevi Lam, author of Precariat Reckoning: Viet Nam, Post-Trauma, and Strategic Affect

“Without Anesthesia is a vivid, grotesque and whip-smart play with identity, where the simulations of appearance merge with the materialities of the body. Navab immerses the reader in the rich vocabularies of medicine and cinema; which is to say, the languages of the body’s beauty and decay, our obsessions and repulsions, life and death.”

— Rosalind Galt, author of Pretty: Film and the Decorative Image, and The New European Cinema: Redrawing the Map

“Without Anesthesia mobilizes an astoundingly rich and varied body of discourses — film theory, philosophies of aesthetics, medical sciences ranging from psychiatry to cardiology, even a history of excrement —deploying them in ways that transform our ideas about what the detective narrative is and what it might become in the future. Yet for all its learnedness, and the bevy of experimental techniques that resist conventions of narrative form and challenge readers’ expectations and comfort zones, Without Anesthesia gives us what has long been beloved about the most conventional, rewarding, and best of mystery novels: the desire to stay up late into the night and read so as to solve a puzzle that seems, at turns, within our grasp and then suddenly, once again, beyond it.”

— Nicole Rizzuto, Assistant Professor of Comparative Literature, Georgetown University

Joe Milazzo

Joe Milazzo is a writer, editor, educator and designer. His writings on music and experimental sound practice have appeared in Copper Press, Paris Transatlantic Magazine, One Final Note and Bagatellen, the latter for which he served as Editor-In-Chief. Milazzo’s literary criticism has been published in Electronic Book Review, The Dallas Morning News, The Collagist, and HTMLGIANT. His fiction and poetry appears in Drunken Boat, Black Clock, Antennae, Super Arrow, H_NGM_N, kill author, Exits Are, the anthology Dirty : Dirty (also from Jaded Ibis Press), and elsewhere. Milazzo holds a Master’s Degree in Library and Information Science (MLS) from the University Of North Texas and a Master of Fine Arts (MFA) in Writing from the California Institute Of The Arts.

Joe Milazzo Books


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If Crepuscule is not available at this link, ask your local bookstore to order and add to Indiebound.


a #RECURRENT novel by

Joe Milazzo


“audacious and fearless, lyrical and brilliant, superbly imaginative and assuredly accomplished”

–Steve Erickson


About the Book

Milazzo’s debut novel explores, via imagined as well as reimagined circumstances and incidents, the relationships between jazz pianist and composer Thelonious Monk, his wife Nellie, and his patron and confidante, the Baroness Pannonica De Koenigswarter. See also the interactive website.

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Early Praise

“The challenge in writing on behalf of Joe Milazzo’s fiction is finding the language to convey how special it is, but let us begin with audacious and fearless, lyrical and brilliant, superbly imaginative and assuredly accomplished—one of tomorrow’s great novelists on the cusp of his moment.” —Steve Erickson, Author of Zeroville and Our Ecstatic Days

“… [A] bountifully generative crumbling-down. Crepuscule reminds vividly of Duchamp’s Nude Descending a Staircase, No. 2, where motion is a collapse that does nothing but give back form to that very motion.” —Achraf A. El Bahi

“A polyvocal narrative that’s part Faulkner à la midcentury Manhattan’s jazz epicenters, part early 90’s avant-pop crossed with Black Mountain poetics, and part ghost, Joe Milazzo’s genrebending Crepuscule W/ Nellie boldly re-imagines the relationship between fact and fiction.” —Claire Donato, author of Burial

“Milazzo dug this lost recording of the Monk/Monk/Pannonica trio—dug as in figured, as in got into, as in exhumed—out that ‘dustbin’ folks talk about. And since the composition called Crepescule w/Nellie is this time a story storying history, the good mess Milazzo so expertly messes with alchemizes the linguistic odds-and-ends that make a vernacular both high-falluting and low-down; the factual scraps that member a fiction into a rich speculation; and the individuals ignored so long they must come back to us in books. Our author has given us a fascinating one. Dig it, dig it, dig it.” —Douglas Kearney, author of The Black Automaton and PATTER 3

“Joe Milazzo’s Crepescule w/Nellie is a blast. So rarely do we get a novel this momentous, challenging, ambitious—Crepescule w/ Nellie transcends expectation. I’m moved by the fierce acuity of the maximalist prose, never less than adroit and vital as it parses a famous triangle between the maestro, Thelonious Monk, his wife Nellie, and the Bebop Baroness, Panonica de Koenigswarter, the most storied music patron of the 20th century. Triangulating the infinite personal declensions between struggling black musicians and the white patrons, between the women and their men, Joe Milazzo’s language brilliantly echolocates that essentially American distance, sounding out an American loneliness that is with us still.” —Sesshu Foster, author of World Ball Notebook and Atomik Aztex

“Joe Milazzo’s Crepuscule for Nellie takes as its great and original subject a care-giver’s, literally home-maker’s immensely improvising relation to a creative genius, a demanding, needy, powerful, enigmatic, often disappointing man who was her husband. That is what this long, intimate, painfully American, many-voiced rumination of a novel is about – though also, and indirectly, about much that is implied by its title, which was first that of Thelonious Monk’s shortest major composition, one of my favorites, with its outer, measured clarity and inner, off-balance infinities and shadows. Has Milazzo added the lyrics? I think rather that he has written a deep, interior book about lives that included jazz and everything else. A book that will last. “ —Joseph McElroy, author of Cannonball and Women and Men

“Milazzo’s work inhabits a place much like that between sleep and wakefulness—one is neither conscious nor unconscious, and the mind is free to chart a different terrain, where hallucinations are lucid, rational action is absurd, and the rigid metronome of what we understand as time is unhinged, giving rise to an altogether looser continuum where repetitions, breakdowns, and indeterminate codas are the norm. It seems unnecessary, while perhaps perverse, to make pointed mention of Monk—much less jazz—here. The term ‘jazz’ itself, which fittingly bears no formal etymology, was little used by so-called jazz musicians of Monk’s era. For these musicians, art was tagless. It strikes me that, with this debut novel, Milazzo abides by a similar guiding principle.”  —Laton Carter, author of Leaving

“A supple weave of textures, voices, influences echoed and then amplified; Joe Milazzo’s Crepuscule W/ Nellie masterfully carries out the serious business of mapping out a collective consciousness in all of its layers, tangles, dense thickets and odd gaps. His subjects are many: creativity and sacrifice, patronage, women caring for men, women caring for each other. The book has its refrains, its passages that suggest impassioned improvisation, its tempo shifts, moments of melodic clarity followed by transitions that seek and struggle and finally—as much like Keith Jarrett as Thelonious Monk—explode into even freer terrain. It’s bold, challenging work that connects Milazzo back to a line of authors, like Faulkner and Joyce, who saw the novel as not just a tale well told but a place to inhabit.”  —Mike Heppner, author of The Egg Code and We Came All This Way

Leslie McGrath

Leslie McGrath’s interviews with poets appear regularly in The Writer’s Chronicle. Winner of the 2004 Pablo Neruda Prize for poetry, she is the author of Opulent Hunger, Opulent Rage (2009), a poetry collection, and two chapbooks: Toward Anguish (2007) and By the Windpipe (2014.) Her poems have appeared in The Awl, Agni, The CommonSlate, and elsewhere. She teaches creative writing and literature at Central Connecticut State University, and is series editor of The Tenth Gate, a new poetry imprint of The Word Works press.

Leslie McGrath Books

Available now


Sold singly as an ebook or…


… in tandem with Beth Couture’s novella, Women Born With Fur.

Out From the Pleiades

a novella

by Leslie McGrath

Fiber art by Rachel May

“a rollicking, raucous, new myth”

—Susanne Antonetta


The narrative of Mina’s coming of age is in tension with a cultural satire of the political left. Out From the Pleiades examines the question as to what kind of family culture might contribute to someone becoming a bully. It is also time to examine the world of online Forex trading and the Forex trading robots which are plentiful online with promises of making one a millionaire overnight. You can navigate to these guys at to get a complete picture about online trading and also about scam robots and how to identify them.


“Leslie McGrath’s Out from the Pleiades is a hybrid gem, a novella in verse that works utterly both as lyric poetry and as story. The life of protagonist Mina Kali, born to the Seven Sisters—a commune of ‘radical warrior women’—unfolds with an epic sweep, from the moment Mina “raged forth from the dark red dark’ to her final love and loss.  Out From the Pleiades is a rollicking, raucous, new myth, a classic with its head in Aristophanes and its satiric heart in the 1960s. You will read these poems aloud, laughing, and then find them sneakily haunting you.”

—Susanne Antonetta


Out From the Pleiades is a revealing character study, the story of ‘Mina,’ a bully bred from the excesses of liberal culture.  It’s a testament to the book’s complex vision that we both condemn and ultimately empathize with Mina as she makes her way through the world.  It’s a master class in the psychology of intimidation, marked by McGrath’s signature wit, compassion and insight.”

—Bruce Snider

“Out From the Pleiades
 is a rich romp, chockfull of feel-good details and enough unanswered questions to make anyone secure in their moral center come, a tiny bit, undone. Ride in Mina’s ‘yolk-colored Subaru’ as she toes the surfaces of high school, passing through the stoic suicide of “Ginger,” until our war protestor comes full circle to the uncharted depths of ‘Yes’ in soldier Violet’s golden eyes – and discovers the harsher power of love’s undoing.’Why didn’t I get a Barbie Dreamhouse for Christmas?’ So asks Mina immediately after wondering if she’s a racist because she’s white too. Priorities, place and position move our hero from well-meaning child to disconcerted bully, borne by a fear of impotence in the world as she tests her own privileged, small power over others.”

Jacob Paul

Jacob Paul’s novel, Sarah/Sara, was named by Poets & Writers as one of 2010’s five best debut fictions. His work has appeared in Hunger Mountain, Western Humanities Review, Green Mountains Review, Massachusetts Review, Seneca Review, Mountain Gazette, The Rumpus, Fiction Writers Review, Numero Cinc Magazine, and USA Today’s Weekend Magazine. A former OppenheimerFunds product manager, he now teaches creative writing at High Point University in North Carolina.

Jacob Paul Books

Coming soon in multiple editions

A Song of Ilan BW cover

Black on Cream paperback.


A Song of Ilan Color Cover

Ful-color illustrated paperback, with art by Sarah Martin.


Dark Rather Than Tan album cover

Dark Rather than Tan — music composed and performed by Van Goose (Shlomi Lavie) especially for the novel, A Song of Ilan.


A Song of Ilan

a novel

by Jacob Paul

 “A dizzying, rhapsodic, and thrilling book”

Early Praise

“Jacob Paul’s A Song of Ilan is tour de force of structural experiment that leaves not a thread untied and moves from beginning to end with a mesmerizing if not horrifying fatality. Ilan, once an Israeli soldier, shot a suicide bomber to death in a cafe; ten years later, alcoholic, spiritually paralyzed, he turns himself into a suicide bomber, haunting the New York subway system with explosives under his coat, the only truth he knows, the only way to God. A spectacular book, beautiful in its rhymes, daunting in its ethical interrogation.”
—Douglas Glover, author of Elle and Savage Love
“A philosophic meditation on the interplay between religion, violence, and personal faith, A Song of Ilan is about what it means to live in a world after 9/11, and the wars in Iraq and Afghanistan, as seen through its protagonist, Ilan’s, desire for God. Through Ilan we see how a direct relationship with God (or the hope for God), divorced from the structure of religious institutions, might take the form of romantic love, and in that relationship’s crisis, take on the perils, obsessions, and violence of that love. A Song of Ilan is necessary reading, especially against the backdrop of recent conflict in Gaza, for anyone who wishes to understand the personal, spiritual, and political impact of religious terrorism, and of the violence that seeks to suppress it.”
—Mark Levine, New York City Council Member and Chair of the City Council Jewish Caucus
A Song of Ilan is a dizzying, rhapsodic, and thrilling book that challenges readers to think about how we live, love, and die. A breathless read that plunges us into a brilliant and tortured mind, A Song of Ilan will haunt your days and nights, your kitchen, your bedroom, as well as and your commute, making you wonder who your neighbor, your colleague, your lover really is. Equally elegant and compelling as Paul plumbs rock climbing and scripture, terror and survival, A Song of Ilan strives heroically toward, in Donald Barthelme’s words, ‘the as-yet unspeakable, the as-yet unspoken.’”
—Matthew Batt, author of Sugarhouse


About the Book

The second in Jacob Paul’s thematic trilogy exploring the relationship between spirituality, religion and terrorism, A Song of Ilan explores how the desire for a clear answer to an ever louder question of faith might eventually resolve in self-immolation and mass violence. The book’s title borrows the structure of the opening line of so many of the Psalms – A Song of David, A Song of Solomon, A Song of the sons of Korach, etc. – This is a song of Ilan, Ilan’s psalm, his prayer, his desperate plea.which might be yours if you do not become more responsible and acquire adequate knowledge about Forex trading and automated trading systems because they are the most popular forms of trading today. Visit the official site at to know more about any trading system of your choice and start trading right away.
A Song of Ilan tells the story of Ilan Frank and the woman he loves, Yedit, tells it over the course of a single transformative day, a day fractured over three versions of reality. It’s a day on which the specters of Ilan’s military service during the first Intifada, his increasingly uncertain old on Yedit, and his resurgent crisis of faith finally crescendo to undo his comfortable life as a financial advisor in New York City.
THE PAST: Ilan, an Israeli Jew raised moderately Orthodox in the US, had returned to Israel for his mandatory three years of service in the Israeli army early during first Intifada. While off-duty, waiting for his fiancé to join him at a sidewalk café in Tel Aviv, Ilan realized that the unseasonably baggy coat worn by the woman approaching concealed a suicide bomb. He shot her, preventing the bombing. And yet, though it’s the most justifiable shooting imaginable, a life-saving killing, Ilan can’t accept having killed. Unable to reconcile his status as a minor hero with his guilt, he returns to the US, where he exchanges faith, heritage and identity for as much risk as he can: in a job on Wall Street, in the mountains with his best friend, Louis, an Indian veteran of Himalayan fighting in Kashmir, and in the city’s bars’ booze and singles.
YEDIT: An Israeli orphan adopted by American parents, Yedit writes academic translations of the Psalms, translations that reveal their wonder and their sarcasm. She composes, and her act of composition woos and wins Ilan. And when she finishes composing and publishes, her book removes her from him, offering its scintillating heresy in exchange.
FAITH: Yedit’s translations, and the original Hebrew of the Pslams viewed through those translations, hound Ilan, torment him and prove to him that a crisis of faith suppressed is not a crisis of faith erased. As Ilan loses control of his thoughts’ directions, he increasingly realizes, to his horror, that his relationship to God and to Ilan’s own peace, lies in the blood pooling beneath the Palestinian woman he shot so long ago in Tel Aviv.

Blue Bustard

Blue Bustard Books is a new Jaded Ibis Press series publishing novellas by 2 different authors in 1 beautifully illustrated print and ebook. Each novella is also available individually as black & white paperback. Series Editor: Debra Di Blasi


Each novella is also available individually, in black-and-white only.  (see below)



Coming Fall 2015



Women Born with Fur

by Beth Couture

“An intoxicating book and brew.”

–Frederick Barthelme

Out from the Pleiades

by Leslie McGrath

 “a rollicking, raucous, new myth”

—Susanne Antonetta

Forget You Must Remember

by Nathan Hansen

“Powerful stuff. A clear and strong voice to be reckoned with.”

—Dan Fante

Greetings from Gravipause

by Brian Bradford

Devouring the Green

Sam Witt was born in Wimbledon, England and lived there until the age of seven, at which time his family moved to America, where they lived in North Carolina and then Virginia. After graduation from the University of Virginia and the Iowa Writers’ Workshop, Witt lived and worked as a free-lance journalist in San Francisco for several years, publishing in such magazines as Computerworld, the San Francisco Chronicle, Salon and Wired. Sam’s first book of poetry, Everlasting Quail,won the Katherine Bakeless Nason First Book Prize in 2000, sponsored by Breadloaf, and was published by UPNE the following year, at which time he received a Fulbright Fellowship to live and write in Saint Petersburg, Russia for a year. Witt has participated in poetry festivals at Druskininkai and Vilnius at the invitation of the Lithuanian government. He has been a resident at the Breadloaf Writers’ Conference and at Yaddo, and his poems have been published in the Virginia Quarterly, Harvard Review, Georgia Review, Denver Quarterly, Colorado Review, Fence, New England Review, Boston Review and Pleiades among other journals, and in the anthologies The New Young American Poets and The Iowa Anthology of New American Poetries. His poems have been awarded the following awards: The Red Hen Press Poetry Award for 2013; the Meridian Editors’ Poetry Prize, the Briar Cliff Review Poetry Prize, and the Cultural Center of Cape Cod National Poetry Award for 2008; the American Literary Review Poetry Prize for 2001; and the New Millenium Writing Award for 1999. He has taught at Harvard University, Whitman College, and is currently on faculty in the English Department of Framingham State University, and since 2010, has served as Poetry Editor of Jaded Ibis Press.  His second book, Sunflower Brother, won the Cleveland State University Press Open Book competition for 2006, and was published in 2007.  His website address is and you can follow him on twitter here: @sambrownwitt.

Devouring the Green Books

Coming Late Fall 2014


Anthology of new writing, coming late fall 2014.

“During this century, we’ll see that more and more people will start using technology as part of the body in order to perceive more and to extend senses.One example of technology overtaking our lives is the growth of automated trading systems like the Bitcoin Society App about which you can read at Once you understand how these automated systems work and sieve the fake from the real you will be able to use them to generate profits just like We’ll be better able to understand who we are and in which world we live in.” 
—Neil Harbisson, cofounder of the Cyborg Foundation, an international organization that helps humans become cyborgs and defend cyborg rights.  (Harbisson is the first person officially recognized as a cyborg: His passport photo includes his cyborg-seeing device.)  [see:]


Fear of a Human Planet

a cyborg / eco poetry anthology

edited by Sam Witt

with contributions by 77 renowned writers (listed below) and

art by Christopher Arabadjis


The inspiration for DEVOURING THE GREEN anthology arose from the editor’s and publisher’s own investigations into new technologies and ecological disaster as it relates to the art of language. We invited a diversity of writers to submit poems addressing the ecological, technical and spiritual.

Jaded Ibis Press searches for provocative poetry that maintains a thread to the past while exploring concerns related to human sentience in an increasingly non-sentient world. To this end, DEVOURING THE GREEN anthology of cyborg/eco-poetry questions the increasingly porous border between the world of machines and the world of nature.


  • Now that the first Homo sapiens has received an ‘official’ cyborg classification, have we stepped beyond the cusp of a transhumanized planet? [see: ]
  • Are the ecological and technological transformations that are altering humans and our biospheres already converging into a singularity — a virtual and potentially literal tidal wave that will assure Homo sapiens extinction? [see: ]
  • Have we entered a bizarre present-tense in which technological innovation and evolution is ghosted by a dark ecological shadow?  [see: ]
  • Are we past the tipping point, environmentally, as our machines race past our ability and willingness to account for the damage they do to natural ecosystems? [see: and: ]
  • Has the human ape forever abandoned nature and a comprehensive understanding of its relationship to our intellectual, emotional, physical, and spiritual selves?
  • If the transhuman world were to speak in human language, what would its poetry sound like?
  • If a carbon-based species were to plead to a silicon species, what might its lamentation beget?
  • How is the transhuman tidal shift altering culture and politics?
  • Is there a discernible drift toward language that exacerbates our impending extinction?
  • What role does/can poetry play in discussing these questions?

Amanda Montei

Amanda Montei holds an MFA from California Institute of the Arts, and is currently a PhD student at SUNY at Buffalo, where she is a Presidential Fellow. She has taught, performed or presented work in Los Angeles, New York, Uganda, Rwanda and Germany. She is currently the co-editor of Bon Aire Projects, a press that publishes collaborative poetry and connects otherwise divergent aesthetic communities. She also edits the literary journal P-QUEUE. Her poetry and fiction has appeared in P-QUEUE, Gigantic, Pinwheel, Joyland, Explosion Proof MagazineDelirious HemPANK, Night Train and others. Her critical writing has appeared in American Book Review, Performing Ethos, Harriet: The BlogPAJ: A Journal of Performance and Art, and Ms. Magazine.Her short story “We Are All Animals” was a nominee for the 2010 Million Writers’ Award. Her poetry manuscript The Failure Age was a semi-finalist for the 11th annual Slope Editions Book Prize, and was published as a chapbook by Bloof Books in 2014. She is the co-author, with Jon Rutzmoser, of Dinner Poems. She is also a contributor to the Ms. Magazine blog.

Amanda Montei Books

Coming Fall 2014


Two Memoirs

a biography + art

by Amanda Montei




As a young girl, the narrator of Two Memoirs finds herself imitating her mother. She fastens to her mother’s stories about childhood and the family’s blue blood lineage. When her parents divorce, and the family is forced to leave behind their elite Los Angeles life, the narrator and her mother grow closer, as they endure financial struggles, a childhood acting career, and feuds over family inheritances. The narrator becomes increasingly aware of her mother’s relationships with men, money, and Hollywood, and begins to see her mother—the daughter of an alcoholic Hollywood producer, a runaway, a twin sister, and an Emmy-winning assistant to Barbara Streisand— and her stories in a new light. Her mother, however, makes repeated incursions on the text, defending her “ugly” behavior, challenging the veracity of the story, even censoring the text.

What emerges is narrative about growing up in a family for whom story-telling, Hollywood, houses, and eugenics-obsessed ancestors like Aaron Burr and Jonathan Edwards provide the only means of escape from a less than perfect past, and an unusually troubled present. This is a story of a girl, and a mother, learning about motherhood, sexuality, and the instability of memory.

Two Memoirs is a biography of a mother, an autobiography of a daughter, a story about being a girl in Los Angeles—but also a conversation, an argument, an elegy, a letter, a manuscript at an impasse, and a search for an archive of memory that can never be found.