The Same Events

April 22, 2013April 11, 2022 ~ oxfordbrookesuni

My headscarf has flowered in corners of the sky
I divine the future through clouds
I decipher folds in the moon’s face
time and again
she has lent her heart to a meteor shower

I rust behind the window
I paint
the last leaves of the plane tree
on a winter garden

My ice melts
down the drainpipe, filled with the sound of snow
I shriek from the rooftop

Between my eyebrows, a birthmark,
from which divination of full moons
predict the same events
that I decipher
I have not been enamoured of winter after winter
reading the newspaper behind the window
not
afternoons
it warms in my teacup or otherwise
with ice
I divine the future through clouds.

by Farzaneh Ghavami

The poet Patience Agbabi, a Poetry Centre Creative Writing Fellow, will be giving a free reading at Pembroke College in Oxford on Friday 3 May at 7.30pm. This will be a preview of her forthcoming versions of The Canterbury Tales which are being published by Canongate in April 2014. All are welcome. More details can be obtained from the Poetry Centre’s Facebook page.

‘The Same Events’ by Farzaneh Ghavami, translated by John Kinsella and Ali Alizadeh, is copyright © Farzaneh Ghavami, 2012. It is reprinted by permission of Arc Publications from Six Vowels and Twenty-three Consonants: An Anthology of Persian Poetry from Rudaki to Langroodi , selected and edited by John Kinsella and Ali Alizadeh (Arc Publications 2012).

Notes from Arc Publications:

Farzaneh Ghavami was born in Tehran in 1968. She has several poetry collections published.

Six Vowels and Twenty-three Consonants is a groundbreaking new collection of poems presenting the wealth of poetic voices from one of the world’s most important literary cultures. The book covers poetry from the early Middle Ages to the Modernists and Postmodernists of the 20th and 21st centuries. You can read more poems from the book at Arc’s site here.

Since it was founded in 1969, Arc Publications has adhered to its fundamental principles – to introduce the best of new talent to a UK readership, including voices from overseas that would otherwise remain unheard in this country, and to remain at the cutting edge of contemporary poetry. Arc also has a music imprint, Arc Music, for the publication of books about music and musicians. As well as its page on Facebook, you can find Arc on Twitter; search for @Arc_Poetry. Visit Arc’s website to join the publisher’s mailing list, and to find full details of all publications and writers. Arc offers a 10% discount on all books purchased from the website (except Collectors’ Corner titles). Postage and packing is free within the UK.

Copyright information: please note that the copyrights of all the poems displayed on the website and sent out on the mailing list are held by the respective authors, translators or estates, and no work should be reproduced without first gaining permission from the individual publishers.

Lord Forgive Me

April 15, 2013April 11, 2022 ~ oxfordbrookesuni

Kyrie eleison! I said it in the pub.
I said it to my bitter then I said
it to my heart, with nothing not to dread:
my sins were great: I drank there with my love.

Kyrie iesu christe, God above
and me below, drinking at the Hog’s Head.
‘So. Will you love me better when I’m dead?’
He knew it was a joke, but didn’t laugh

just turned away to look at the TV.
(Arsenal was playing Everton.)
Another man was fixed upon the game

and held his hands together on his knee
and chanted and rebuked. But not my man,
who recognizes neither loss nor blame.

by Kathryn Maris

Notes from Seren:

Kathryn Maris is from New York City and has published poems in The Spectator, Poetry Review, The Harvard Review, Modern Poetry in Translation, Poetry, and Slate as well as several anthologies. Among her awards are an Academy of American Poets Prize, a Pushcart Prize, and fellowships from the Fine Arts Work Center in Provincetown, Yaddo, and Hawthornden Castle. She lives in London, where she teaches creative writing and writes essays and reviews.

Kathryn Maris’s first book, The Book of Jobs, appeared in the USA in 2006. Her second collection, God Loves You, is published by Seren this month. In it, she borrows rhythms, vocabulary and themes from the Bible. The result is more than artful parody, although a sly wit is in evidence. It is an approach that accommodates large themes, unravelling them in new ways. Commenting upon her work, Carol Rumens has written that ‘[t]here’s a delicious sense of both open-mindedness and devilry […]. Her company is quirky, stimulating and sparklingly intelligent. You could say she’s like Sylvia Plath with added chutzpah. But, really, Kathryn Maris is like no-one but herself.’ You can read more about Kathryn Maris’s new book at Seren’s site here, read a 2007 interview with Maris here, and follow her on Twitter here.

Seren Books (‘Seren’ means ‘star’ in Welsh) is based in Bridgend, South Wales. Originally conceived by Cary Archard and Dannie Abse as an offshoot of Poetry Wales magazine in the latter’s garage in Ogmore-by-Sea in the early 80s, under Managing Editor Mick Felton the press has gone from strength to strength and has published a wide range of titles including fiction (which under Editor Penny Thomas has seen the Booker-nominated novel by Patrick McGuinness, The Last Hundred Days, and an acclaimed novella series based on the medieval Welsh tales from the Mabinogion) and non-fiction (including literary criticism such as the new John Redmond title Poetry and Privacy, as well as sumptuous art books like the collaboration between photographer David Hurn and poet John Fuller, Writing the Picture). Seren’s poetry list, edited by Amy Wack since the early 90s, has produced T.S. Eliot Prize-nominated titles by Deryn Rees-Jones and Pascale Petit, Costa winner John Haynes, and a large list of Forward Prize winners and nominees, as well as continuing to publishing classic Welsh writers. Most recently, Seren has also added Irish and American writers to its list.

For more details about Seren, visit the publisher’s website, where there is a blog about Seren’s news and events. You can also find Seren on Facebook, on Twitter, and on YouTube, where there are videos of a number of poets reading from their work.

Petrol (section 3)

April 8, 2013April 11, 2022 ~ oxfordbrookesuni

Bloody Marys, Jaysus! Granddad was disgusted beside the range, Lucky standing on his lap, wet nose pointing high in the air when Agnes ran in from the bar, her brown velour arm wrapped around the plastic ball of the Coca-Cola ice bucket. It’s far from ice they were reared! Granddad said but Justin always made Bloody Marys for his favourites, slim dark women who wore their clothes like Jackie Kennedy. It was a big operation with all the stuff and the Tabasco sauce stirred with a long clanking spoon. Granddad ground his teeth as Agnes tore the tray from the side of the yellow-iced freezer, staggering on her high brown clogs in her modest A-line corduroy skirt. I, too, was thinking she was too good for this work. They don’t know what they want, Granddad said. Ice one minute, hot whiskeys the next. Those bloody women. The Bloody Mary drinkers. And his last comment when the ice cubes tumbled into the Coca-Cola bucket, every single woman that Justin ever took on suffered from her nerves.

by Martina Evans

An announcement of one Poetry Centre podcast and two readings! This week’s poet, Martina Evans, will be reading from her new collection, Petrol, with the Dutch poet Nachoem Wijnberg & his translator, David Colmer, this Friday 12 April. Nachoem and David will be reading from their latest collection Advance Payment (a Poetry Book Society Translation Choice for Spring 2013). The reading will take place on Friday from 6.30-8.30pm at the Duke of Wellington pub in London. A flyer for the event is available on the Poetry Centre’s Facebook page.

The latest Poetry Centre podcast, featuring Oxford poet Alan Buckley, is now available. Alan discusses his poem ‘Voicemail’ and considers the nature of poetic influence, the roles that breath and the body play in the creation of poetry, and the responsibilities which a poet has towards the subject of an elegy. Alan will also be reading this week in Oxford alongside last week’s poet, Claire Trévien, and Amy Key. That reading is on Thursday at the Albion Beatnik Bookshop on Thursday at 7.30pm. There are more details on our Facebook page and on Claire’s own website here.

Notes from Anvil Press:

Petrol is a prose poem disguised as a novella of adolescence in Co. Cork, Ireland. With its dizzy pace and perfect narrative timing it is a unique work and a remarkable departure for a writer whose poetry is widely appreciated for its humour and uncompromising depiction of rural Ireland. Writing about Martina Evans’s work, Christopher Reid has observed that ‘she shows an impressive command of what feels like the ideal narrative medium: individual moments and drive of narrative in perfect coordination, language alive and kicking.’

Martina Evans has published four collections of poetry and three novels. She was born in Cork, the youngest of ten children, and now lives in London.

Anvil Press, founded in 1968, is based in Greenwich, south-east London, in a building off Royal Hill that has been used at various points in its 150-year history as a dance-hall and a printing works. Anvil grew out of a poetry magazine which Peter Jay ran as a student in Oxford and retains its small company ethos.

Wipe the blade clean on the grass

April 1, 2013April 11, 2022 ~ oxfordbrookesuni

For Angela Carter

At night, the Korrigan’s silkworm
hair lit up the dandelion seeds,
he made stars retract their claws.
By day, his hair was brittle white,
his eyes two eggs of dried-out blood.

Wipe the blade clean on the grass,
the hair, the eyes, must all come off.

At night, he buried his treasure under
the heaving stomach of the dolmen:
love that shined like a trout’s back.
By day, the gold transformed to dust,
and cork, and skins of spiders.

Wipe the blade clean on the grass,
the heart, the lungs, must be cut off.

At night, his voice was smooth as yolk,
he sang of the moon, but not of God,
he scaled, he furred across the range.
By day, his voice muttered and squeaked,
A mousey phlegm played hide and seek.

Wipe the blade clean on the grass,
the songs, the sounds, must be plucked off.

by Claire Trévien

Happy Easter to all our readers! This week’s poet, Claire Trévien, will be launching her new collection, The Shipwrecked House, on Thursday 11 April with a reading at 7.30pm at the Albion Beatnik Bookshop in Oxford. The evening will also feature readings by fellow poets Alan Buckley and Amy Key. There are more details on our Facebook page and on Claire’s own website here.

Notes from Penned in the Margins:

Claire Trévien was born in 1985 in Brittany. She is a poet, critic, and literary translator. Her writing has been published in a wide variety of literary magazines including Under The Radar, Poetry Salzburg Review, Ink Sweat & Tears, The Warwick Review, Nth Position, and Fuselit. She has published an e-chapbook of poetry with Silkworms Ink, Patterns of Decay, and a pamphlet, Low-Tide Lottery with Salt Publishing. She is the editor of Sabotage Reviews and Noises Off. The Shipwrecked House is her first book, and was published this month. You can read more about it at the Penned in the Margins site here, and follow Claire Trévien’s work on her blog here and on Twitter here.

Penned in the Margins is an independent publisher and live literature producer specialising in poetry and based in East London. Founded in 2004, the company has produced numerous literature and performance events, toured several successful live literature shows, published over twenty-five books, and continues to run innovative poetry, arts and performance projects in the capital and beyond. Their recent anthology, Adventures in Form, was awarded a Special Commendation by the Poetry Book Society and was chosen as one of 50 Best Summer Reads by The Independent. You can visit the Penned in the Margins website here to sign up to the mailing list, and follow the publisher on Facebook and Twitter.

Trees in winter

March 25, 2013April 11, 2022 ~ oxfordbrookesuni

Trees —
they know the recess
of winter, how
to retreat,
continue bereft of leaves,
without grief,
as though practising
the acts of dying;
branches
braced
motionless,
seemingly supported
by freezing air,
frame the view
to the city;
fine adventitious roots,
like the repressed,
multiply,
stretching way out beyond
the drip-line;
taproots strike
veridical
into the hiemal earth,
that deep
blue lake;
not yet the cessation
of things.

by Sharon Morris

Notes from Enitharmon:

Sharon Morris was born in west Wales and studied at the Slade School of Fine Art, where she is currently a senior lecturer. She has exhibited photography, film and video, and performed live artworks bringing together spoken text and projected images. Having completed a PhD in 2000 on the relation between words and images, referring to writer H.D. and artist Claude Cahun, she continues to write on semiotics, visual theory and poetics, for which she received a Leverhulme research fellowship in 2003. Her poems have appeared in several journals and anthologies, including Tying the Song (Enitharmon, 2000), the first anthology from The Poetry School, and In the Company of Poets (Hearing Eye, 2003). John Haynes has described the poems in Gospel Oak, Sharon Morris’s new collection, as ‘lithe, fluent poems which typically begin here and now and end beyond it, whose delicate descriptions of nature often evoke a history as it were “under the ground”.’

You can read more about Gospel Oak at this page on Enitharmon’s website and from this interview with Sharon Morris in the Camden Review. Sharon Morris will be reading from her collection this Saturday March 30 from 7.30-9.30pm at The Shuffle at The Poetry Café, Betterton Street, Covent Garden, London, WC1. More details can be found on The Shuffle’s Facebook page.

Enitharmon Press takes its name from a William Blake character who represents spiritual beauty and poetic inspiration. Founded in 1967 with an emphasis on independence and quality, Enitharmon has been associated with such figures as Samuel Beckett, Harold Pinter and Kathleen Raine. Enitharmon also commissions internationally renowned collaborations between artists, including Gilbert & George, and poets, including Seamus Heaney, under the Enitharmon Editions imprint. You can sign up to the publisher’s mailing list here to receive a newsletter with special offers, details of readings & events and new titles and Enitharmon’s Poem of the Month.

Life After Wartime

March 18, 2013April 11, 2022 ~ oxfordbrookesuni

Some things never change.
The garden bushes wag their beards
like arguing theologians while the orange fists
of passion fruit take cover in the leaves.
The sky aches with unmapped distances
and the sun hides nothing.
At dusk, it surrenders to the moon.

When there’s small-hours muttering in the street
remember it’s only someone deciding to go home or go on,
pushing the night for the last of the great good times
and into a shell-shocked morning after.

At least there’s coffee again.
It takes our minds off the radio,
the smooth-voiced reassurances,
the metaphors encrusted like barnacles
on every announcement, your almost
imperceptible jump at the sound
of a pamphlet shoved through the door.

Things never change.
People wear their silence like a caul.
To bring them luck against drowning.
They were parents. Or siblings. Or both.
They are the ones that nothing surprises,
the ones who no longer look up
when a jet comes roaring in above the city,
framed against the orange sky,
picking its way among the towers.

by Tom Phillips

This week’s poem from Tom Phillips and last week’s from Kate Behrens both come from Two Rivers Press, and are scheduled to coincide with an exciting reading by these two poets and the Press’s editor, Peter Robinson, tomorrow (Tuesday 19 March) at Oxford Brookes. You can read a sample of Peter Robinson’s work here. The reading will take place at 6pm in Headington Hill Hall, and all are welcome. There is no charge, and refreshments will be provided! For more details, visit this page.

Notes from Two Rivers Press:

Tom Phillips‘s first full-length collection navigates terrains which range from Eastern Europe, Australia, and the Home Counties to his own back garden in Bristol. From the different perspectives these vantage points offer, it unearths connections between chance meetings and ‘big history’, family stories and the state we’re in. It also looks at poetry itself as a ground on which to recreate – and negotiate with – one thing that nobody can change: the past. Read more about the collection at Two Rivers’s site here.

Tom Phillips is a writer based in Bristol, and the author of two pamphlets of poetry: ‘Burning Omaha’ and ‘Reversing into the Cold War’, and the full-length collection Recreation Ground. His plays include ‘Man Diving’, ‘Hotel Illyria’, ‘Arbeit Macht Frei’ and the solo show ‘I Went To Albania’. Tom is also currently studying for a PhD in creative writing at Reading University.

Two Rivers Press was founded in Reading in 1994 by Peter Hay (1951–2003), an artist and enthusiast for the town and its two rivers, the Kennet and the Thames. In nearly two decades of publishing and with over seventy titles since its inception, it has been described as ‘one of the most characterful small presses in the country’. It focuses on local poets and a significant part of its work explores and celebrates local history and environment. Bold illustration and striking design are important elements of its work, used to great effect in new editions of classic poems, especially ones with some Reading connection: for example, Oscar Wilde’s The Ballad of Reading Gaol, and in collections of contemporary poetry from local poets such as Reading Poetry: an anthology edited by Peter Robinson. It has recently published A Mutual Friend: Poems for Charles Dickens, an anthology with a very distinguished list of contributors, also edited by Peter Robinson. The Press is strongly rooted in the local community and has close links with the University, Poets’ Café, RISC, Museum of English Rural Life and other local groups. Its contribution to Reading’s culture won for it a Pride of Reading award in 2008. You can find more information at the press’s website, and on its Facebook page.

France

March 14, 2013April 11, 2022 ~ oxfordbrookesuni

Whatever they had been told was lies: there was no kind of
deal awaiting them, no siren call. The armistice was signed
but the war had been lost years before and nobody had told
them. Indigo night interrupted by orange explosions on the
horizon, great sweeping clouds of dust making everything
invisible for hours on end, the spotlights bearing down on
them the length of the assault line. We will never know defeat,
they repeated; the words of their leader an idiot’s mantra in
their throats. They spent the whole day waiting for news:
when should they expect the enemy? In the evening, a small
group sat by the linden tree and passed a bottle around. The
dusk obliterated memory. One of the men dreamed of France,
a country he had never been to. People’s lives there are
almost perfect. Something small and forgotten in his soul told
him France was a better place in which to die; that there,
eternity has brushed its sleeve against the land.

by Richard Gwyn

‘France’ is taken from Sad Giraffe Café by Richard Gwyn, and published by Arc Publications.

Notes courtesy of Arc:

Richard Gwyn grew up in Crickhowell, South Wales. He studied social anthropology at the LSE and worked in factories and as a milkman, before leaving London to spend ten years in aimless travel, settling for periods in Greece and Spain. He returned to the UK in the 1990s and took a PhD in Linguistics at Cardiff University, where he now directs the MA in Creative Writing. He is the author of five collections of poetry and two novels, The Colour of a Dog Running Away and Deep Hanging Out. In addition, he has written many articles and essays and reviews new fiction for The Independent. He has translated poetry from Spanish and Catalan, and his own poetry and fiction have appeared in several languages. You can find out more about Richard Gwyn at his website here.

Sad Giraffe Café, from which ‘France’ is taken, is a collection of prose poems which together form a shifting, progressive narrative. There are three recurring themes: an imaginary and sinister kingdom, a young wanderer named Alice, and a shape-shifting, time-travelling, first-person narrator. The poems seem to be devoid of past or future, existing in an unstable, and at times apocalyptic present. They are peopled by strangers and lodged in an ‘elsewhere’ which is also somehow familiar. They have the feel of dreams masquerading as real events, or else of real events masquerading as dreams. You can find out more about Sad Giraffe Café and read other poems from the book here.

Since it was founded in 1969, Arc has adhered to its fundamental principles – to introduce the best of new talent to a UK readership, including voices from overseas that would otherwise remain unheard in this country, and to remain at the cutting edge of contemporary poetry. Arc also has a music imprint, Arc Music, for the publication of books about music and musicians. Find out more about Arc by visiting the publisher’s website, where there are discounts available on Arc books.

Disguised as the Air

March 11, 2013April 12, 2022 ~ oxfordbrookesuni

Between the chair and table
a musculature
of negative shapes.
The apple-tree thrives
on the ashes of others.
All that I give you
leaves me richer.
Only as corpses
are we entire.
If I hold back my knowing
you might find your own.
You can steal my car
but not my dance-floor.
The hole in the stone
makes for a wish.
The oyster tastes only of sea.
Thanks to what binds me
I am free for a moment.
The lopped-off branches
speed up the greening.
The sun in the monastery
slants through a void.
Love lies hidden
in what is missing.
This bird invents
from a handful of notes.

by Kate Behrens

This week’s poem from Kate Behrens and next week’s from Tom Phillips both come from Two Rivers Press, and are scheduled to coincide with an exciting reading by these two poets and the Press’s editor, Peter Robinson, on Tuesday 19 March at Oxford Brookes. The reading will take place at 6pm in Headington Hill Hall, and all are welcome. There is no charge, and refreshments will be provided! For more details, reply to this message or visit this page.

Notes from Two Rivers Press:

In The Beholder, Kate Behrens’ first collection, those fleeting moments between people, or between individuals and nature are distilled without judgement or resolution. A deer trapped in a garden makes a dangerous leap for freedom. Someone hangs onto a sense of beauty in the face of a life that is ugly and collapsing or confuses a landscape with long ago childhood play. Things are revealed obliquely, as if by homing in on a subject, its true meaning would evaporate. Nature confronts the poet with its deliberation, pointing up the mysterious gulfs between it and us from a solitude that infuses so many of these poems. The physical setting is often a Europe that feels unfamiliar — flats in cities, the burning horizon seen from a train, or the view from a window seen through the eyes of two traumatised people. But there is celebration here too, as in the ways children can heal, inspire, and teach us how to live, and in nature’s capacity to nourish. For more details about the collection, visit Two Rivers Press’s page here.

Kate Behrens was born in 1959, one of twin daughters to two painters. A runner-up in the 2010 Mslexia poetry competition, who reads regularly at the Poets Café in Reading, she lives in Oxfordshire, and has one daughter.

Osteopath

March 4, 2013April 11, 2022 ~ oxfordbrookesuni

My back’s a lump of clay, becomes a spine
Beneath your fingers, little hard-nosed creatures
That sniff out tangled nerves and sidelong pain
Autonomously probing with a blind man’s
Feel for the beauty of a groove or contour,
Reminding me that I am skeleton.

Now on my back I see the skylight frame
A chasm of unboundedness, space blue.
A half-moon lit up like an x-ray
Tugs at my gravity. You’re earthing me
With pressure: you rotate, push and pull,
Make new the muscles, tendons, of my body,
Create the definition that I lacked
So I may rise like Adam, ribs intact.

by James Harpur

Notes from Anvil Press:

James Harpur‘s fifth collection, a Poetry Book Society Recommendation, journeys into realms seen and unseen, ranging from the landscapes of Ireland to the visionary realms of the mystics. Through the finely textured music of his poems, he explores emotional and spiritual intimacies while keeping a sharp observant eye on the everyday world. Angels and Harvesters displays both human tenderness and an otherworldly wonder, as Harpur continues his quest to reconcile the complexities of the human condition with a deep-seated spiritual longing.

James Harpur has published four previous books of poetry and a translation of Boethius’s poems entitled Fortune’s Prisoner. He is poetry editor of the Temenos Academy Review and has won a number of prizes and awards, including the 2009 Michael Hartnett Award and the 1995 British National Poetry Competition. He has held residencies at the Princess Grace Irish Library, Monaco, the Munster Literature Centre and Exeter Cathedral. He lives in Co. Cork.

The Prince of Rivers

February 25, 2013April 11, 2022 ~ oxfordbrookesuni

In the land of rivers I was the prince of rivers.
In the land of houses I lived in a thousand houses.
In the land of scattered bones my bones were scattered

by worshipful princes who carried each one like a scepter.
I was there and a breeze eddied around me.
In the land of questions I was the subject of questions.

I’m sorry what was lost was found utterly changed.
I could see through the sky and bring down the lonely stars.
When I was happy, lambs were born. They stood up

enacting their first dance of balance. In the land of frost
I was never cold. A warm breeze eddied around me.
When I thundered the sky tore like paper. Beyond the sky

the sky tore and rain fell into the moon’s dark holes.
In the land of eagles I received messages from eagles.
I’m sorry the moon is a fake gray plate. I’m sorry the day

is so dark. In the land of the future I saw men of stone.
When I was sad all the seas swelled. The islands
were swallowed and forgotten; books were drenched and forgotten.

When I was old my hair was as long as my story.
I’m sorry the branch bearing fruit is so high.
When I was young trees arched toward me like I was the sun.

I’m sorry the dead are quiet as ash. I’m sorry what’s left is so cold.
I knew I could escape through a hole in the sky. Wherever
I wept thick stalks grew. I knew I could weep for a long time to come.

by Craig Morgan Teicher

Notes from BOA Editions:

Inspired by Robert Lowell’s Life Studies, Craig Morgan Teicher’s To Keep Love Blurry is an exploration of the charged and troubled spaces between intimately connected people: husbands and wives, parents and children, writers and readers. These poems include sonnets, villanelles, and long poems, as well as two poetic prose pieces, all meditating on the relationship between truth and art. As a son becomes a husband and then a father, Teicher expertly probes a life recast as poetry, with poems that long to leap into the lives of their subjects.

Craig Morgan Teicher is a poet, critic, freelance writer, and poetry editor and director of digital operations at Publishers Weekly. His first book of poems, Brenda Is In The Room And Other Poems, was chosen by Paul Hoover as winner of the 2007 Colorado Prize for Poetry and was published by the Center for Literary Publishing. Cradle Book (BOA, 2010) was his first collection of short stories and fables. You can read another selection from Teicher’s latest collection of poetry, To Keep Love Blurry, at BOA’s website here, learn more about Teicher from his website, follow him on Twitter and Facebook, and watch him read from his work in these YouTube videos.

BOA Editions, Ltd., a not-for-profit publisher of poetry and other literary works, fosters readership and appreciation of contemporary literature. By identifying, cultivating, and publishing both new and established poets and selecting authors of unique literary talent, BOA brings high quality literature to the public. Support for this effort comes from the sale of its publications, grant funding, and private donations. In 2011, BOA celebrated its thirty-fifth anniversary. To find out more about BOA Editions, click here. You can also sign up for the publisher’s newsletter here, find and like BOA on Facebook, and follow the publisher on Twitter by searching for @boaeditions.