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 ×× SurvivalEye ×× Coming Soon


I Know Not What I See

I Know Not What I See
An Ekphrastic Collection of Haiku & Tanka

By Alessandra C. Park

Alessandra Park draws water from two deep wells: lyricism and meditation. Like the brevity practiced in ancient Japanese forms, these poems ask us to see, and by seeing, understand ourselves as transient and dependent beings. What more could a poet offer than to reveal what is ‘bright green but only in death’?
—Katie Ford, author of If You Have to Go

Alessandra C. Park is many things, and most of all, she is an original. Each time I read her work, I am struck by its hard truths, wisdom, and exquisite beauty. Now, with this book, her multi-layered lessons can be savored time and again.
—Bonnie Hearn Hill, author of The River Below

I Know Not What I See, is a thought-provoking collection of much more than personal insights as it reflects slices of life in an unveiled delivery of words. Alessandra C. Park has captured random moments in a day, in our environment, and in our own minds. A unique and inspiring collection for most anyone to curl up to!
—Sonia Barrett, author of The Holographic Canvas, Film Producer/Radio Host

In her debut collection, Park pays both attention and homage to the decayed and broken things that go unnoticed and unloved by the world. The detritus she writes about often intersect with nature, proving that “to get away from nature is a fantasy,” and that existence is “a song of hope in loss, nature’s constancy.” At times, musings like these lead Park to discoveries of unexpected beauty; in other moments, she finds questions that may seem too uncomfortable to examine yet speak to the unending ache of being alive. In I Know Not What I See, which joins haiku and tanka with photography, we would do well to follow wherever her eye takes us.
—Lloyd David Aquino, author of Once It’s Over

Alessandra C Park’s haiku “coexist” captures the spirit of I Know Not What I See: “indoors or outdoors, / to get away from nature / is a fantasy.” These haiku and tanka capture those moments between the big moments that constitute what our lives really are. They are snapshots that help us to understand the importance of the moment. Moreover, she immerses us in the natural world, reminding us that there truly is no place that is not a part of nature; it is just our illusions that make us think we are apart from it. Beyond everything else, the photographic journey Park takes us on helps us to see, re-see, and re-understand the world. This is an exceptional collection.
—John Brantingham, Poet Laureate of Sequoia and Kings Canyon National Park

 ×× SurvivalEye ××



By Mare Heron Hake

Mare Heron Hake is a poet, editor, and literary magazine owner of the south Salish Sea region in Washington State. She is also a mother with continuing care-giving responsibilities. Mare didn't get a chance to attend college until she was in her forties. She then followed scholarships to completion of her MFA from the Northwest Institute of LIterary Arts, once located on Whidbey Island, studying with David Wagoner. Because the herons of Whidbey kept her company she now keeps them close to her heart, and her name. As a reader once gladly pointed out, Mare Heron Hake speaks for others and for herself, bearing the name of a mammal, a bird, and a fish.

 ×× Let Us Now Praise Ordinary Things ××


Let Us Now Praise Ordinary Things

Let Us Now Praise Ordinary Things
By Kareem Tayyar

"Nearly everyone I know, when asked what they’ll miss when they leave this world, has a list. On mine is Kareem Tayyar’s latest collection, Let Us Now Praise Ordinary Things, which is so full of loveliness and hope and beauty it makes me wish the world and everything and everyone in it immortal. This collection – in the spirit of Pablo Neruda, Rumi, and that beloved chronicler of ordinary things, Amy Krause Rosenthal, who left this earth way too soon – celebrates everything from talking to houseplants, to singing in the shower, to late-night drive-throughs and hippies with “hearts as wide as their bell bottom jeans.” Open to any work in this wonderful collection and I promise you’ll find a golden tether to this life. Especially beautiful are Tayyar’s meditations on teaching and students, who, he writes in “On Teaching,” are “the ones who soon enough will set about beautifying the world in ways I cannot even begin to imagine.” I could not even begin to imagine a collection this full of life and joy. Praise Kareem Tayyar, who gives us his heart and voice at a time when it feels more urgent than ever.”
—Lori Jakiela, Author of “Belief Is Its Own Kind of Truth, Maybe

 ×× Once It's Over ××


Once It's Over

Once It's Over
By Lloyd David Aquino

In Once It’s Over, Lloyd David Aquino captures the always-fleeting—wish and want, starlight and chance—as we witness the tangled trajectories of Adam and Madeline’s tumultuous relationship. Their lives cross and miss, and we mine what that missing means. This wonderful debut showcases the ecstasy and ache of intimacy. Aquino measures the sudden fullness of loss, as “Fragility beckons for a mirror image.” In these poems, laughter cracks to pieces, and Aquino is prepared, as the most thoughtful poets are, to make certain those pieces do not fall away.
—Michael Torres author of An Incomplete List of Names

 ×× Building Stonehenge ××


Building Stonehenge

Building Stonehenge
By Marc Maurus
Foreword by
T. Anders Carson

Building Stonehenge, by Marc Maurus, is the result of fifteen years of discovery, growth, and wonderful change. Emerging from a self-inflicted Closed Head Injury, he immersed himself in poetry and how-to poetry books, emerging as one of Southeast Michigan’s premier poets. At one time, he was the only white member of the Detroit Black Writers Guild, in recognition of his writings from a white perspective against racism. He also co-hosted and co-produced the poetry television show The Poet and The Power with Rod Reinhart. M. L. Liebler is responsible for much encouragement, including booking him into readings at The Scarab Club and The Detroit Opera House. Marc Maurus also hosted his own poetry venue, Poetry in Motion, which ran for several years. The loss of vision in his right eye took that away, but a second opinion assured him he will keep his left, thus this book. Read it, if you dare. And. as he often puts it, aptly dating himself, be there or be square.

 ×× In the Muddle of the Night ××


In the Muddle of the Night

In the Muddle of the Night
By Betsy Mars &
Alan Walowitz

We set out to make a chapbook together because so many of our poems touch on similar themes. Some were written for the same prompts, for the same publications, at the same time. Some were written as a response to each other’s poems. For a while, we were exchanging prompts that we both would work on. Since we’re both very undisciplined, for otherwise very disciplined—and sometimes driven—sorts of people, that endeavor soon fell apart. At some point, despite any indolence, we decided to put the poems we had written together into a chapbook.

The first section of the books consists of poems that were intentionally written for or in response to the same prompts--for contests, publications, or just as another way for us to communicate with each other. We call this portion, Shared Prompts—Poems by Intention.

The second section has poems in it that we paired because they seemed to have thematic overlap. This part of the book is called Stumbling into Furniture, which is what might happen to anyone in the muddle of the night.

For those readers who don’t care how or why these were written, we’ve provided a thematic “key word or phrase” in the Table of Contents to help you find your way.

Though making this book has been easier to talk about than to do—we both have very busy lives, though you’d never know it from looking at Alan napping most afternoons, or watching the care with which Betsy collects the fur shed by her menagerie from the corners of her home—we’ve finally managed to put In the Muddle of the Night together. These poems represent Betsy, and Alan, and a long-distance sort of “us.” We’re proud of this little book.

 ×× Pimp ××



By Ranney Campbell

Nice cars, fists, zippers, and lies. Simultaneously glamorous and crude, at times, Pimp reads like an incantation and these are some of its sacred signs. If you want to understand, you’ll be forced to slow down, but before you know it, you’ll be pulled along by its frenetic pace – “i made madness i made you mad” – until you’ve stumbled into a vortex, the eye at the center of which is unmistakably woman.
—Shannon Phillips, author of Bedroom Poems and Body Parts

Ranney Campbell's poems stand out for their brutal authenticity and the risks she takes with them in a playful and dangerous kind of language sharpened with the wit of a postmodern Dorothy Parker. She captures the real areas of life in her poems, which are not for polite society that lies to itself. She is the real deal. Ranney Campbell is courageous in her honesty and has a confident and exciting voice that is wise and visionary. This collection requires several readings and I cannot recommend it enough.
—Kevin Ridgeway, author of Too Young to Know and Fossil of the New Scene

Ranney Campbell’s chapbook Pimp broadcasts out of a garage of memory where the Mercedes may or may not be parked near a jacuzzi full of sex workers. But watch out, the poet has pliers and she’s pulling out all the electrical wires. Things are about to get intense. A wonderful little book that walks multiple tightropes over desire and violence, the vibrant and the rotting, the beautiful and the stinking, blunt materialism, and the lyricism that hides in the heart of things.
—Stephanie Barbé Hammer,author of How Formal?

Ranney Campbell is from St. Louis, Missouri where she earned BS and MFA degrees from the University of Missouri at St. Louis and lives in Southern California. Her poems have been published or accepted by Misfit Magazine, Shark Reef, Silver Birch Press and The Main Street Rag.

 ×× Fossil of the New Scene ××

Fossil of the New Scene

Fossil of the New Scene
By Kevin Ridgeway

Kevin Ridgeway is a saint—but like any good saint, he is a sinner. His writing dissects the backroads and rooftops of our fallen world with infinite empathy. He regrets it all even as he revels in it.
Junkie Saints. Crushed paintings. Boarding house knife fights. The friend who disappeared into rumors Ridgeway's writing chronicles the aesthetics of forgotten places. He draws beautiful maps of hell so that you can pass through when you find yourself there.
—Scott Noon Creley, author of Digging a Hole to the Moon

I'm certain Kevin Ridgeway's got the stuff: clean straight writing. And he knows what a poem can be made of. That is, if you're looking for something with authenticity. Movement is stumbling through reality, falling on your ass. Often the speaker is just trying to find a way to go on. It's not easy (try it sometime): writing excellent strong poetry about real life and real people. Thank god he hasn't been corrupted. Ridgeway is a STRONG voice. It's rare, especially in American poetry.
—Don Winter, Poet

The semi-annual detox is in full swing, here in the flop house of the deranged and unemployable, ravaged warriors of imaginary wars, a would be pall bearer vagabond, too high on thunder and lightning to know better. drunken suicide pacts made in ant-infested bathtubs, strange rumblings of nonsense manifestos and cigarette smoke permeates the air. Drink cheap malts and pass out in ramen noodle adorned slumber to be woken by the screams of an upstairs knife fight.
—Dave Roskos, editor of Big Hammer & Street Value zines

 ×× Noir Librarian ××

Noir Librarian

Noir Librarian
By Marilyn N. Robertson

Here are deft, appealing poems with a swath of mischief, a dash of humor and ample humanity, perfect for those who still need to be convinced that 1) poetry does not have to be boring; 2) poetry does not have to be incomprehensible; 3)poetry does not have to resemble raw, unskilled spillage of emotions and happenstance. And, further, here are poems for librarians, any librarians, and for those who've ever even met, even seen a librarian. Meet—Noir Librarian.
—Suzanne Lummis author of Open Twenty-Four Hours

Marilyn N. Robertson has a poem in Speechless The Magazine, The Boston Literary Magazine, Chopin with Cherries, A Tribute in Verse, a Poem of the Month for Writers at Work, and a poem in the on-line journal, Capitol and Main. Selected for Poetry in the Windows, a grant project of the Arroyo Arts Collective, she had a poster of her poem up at a business on Figueroa. UCLA Extension featured her in a success-stories series. A poem and accompanying essay appear in the book, Master Class: The Poetry Mystique. Two of her poems appear in Wide Awake, the Poets of Los Angeles.

 ×× Leave With More Than You Came With ××

Leave With More Than You Came With

Leave With More Than You Came With
By Christian Lozada &
Steve Hendrix

Too often, class and poverty are ignored in writing about life in America and specifically in the diaspora that leads people to California. Leave With More Than You Came With is a moving odyssey of mixed-race and multi-ethnic working-class families through other displaced communities. In this collection of fine poems, we travel through the South, Hawai'I, San Francisco and end in San Pedro, "on the hill next to Bukowski." A must-read for anyone who wants to understand the longings of those who come to the Pacific West.
—Naomi Hirahara, Edgar Award-winning author of the Mas Arai mystery series and co-author of Terminal Island: The Lost Communities of Los Angeles Harbor.

Christian Lozada and Steve Hendrix aim to help you leave with more than you came with. Through the process of coming to terms with the years that must be forgotten, these poems offer geographic lessons and explain why we are all immigrants. Circling the South Bay and San Pedro and over the ocean to Maui, Lozada and Hendrix grapple with racism, dementia, and identity in order to transform worry and doubt into a book of beauty.
—Mike Sonksen, author of Letters to My City

 ×× What I Didn't Say ××

What I Didn't Say

What I Didn't Say
By James Mauch

James Mauch's work over a long career has been collected in this brilliant book. Anyone who teaches or who lives the life of the mind will be moved by the kindness at the center of What I Didn't Say. Here, Mauch gives us a view into compassionate intellectualism, a view that smart people can and should use their intelligence to find their way into emotion. It's beautiful and touching. It is the work of a true poet.
—John Brantingham, Poet Laureate of Sequoia and Kings Canyon National Park

Born and raised in Maywood, California, James Mauch earned his BA in English in Mexico City, Mexico and his MA in English at UC Berkeley. He taught English at Foothill College in Los Altos Hills, California for thirty years. During a sabbatical in 1973-1974 James lived in Fayence, France translating modern French poetry into English. Co-translator: Modern Hindi Poetry, 1963 edition. His poems have appeared in Beloit Poetry Journal, Western Humanities Review, Poetry Northwest, The Malahat Review, and others. He resides in Claremont, California.

 ×× Seven Countries ××

Seven Countries

Seven Countries


On January 27, 2017, the 45th President of the United States issued Executive Order 13769. Protests, airport chaos, and legal resistance quickly followed. The order is titled, "Protecting the Nation from Foreign Terrorist Entry into the United States," but is more commonly known as "the Muslim ban." Citizens from the following 7 countries were, in effect, barred from entering the United States: Iran, Iraq, Libya, Somalia, Sudan, Syria, and Yemen.

On February 9, 2017, a temporary restraining order against the ban was upheld by the U.S. Court of Appeals for the Ninth Circuit. On March 29, 2017, the ban's replacement, Executive Order 13780, was halted by an indefinite preliminary injunction. It has been determined that both bans violate the constitution of the United States.

The pages of this anthology contain the voices of Iranian, Iraqi, Libyan, Syrian, and Yemeni, as well as Egyptian and Moroccan, poets.

All the proceeds from this book will go to the American Civil Liberties Union.