We at Muzzle are feeling very lucky and excited to bring on a new group of Poetry Readers, Book Reviewers, and Copy Editors, as well as a Social Media Editor. We were rather overwhelmed by the response to our call for applications, and were only able to take on a small handful of the talented and necessary writers who applied. We're proud to be adding the talents of Raul Alvarez, Derrick Carr, Brionne Janae, Sarah Sgro, and Raena Shirali, Claudia Cortese, Irène Mathieu, Willy Palomo, Ellie White, George Abraham, and Shonté Daniels to our staff.
Raul Alvarez, Poetry Reader
Raul Alvarez is the author of There Was So Much Beautiful Left (Boost House) and holds an MFA from Columbia College Chicago. His work is has been published in Fourteen Hills, Inferior Planets, PANK, Fanzine, Pinwheel, and elsewhere. He currently lives in Seattle and works for Northwest Immigrant Rights Project.
Derrick Carr, Poetry Reader
Derrick Carr is a poet and organizer in the San Francisco Bay Area, where he's lived since he was old enough to read. He co-founded Yale's slam team in 2010 while getting his degree in African-American Studies. He's co-edited the anthology Tandem as a staff member at The Lit Slam. His poems have been published or are forthcoming in Oakland Review, Adroit, and here at Muzzle. You can keep up with him at tinyletter.com/whyderrick.
Brionne Janae, Poetry Reader
Brionne Janae is a California native, teaching artist, and poet living in Boston where she completed an MFA at Emerson College. Brionne was a recipient of the 2016 St. Botoloph Emering Artist award. Her poetry has been published or is forthcoming in jubilat, Boaat, Plume, Bayou Magazine, The Nashville Review, and Waxwing among others. And most importantly Brionne is a Cave Canem Fellow.
Sarah Sgro, Poetry Reader
Sarah Sgro currently lives in Oxford, Mississippi, where she serves as Poetry Editor for the Yalobusha Review and co-hosts the Broken English Reading Series. She is from New York and previously worked as an editorial assistant for Guernica. Her poetry appears in Tagvverk ,Muzzle, TYPO, glitterMOB, Horse Less Review, Deluge, and other journals. Her website is sarah-sgro.com.
Raena Shirali, Poetry Reader
Indian American poet and educator Raena Shirali is the author of GILT (YesYes Books, 2017). Her work has appeared in Boston Review, Ninth Letter, Tupelo Quarterly, Crazyhorse, Indiana Review, and many more. Her honors include a 2016 Pushcart Prize and the 2014 Gulf Coast Poetry Prize, among others. She will be Bucknell University’s Philip Roth Resident this spring at the Stadler Center for Poetry.
Claudia Cortese, Book Reviewer
Claudia Cortese is a poet, essayist, and fiction writer. Her first book, WASP QUEEN (Black Lawrence Press, 2016), explores the privilege and pathology, the trauma and brattiness of suburban girlhood. Her work has appeared in Blackbird, Black Warrior Review, Gulf Coast Online, The Offing, and Sixth Finch, among others. The daughter of Neapolitan immigrants, Cortese grew up in Ohio and lives in New Jersey. She also lives at claudia-cortese.com.
Irène Mathieu, Book Reviewer
Irène Mathieu is a pediatrician and writer based in Philadelphia. She is the 2016 winner of the Bob Kaufman Book Prize and author of the poetry chapbook the galaxy of origins (dancing girl press, 2014) and book orogeny(Trembling Pillow Press, forthcoming). Her poetry, prose, and photography can be found in The Caribbean Writer, Muzzle Magazine, Los Angeles Review, Callaloo Journal, Jet Fuel Review, Lime Hawk, Big Lucks, and elsewhere. She has been a Fulbright scholar and a Callaloo Fellow, and her work has been nominated for the Pushcart Prize and Best of the Net. Irène is a contributing author on the Global Health Hub blog and an editor for the humanities section of the Journal of General Internal Medicine. She holds a BA in International Relations from the College of William & Mary and MD from Vanderbilt University.
Willy Palomo, Book Reviewer
Willy Palomo learned poetry from the worlds of hip-hop and slam. In 2016, he was named the runner-up Latin@ Scholar at the Frost Place Conference on Poetry. He is currently working on his MFA in poetry and MA in Latin American and Caribbean Studies at Indiana University, where he teaches Intro to Creative Writing and the Poetics of Rap. He runs the Bloomington Poetry Slam. His work can be found online on Vinyl, Acentos Review, HeArt Online, and elsewhere.
Ellie White, Social Media Editor
Ellie White holds a BA in English from The Ohio State University, and an MFA from Old Dominion University. She writes poetry and nonfiction. Her work has appeared in Antiphon Poetry Magazine, Harpur Palate, Tincture, and several other journals. Ellie’s chapbook, Requiem for a Doll, was released by ELJ Publications in June 2015. She currently lives near some big rocks and trees outside Charlottesville, Virginia.
George Abraham, Copy Editor
George Abraham is a Palestinian-American poet attending Swarthmore College. He competed in the College Union Poetry Slam Invitational (placing 2nd out of 68 international teams), the National Poetry Slam, and the Individual World Poetry Slam. A 2016 Brooklyn Poets Fellow, his work was featured as part of the Brooklyn Poet of the Week spotlight series. His work has appeared or is forthcoming in Thrush, Emerge Literary Journal, Riwayya, Crab Fat Magazine, Yellow Chair Review, the Shade Journal, Black Napkin Press, APIARY, and more. He hopes to continue bringing awareness to Palestinian human rights and socio-economic struggles through art. More work and contact info can be found at his artist website: http://gabrahampoet.wixsite.com/gabrahampoet
Shonté Daniels, Copy Editor
Shonté Daniels is a young poet and games journalist from New Jersey. She is currently an editorial associate at Rewire. Shonté's games criticism has appeared in places such as Deorbital, Kill Screen, and Motherboard, and her poetry has been on Apogee, The Rectangle, and Phoebe. Follow Shonté on Twitter @JohnnyxH or visit her website at Shonte-Daniels.com.
We are so excited to share our new logo from poet and web developer Meghann Plunkett!!
Q&A with Meghann Plunkett
*Questions from Stevie Edwards, Editor-in-Chief
SE: I know you primarily through your work as a poet, but you also have a background as a web developer. Do you see any interplay between your interests and talents in poetry and coding?
MP: I’d say that I see a connection between writing code and editing poetry for sure. I was a poet long before I was introduced to web development and one of the first things I became delighted by was the notion that code could become more “elegant” by being reworked or reorganized. This made me literally clap my hands and spin around. I feel this is what happens when we edit our poems or stories into the most effective shape we can. And the editing process is never over. I love the idea that these two very different disciplines are constantly striving, chiseling and reaching for elegance.
SE: You recently moved from NYC for an MFA program in the great metropolis of Carbondale, IL. Could you tell me a little bit about your decision to pursue an MFA and how you’re finding the experience?
MP: Haha. Yes, it’s certainly been a change. I think I always knew that I was interested in pursuing an MFA at some point in my life, but I wanted to be in the world first. After graduating from Sarah Lawrence I had almost every job imaginable. I worked as a shop girl at the Plaza Hotel, I waited tables, I house sat, pet sat, baby sat and for a time I boomed sound for a terrible reality television show called “Street Court,” which was like Judge Judy except “in the street” ..literally. After learning web development and finding a stable job, I realized how much I missed being able to dedicate my mind and life to poetry. That was the turning point and I knew it was time.
I am just ending my first year and so far, I couldn't be happier. My cohort is filled with talented, kind and motivated people. My professors, Judy Jordan and Allison Joseph are beams of motivation and wise insight. Being in an MFA is special. It creates an environment that allows poetry to be the most important thing. When does that ever happen?
SE: You recently had an article published in Luna Luna Magazine about—and I hope this isn’t an over-generalization—people who publicly advocate for supporting women in abusive relationships but aren’t advocates for women they encounter in their daily lives. In this article you suggest we ask ourselves “how we each have helped cycles of abuse by doing nothing, by doubting the victim and shying away.” Do you think this challenge to victim-blaming shows up in your poetry at all?
MP: I’d say that is a good summary of my intentions for this article, yes. I’d say that I have been shifting my life and my work to really focus on female issues in general, and victim blaming is certainly a part of that. I have a lot of current work that is not out in the world yet that deals with these issues. I’m interested in looking at these issues, victim blaming for example, and studying the process from external to internal. This isn’t in the Luna Luna article, but victim blaming begins from an external source and can often result in an internal dialogue with yourself. It is easy to become your own oppressor in this way. This concept is fascinating and heartbreaking to me. It’s scary too, to look at my own internal landscape and ask myself how much of this was told to me? How much of that so I keep telling myself.
SE: I know this is a huge and not easily answerable question, but do you have any thoughts on how to disrupt the seeming complacency toward sexism within the poetry community?
MP: This is hard. I just thought about it and I hate my answer because it places a lot of the action and the fixing mostly on women. But I think that the only way to eradicate sexism and harassment in any community is to not stay silent. The more we talk, the more awareness spreads. Often when I stayed silent in the past it was because I assumed I was alone and that these actions from a certain person were personal problems. What I have learned is that if there is a source of hate being directed at you, it is also being directed at others. When I realized this, I started to see the problem as systemic and get angry. Speaking out is the most commonplace super power I have encountered. It is magic. Oh and also, you don’t have to be a victim to speak up. Men see it all the time too. Say something.
SE: Do you have any favorite recent feminist poetry reads?
MP: I’m not sure how these women might feel to have this label put on them, but it is my opinion that every female poet with a strong political voice is a feminist poet. There are so many of them, how to narrow them down? I’ll just list those whose name begin with the letter A:
Aja-Monet is just one of my favorite activist and women in general. Aimee Baker has a long poem about women who have been abducted. Ada Limon’s newest book Bright Dead Things. Aimee Nezhukumatathil’s poem about C-Sections. Ansel Elkin’s book Blue Yodel. Angel Nafis and her book Black Girl Mansion.
SE: What was the last poem that really moved you?
MP: Ansel Elkin’s "Reverse: A Lynching" from her book Blue Yodel. So Powerful.
SE: How long have you been writing poetry. What sparked your interest?
MP: I’m not sure. I remember writing autobiographies for my teddy bears as a kid. But, I don’t think I really started writing until college. Matthea Harvey and Jeffrey McDaniel opened my eyes to what poetry was and could be.
SE: So, let’s say you sit down with a computer or with a notebook or etch-a-sketch or whatever it is use for writing and poems and nothing comes out. What do you do?
MP: I usually end up cleaning. Monotonous things often help me get into a creative space. I might be able to visually see how prolific I am by gauging how dirty my house is.
SE: Are there any TV shows you’ve recently binged watched?
MP: Jessica Jones. Dear Lord.
SE: Favorite treat?
MP: Pickles. Ice cream. Ramen.
SE: Favorite thing to read that isn't poetry?
MP: I’ve been reading a lot of Neil Gaiman as of late. So, magical short stories?
Note: Meghann's poems "Adolescence" and "Long Distance Larceny" appeared in our Winter 2014 issue, and more about her work as both a web developer and a poet can be found on her website: meghannplunkett.com
Bettering American Poetry Nominations
Our nominees this year for Sundress's annual "Best of the Net" Anthology are:
1) “Conjuring: A Lesson in Words and Ghosts” by Jacqui Germain
2) “Dark Pairing” by Tarfia Faizullah
3) “The Forgetting Episodes” by Justin Phillip Reed
4) “Menace” by Joy Priest
5) “a question of rain.” by Jayson Smith
6) “Meditation on a Poem about Glass Embedded in the Scalp after a Car Accident” by Jeanann Verlee
We're continually humbled by the challenging and gorgeous work we get to publish at Muzzle. Nomination decisions are never easy, but they were especially difficult this year. Please join us in giving immense love and appreciation to these poets. We are doing our best to get their work out into the world because we believe that the world needs it. We hope that the good folks at Best of the Net will help with this important mission.
"Conjuring: A Lesson in Words and Ghosts" by Jacqui Germain
"Dark Pairing" by Tarfia Faizullah
"a question of rain." by Jayson Smith
"The Body Knows" by Desiree Bailey
"Hero(i)n" by Airea D. Matthews
“The Summer A Tribe Called Quest Broke Up” by Hanif Willis-Abdurraqib
Best of the Net:
"for kendrik" by Amber Atiya
"Leaving the Okay Marriage" by Marie-Elizabeth Mali
"In a Bar that Burned Down a Year Ago" by Peter Mason
"Hero(i)n" by Airea D. Matthews
"A History of Manic Depression" by Raul Alvarez
"Butthole Butthole Butthole Butthole" by Sam Sax
*Note from editors: We published and adored "The Summer A Tribe Called Quest Broke Up" by Hanif Willis-Abudrraqib before he joined the staff. We're really excited to get to work with somebody so talented.
Putting this series together has given me such faith in the poets in my age range. I was spoiled for choice when it came to finding poets who were both talented and hardworking - and I was amazed to discover how very humble nearly everyone I contacted was. Several brilliant poets even turned down my invitation to be on the list, on the grounds that they felt their current work wasn't strong enough.
This project has humbled me, too: I agonized over which poets to include, whether or not I approached people correctly, and whether or not I did their work justice in my write-ups. But I'm happy with the result. I'm so glad so many of you read and followed this, and that you're as excited as I am to discover and celebrate the brilliant people in this field. Please keep it up: read these folks' books, read the awesome journals that publish them (including Muzzle, of course!), and go to their readings when you have the chance. It's my sincere belief that this is a crop of writers that will continue to grow in impressive ways.
If you feel I missed someone I should know about or should better appreciate, don't hesitate to find me and point me towards her, or have the poet in question submit to Muzzle. We're always hungry to introduce our readers to new work.
Below is a cheat sheet of all the listed poets' names. Their bios should enumerate recent or upcoming projects worth looking out for.
--Laura Swearingen-Steadwell, Associate Editor
1. Aricka Foreman
2. Traci Brimhall
3. Reginald Dwayne Betts
4. Tommye Blount
5. Jessica Helen Lopez
6. Sandra Beasley
7. Tarfia Faizullah
8. L. Lamar Wilson
9. Matthew Olzmann
10. Aimee Nezhukumatathil
11. Jamaal May
12. Kenyatta Rogers
13. John Paul Davis
14. Natalie Diaz
15. Roger Reeves
16. Jennifer Sperry-Steinorth
17. Jason Bayani
18. Bianca Spriggs
19. Tomás Morin
20. Nathan McClain
21. Nandi Comer
22. Ben Clark
23. Jonterri Gadson
24. Suzi Q. Smith
25. Nicky Beer
26. Rico Frederick
27. Nicole Sealey
28. Christina Olivares
29. Marcus Jackson
30. Aracelis Girmay
Although the quote wasn't originally hers, my brilliant roommate refers to Aracelis Girmay as "everybody's soul mate," and I'm inclined to agree.
Readers at home may not know this about me, but I'm not really a joiner: I'm usually very skeptical about things everybody's trying, or everybody's interested in. I'm very rebellious. I don't even have a 401K, that's how rebellious I am.
That being said, I did not want to like Girmay's poetry. I can't transcribe the actual feelings I had at the time I started hearing about her, but they were something like, "Sure, New Yorkers want to fold her laundry and kiss her toes, but fuck that worship noise." And I was so, so wrong. I'm not apologizing, folks: this woman is damn good.
Although she's only in her 30s, Aracelis Girmay has already written some of the best poetry I've ever read. There are lines she's crafted that have absolutely changed the way I think about what's possible in language, and the way I move through the world. In an earlier post, I mentioned that I love watching writers in this age range experiment, but I also love when poets have found their own specific voices. I feel, strongly, that Girmay is in the latter category. This isn't to say that she doesn't experiment, but that her understanding of linguistics is exceptional. My first thought, on reading the poems she sent me, was something like, "What. The fuck. She's invented her own dialect."
I had a hell of a time picking just one poem for this spotlight, because Girmay brings a different kind of light to each poem. If you don't know her work yet, know her now. Buy her books. Offer her peaches and dahlias. This is a poet who is growing the art as we speak.
[To all you lovely readers: I'll have an afterword/summation finished in a day or so.]
sea near lampedusa
for the eyes we closed
& the freedom we wasted
for the terrors our acts lit
into the wet retina of
your memory, if you should
call it that
for the years you behaved
in a distance that was not
quite distance, as we burned
our fires, each other, & you, finally,
handless, please—the silence
is what we feed, is what burns
in the bright absence of The Living
they were, swollen in flowered
shirts, & parkas,
in boots meant for the earth,
but not for you
Aracelis Girmay is the author of the poetry collections Teeth and Kingdom Animalia. Teeth was awarded the GLCA New Writers Award and Kingdom Animalia won the Isabella Gardner Poetry Award and was a finalist for the National Book Critics Circle Award. Girmay is also the author of the collage-based picture book changing, changing--which draws its momentum from Ovid's The Metamorphoses which begins (as translated by Ted Hughes): "Now I am ready to tell how bodies are changed/ Into different bodies."
Girmay is the recipient of grants and fellowships from the Jerome Foundation, the National Endowment for the Arts, the Cave Canem Foundation, and the Civitella Ranieri Foundation, and she is on the faculty of Hampshire College's School for Interdisciplinary Arts.
When I lived in Chicago, I developed an appreciation for excellent storytelling. There are a number of storytelling shows and open mics in that town, and plenty of amazing storytellers. Sharing a good story well is one of the most important ways we have to connect with each other.
Marcus Jackson knows how to tell a story well. He understands the essentials of narrative, choosing and expressing the appropriate details to give a story body without slowing it down. I think this poem in particular is a fantastic example of that strength in his work: if you look at Jackson's line breaks throughout the poem, many of them can be read as phrases unto themselves. Although his speaker's overriding tone is matter-of-fact, the breaks create a kind of quiet undertone that deepens the complexity of the story. Jackson's work is subtle, intelligent, and beautifully constructed. Please enjoy.
Fighting with Mama, Dad shattered
a lamp, slammed the door, and headed
to the Ottawa Tavern. Mama took you
from your rickety crib, and we both sat
on her lap, as she smoked and hummed
in the unlit kitchen. Her Merit burned
on the glass ashtray, while Dad arrived at the pub
where the barmaid knew what he needed
before he spoke. What was Mama thinking,
her biceps bruised, her thin hair held back
by a doubled-up rubber band? Is there
a sure way to love a man the world won’t
quit dealing trouble to? Why is the future
a fog-faced thing, whose teeth we can’t see
before being bitten? That night, Mama simply
kept on humming—some song now lost
in the long line of exhausted songs--
and she swayed, until sleep’s clean sheet
wrapped the brains of her babies.
Marcus Jackson was born in Toledo, Ohio. He earned a BA from the University of Toledo and continued his poetry studies at NYU and as a Cave Canem fellow. His poems have appeared in such publications as The New Yorker, Harvard Review, and The Cincinnati Review. He lives with his wife and son in Nashville.
I love writing that infuses me with wonder. Fresh images, yes, startling metaphors, but please, language that moves in a brand new way. I want to wonder at the word and the world: I want “miracles [that] are treated as ordinary fact.”
Christina Olivares writes wonderful poems. They're luminous. They're odd, but still graceful. Most of her signature work is characterized by careful structural fragmentation, with phrases and words floating in space. Although the poem posted here isn't written in that style, every phrase of this poem still feels singular, isolated in its own way even while it continues the narrative. I haven't totally figured out how Olivares does this, which is partly why her work is so marvelous, and why I want to read it again and again.
The poem below was previously published in Tidal Basin Review, Spring 2012.
I. Sea Wall
The sea wall is the dividing line between Cuba and what is not Cuba. We gather, from all over the city, curl up on the wide ledge. Every night. Tonight the moon is full of sun and rising into the dark sky. My hands are full of sugared papitas. Closing in on the edge of shore, a boat whistles close. The guards stand on guard, peer over. A girl who likes girls slips her tongue against my earlobe while I dream about my lover. She reminds me of rain—husky vivid wind. But the night is so clear that instead of strings of sweet popcorn or kisses I put my hands out and gather the stars. I hear them, glass dreams beating on an old wind. It reminds me of something outside of my mind’s reach. The sea is a body that holds all of us. Hidden in her mouths, a wild singing.
II. Tin wall
They warn me he’ll throw bottles, cut me with a machete. Say he’s mal de nervios, fundido, loco. Ways of saying crazy. The colonial mansion he lives in has two bright holes the size of elephants, one a missing door, one a missing window. Each has propped against it a large rusted sheet of tin, stolen from some abandoned construction site, a signal of protection, but air and light and thieves slip in anyway. The neighbors say that he sold the iron on the indows, sold the doors, sold the glass, sold the appliances, sold the flooring my great grandfather had so diligently laid, sold the light fixtures, even sold the bathtubs.
Later, he whispers to me, the communists said once, we can heal you if you work for us. You are going crazy because you have not submitted to the triumph of the revolution. There is one working door: hinge, padlock, knob: I know how these things go: you may not enter around the tin sheath. What pretends to be a wall must actually be treated like a wall, so I knock on the door. He answers, he’s been spying from the inside since he heard me talk to the neighbor. I show him pictures of the family through a slat in the door. He is my grandfather’s brother, he recognizes the faces in the pictures. He folds them carefully, like identification papers, inside a worn plastic bag that doubles as his wallet. I enter. The house is empty except for what’s decayed and what’s growing. He stacks empty plastic bottles by the door. He hides his machete inside the stove with no mouth. He writes a letter to my father that ends with, olvidate todo. He folds it carefully and slips it between my fingers, like this.
His mind is a dismantled house. Before, he was a nuclear physicist. People have theories. When he smiles, all his teeth are missing. My touch goes through his eyes, threads along the rapid pulse of him.
Mess of flies and stink of offering in the cramped backyard, animals for sacrifice in cages. In the babalawos’ room, blue-blessed walls, sharp hunger of meat frying, beads and knives and bones and feathers and books. There are eight of us. A corner is stained in a long thin red streak, floor to ceiling.
There is a baby girl, scrubbed clean, her head is too heavy for her neck, she is Sunday-polite in her lace jumper, her lace booties, her hair taut and oiled into three even braids. She is sick, so sick that when people pass they become quiet, so sick the jumpy stray wanders inside to lay beneath the chair where her grandmother sits. Her grandmother lifts my hand to join with hers and the little one, and we rock her together and wait in the heat as if for execution.
The next day, after ceremony, she is healed, there is no trace, there was no medicine, it would have been a miracle, but miracles are treated as ordinary fact in this house. At some point they mashed coconut and put it against our heads. And we stood in circles of sunlight, quietly. Somebody wept and it pulled strings in our bodies like an old quiet thing. Hidden in our mouths, a wild singing, like this.
Christina Olivares is a poet and educator living in New York City. She earned an MFA from Brooklyn College in Poetry and a BA from Amherst College in Interdisciplinary Studies (Education). She is the recipient of a 2012 Vermont Studio Center Artists Grant, a 2010 Jerome Foundation Travel and Study Grant for Emerging Writers to Cuba, and 2008-2009 Teachers and Writers Collaborative Fellowship. She is a 2012 Best of the Net and a 2008 Pushcart Prize nominee. Her poems are published in Vinyl Poetry, PALABRA, Tidal Basin Review, The Acentos Literary Review, No, Dear, and The Brooklyn Review.
People are sometimes surprised to discover what awkward conversationalists poets can be. We blunder, we stumble, and time and again, we say the wrong thing. As with anyone, the language of poets is often ragged, filled with false starts and second thoughts. For some, writing pleases us because it's a chance for us to finally get the words right.
Sometimes the writing I love best is that which is self-consciously sculpted, that speaks from the pedestal of Art. Nicole Sealey's work always gives me that impression. One of the defining features of Sealey's style is her poise: deliberate diction, and a cool, powerful tone. Whatever their origins, Sealey's speakers tend to know exactly who they are and what they want, and they're not afraid to say so. They give the impression of being self-made, with intention - and they have no fear of heights. Sealey's poems give us something to reach for and look up to, and that's one of the reasons this poet is such a star.
The poem below was previously published in Jewish Currents’ chapbook, “The American Dream;” Summer 2013.
If you shoot an arrow and it goes real high, hooray for you.
- Dorian Corey
If Grable’s legs were billed at one million,
I can’t see mine selling for less than two.
If an unknown Norma Jean Mortenson
can become Ms. Marilyn Monroe, who
says a boy from Buffalo can’t flower
into a her from Harlem? Hepburn did
drag. Dietrich, too. But as you get older,
you aim a little lower—delighted
if a few are familiar with the myth
of you. I know many a handsome broad
in this godforsaken city fine with
just waking in the morning to applaud
What they lack in legend
they remedy with wigs and a weekend.
*Dorian Corey was a performer featured in Paris Is Burning, a documentary about drag balls in 1980s Harlem.
Born in St. Thomas, U.S.V.I. and raised in Central Florida, Nicole Sealey is a Cave Canem graduate fellow whose work was selected for inclusion in Best New Poets 2011. Winner of the 2012 Poetry International Prize and finalist for the 2011 Third Coast Poetry Prize, her poems have appeared in Callaloo, Harvard Review, Ploughshares, and Third Coast, among other literary online and print journals. She is currently an MFA candidate in poetry at New York University.