Tag Archives: Accents Publishing

Kings of the Rock and Roll Hot Shop (Accents Publishing, 2014)

Poet Lynnell Edwards answers a few questions about Kings of the Rock and Roll Hot Shop (Accents Publishing, 2014)

Tell us the story of your Accents Publishing book.

I was teaching an ekphrastic community workshop for Louisville Literary Arts and we visited Flame Run studio where I had made a contact with the owner/artist Brook White. I wrote a short poem myself (below) during the workshop, and I was so taken by the process that I decided to ask him if I could install myself as a kind of poet-in-residence during that summer of 2010. I hoped to just watch and ask questions and write and see what happened. It was an exhilarating project that resulted in a chapbook-length manuscript which I kind of sat on for a while because I knew that my third full length book for Red Hen, Covet, was due out in the fall of 2011 and I didn’t want to crowd that publication release. There were a few of the poems published, so I had the sense that it was good work that would appeal to a wider audience even though the subject was a little bit technical and obscure (which is why there are some end notes explaining vocabulary). In fall 2013, I began the conversation with Accents about this manuscript and was delighted they were interested in the project! We had a really fun launch for the book at Flame Run after its release in June 2014 and the book got some nice coverage in the Courier-Journal.

 

Do you still like it? Why or why not?

I loooove this book. I love chapbooks generally, but I am really happy with the way I experimented in the book (there are a couple of shaped poems) and the liberating effect of having all kinds of new vocabulary from glass blowing at my disposal.

 

What is the highest praise you’ve received for it?

People have enjoyed this book and informally told me how intriguing and energy-filled it is. But perhaps the highest praise has come from Brook’s own endorsement of it and his sharing of the book among his friends, family, and the shop.

 

What didn’t make it in the book?

I think there were probably a couple of poems that I started but never really finished and I honestly can’t remember what they were. But there was one longer piece that I really worked on and wanted to make fit but didn’t which was about another glass blowing team that came in after hours to work – Brooke had invited them to use his studio. It was fascinating to watch them – in part because there was a whole different vibe – but strangely, I couldn’t make the poem quite cohere and it seemed out of step with the other poems. At that point, then, I realized that the poems I had been writing and the book they would become was as much about the spirit and work of a particular studio and its particular personalities as it was about glass blowing generally.

 

Is there a poem from the book you’d like to share with the readers of the Accents blog?

This is the first poem I wrote, after my initial visit to the studio, and it ended up as the final poem of the book:

 

“Heart of Glass”

Feel its pulse and flare still —
beat of primitive fire, memory
of the molten womb from which
you drew it glowing and gave it
shaping breath: never
cold, never still.

 

How did you arrive at the title?

“Kings of the Rock and Roll Hot Shop” came to me really early on and there were no other competing or working titles. Simply put, the glass blowing crew played loud rock music all the while they were working and there was such confidence and verve in what they were doing that it seemed obvious to me that this was a rock and roll hot shop.

 

Do you have a favorite Accents Publishing book (other than yours) and if so, which one?

I selected E.K. Mortenson’s The Fifteenth Station for the 2012 chapbook prize and I still think it’s a remarkable sequence imagining, with a nod toward the biblical, the “least of us” and the struggle in dark places we in the first world too often turn from. I also really like Sarah Freligh’s A Brief Natural History of an American Girl – an inventive and clear-eyed memoir in poems that startles and delights.

 

What would you like to see Accents do going forward?

Keep publishing awesome books, for one! The new projects – the journal, the workshop series – all of these things help to nurture writers and readers and I am excited to see them succeed. I’m interested in the ways in which fine art and writing mutually resonate and it would be interesting to see some manuscript collaborations among poets, printmakers, and other artists.

 

What are you working on now?

I have another chapbook length manuscript titled This Great Green Valley that will be published by Broadstone Books in the late spring of this year. It consists of poems I wrote during a sabbatical in 2018 and is based on my research at the Filson Historical Society into the pre-statehood history of Kentucky, along with a long poem about my own childhood on the Kentucky River. Red Hen has a full-length manuscript from me tentatively titled The Bearable Slant of Light that will likely be released in late 2021; it explores the explores the effects of mental illness on the family and is much more experimental in many ways. Very different from my last book with them, Covet.

 

Share a poem, or at least a sentence from your new writing.

This is the very last stanza from a very, very new poem titled: “Carpool, with boys”

“Remember where we were going and how
we couldn’t wait to get there: the impossibly
green fields, the bright lines of play, the whistle
to begin high and bright as birds lifting in flight.”

 

Metes and Bounds (Accents Publishing, 2010)

Poet J. Kates answers a few questions about Metes and Bounds (Accents Publishing, 2010)

 

 

Tell us the story of your Accents Publishing book.

Not sure there is a story to tell. I had written some poems, they seemed to fit together in theme, there was a chapbook contest from Accents Publishing, and I submitted to it. You liked it, apparently.

 

Do you still like it? Why or why not?

The poems I write that stand the editorial test of time long enough to make it to publication are poems I like. The rest, I throw away.

 

What is the highest praise you’ve received for it?

Not sure I’ve received any “praise” for Metes and Bounds. You published it, some people have bought it. That’s praise. Can’t recall if it was ever reviewed.

 

What didn’t make it in the book?

Most of the poems I’ve written in my life. Luckily, a good many have made it into other books, with, I hope, more still to come.

 

Is there a poem from the book you’d like to share with the readers of the Accents blog?

I’d like to have your readers read them all. That’s why I wrote them. If it’s your blog, you choose.

 

Selected by Katerina and inserted in the text:

DOING THE WORMS’ WORK

The first April I am certain I will die,
the ground too cold, too wet for planting,
the river only a foot down from flood,
the compost heap a contradance of bees,
I need to be looking toward a harvest.

I will turn dirt. Without stooping
to pick rocks, I do the worms’ work
for an hour or two, see how I like it,
see how I enjoy the company of worms.
Not bad, they say, not bad for a beginner .

 

How did you arrive at the title?

Ah, there’s an interesting question. In New England, where I live, it has long been customary to establish boundaries not by formal surveying, but by noting and describing landmarks (or by creating them, as with walls and cairns). All the poems in this little collection somehow have to do with limits and limitations, and there is a rural cast to them; it seemed an appropriate title. I have worried, since, however, that the title sounds a little too bucolic, characterizing my work (unfairly, I hope) as “when the Frost is on the bumpkin.” Perhaps that’s balanced by the cosmopolitanism of an earlier chapbook (Mappemonde, Oyster River Press) and by other published poems.

 

Do you have a favorite Accents Publishing book (other than yours) and if so, which one?

Partial to anthologies and to translation as I am, you can guess I’d single out The Season of Delicate Hunger, for its introduction and presentation of contemporary Bulgarian poets.

 

What would you like to see Accents do going forward?

Succeed. On your own terms.

 

What are you working on now?

I have two full-length manuscripts being widely rejected. I continue to write — including some experimental, urban prose poems — and to translate.

 

Share a poem, or at least a sentence from your new writing.

“The human in me knows how to retreat.”

Scotch Tape World (Accents Publishing, 2013)

Poet Tom C. Hunley answers a few questions about Scotch Tape World (Accents Publishing, 2013)

Tell us the story of your Accents Publishing book(s).

After the book came out, I got to do a three city book tour with fellow Accents authors Lynnell Edwards and Eric Sutherland. That was a good time.

 

Do you still like it? Why or why not?

Most of the time. Sometimes I think I just learned to write poetry and only my new work is any good, though.

 

What is the highest praise you’ve received for it?

I don’t know. The blurb by Shane McRae is particularly kind.

 

What didn’t make it in the book?

A sestina about President Obama’s beer summit got cut at the last minute.

 

Is there a poem from the book you’d like to share with the readers of the Accents blog?

Verse Daily reprinted the title poem. Here it is.

http://www.versedaily.org/2014/scotchtapeworld.shtml

 

How did you arrive at the title?

Several of the poems are about raising kids and trying to honestly explain the world to them. It just occurred to me that there are striking parallels between this book and Good Bones by Maggie Smith. If you like her book, you might like mine.

 

Do you have a favorite Accents Publishing book (other than yours) and if so, which one?

I’m torn between Black Achilles by Curtis Crisler and How Swallowtails Become Dragons by Bianca Spriggs.

 

What would you like to see Accents do going forward?

An offsite AWP reading.

 

What are you working on now?

My wife and I are raising three sons and a daughter. Our eldest son is on the autistic spectrum, and a lot of my poems are about him. We adopted our daughter from state foster care when she was 16 1/2, and she has a lot of challenges. A lot of my poems are about her. A lot of people don’t know anyone like Evan and Elizabeth, so I’ve been grappling for words to explain who they are.

 

Share a poem, or at least a sentence from your new writing.

http://heroinchic.weebly.com/blog/pounds-by-tom-c-hunley

Wrecking Ball and Other Urban Haiku (Accents Publishing, 2010)

Poet Barry George answers questions about Wrecking Ball and Other Urban Haiku (Accents Publishing, 2010)

Tell us the story of your Accents Publishing book(s).

At the time my book, Wrecking Ball and Other Urban Haiku, was published in 2010, I had just graduated from the Brief-Residency MFA program at Spalding University. I had been writing haiku for about fifteen years, and in the two years at Spalding had concentrated on studying and writing haiku, as well as tanka. Katerina Stoykova was a classmate of mine, and her ambition to start Accents coincided with my eagerness to have a book of haiku published. Most of the poems in Wrecking Ball are taken from my Creative Writing Thesis at Spalding. I remember that after assembling the longer thesis (which included haiku, tanka, and longer poems), the selection and ordering of the haiku for Wrecking Ball just kind of fell into place.

Do you still like it? Why or why not?

Yes. I still like the poems and the sequence in which they appear. It was my first chapbook, so it will always have a special meaning for me.

What is the highest praise you’ve received for it?

An important goal of mine is to write poetry that is enjoyed not only by other poets and poetry enthusiasts, but also by folks who don’t generally read contemporary poetry. So what I especially have valued are the comments I’ve received, from various people, that Wrecking Ball is a book they’ve kept close by on the nightstand, or on the coffee table or hair salon counter for themselves and their guests to read.
What didn’t make it in the book?

My only wish is that it could have been longer, that it could have included more poems. But I do like the spare format of only one haiku per page. And I feel fortunate that my Wrecking Ball haiku seemed to be well-suited for the first generation of Accents publications: in-house printed chapbooks sold at a popular price.

Is there a poem from the book you’d like to share with the readers of the Accents blog?

Since haiku are short, I would like to share a pair of them that represent two different stages of a related theme.

after the storm
he is rich in umbrellas—
the homeless man

 

older
wearing glasses now
the homeless man

 

How did you arrive at the title?

I wanted to emphasize that this was a collection of urban haiku, poems that adapt the traditional forms of haiku and senryu (haiku-like poems about human nature) to city life. One of the poems is about a “wrecking ball” that “swings in and out of darkness.” Since a wrecking ball is not usually what comes to mind when one thinks about haiku, I thought that image, as a title, would emphasize and draw attention to the somewhat unusual, even iconoclastic, nature of the urban-themed haiku.

Do you have a favorite Accents Publishing book (other than yours) and if so, which one?

I especially like Barbara Sabol’s Original Ruse for its playfulness and the variety of forms Barbara uses to develop different aspects of her theme.

What would you like to see Accents do going forward?

I would like to see Accents, in either its journal or published books, encourage experimentation with writing that considers the ways that our assumptions and perceptions about what it means to be human are, necessarily, changing in light of the climate emergency.

What are you working on now?

First, let me mention that I have something new coming out from Accents Publishing later this year!—a book of haiku called Sirens and Rain, which explores beyond Wrecking Ball the varieties of urban life in Philadelphia. Meanwhile, I am writing the haiku, senryu, and tanka that occur to me on my daily rounds—or, as often as not—in the middle of the night. I am most interested in finding poetic ways not merely to express an observation about “nature” or “human nature” as something separate from “me,” but to embody an intimation of my essential unity with other aspects of creation.
Share a poem, or at least a sentence from your new writing.

A tanka:

this river now
I’m falling through
what surfaces
I once considered
ice

I Am Proud that We Have Persisted and Survived: Interview with Katerina Stoykova

Writer and journalist Alan Lytle interviews Katerina Stoykova about the upcoming 10 year anniversary of Accents Publishing. 

Accents is about to celebrate a milestone – 10 years of publishing. Take me back to the days when you were trying to get this idea off the ground. What were some of the obstacles you had to overcome?

I wanted to create the press that I’d want to be published by. At the time I had just become the author of two poetry books, one published by an American press, another by a Bulgarian press. Both experiences taught me a lot about the process, and I found myself having strong opinions about what worked well and what could have been better. I had experience as an author and as an editor, but none as a publisher. That part I had to learn through trial and error. We decided that we wanted to be an independent press, so we relied on ourselves for any bootstrapping investments and equipment. We started with handmade chapbooks. We actually physically produced all copies of the first dozen titles in our catalog. My business partner (and husband at the time) Dan Klemer is an engineer and he designed several fixtures to streamline a production line in our dining room area. The first floor of our home was packed with books, reams of paper, printers, boxes, toner cartridges, a paper cutter, a book-binding machine, glue strips, stacks with company documents, envelopes of various sizes, and a small mountain of post office receipts. Once, the now late poet and publisher Charlie Hughes visited us to prerecord an interview, and a year later inquired, “I’ve been meaning to ask, that place … do you actually live there?” So, for a bit of time, Accents Publishing was pretty much my whole life, needed all my time, but I was happy to pour all my attention into it. I had to be mindful, though, to not abandon my own writing, so I made a concerted effort to balance working on other people’s writing with continued commitment to my own. I’d say this balance has been the biggest challenge through the years. That, and constantly having to be on top of records to pay sales tax four times a year.

 

Talk about the mixture of emotions you felt as that first publication came out. What do you remember? What did you learn from that experience?

We released the first two Accents chapbook simultaneously in a book launch celebration at Common Grounds Coffee Shop. It was February 5th, 2010. The authors were Jim Lally, a retired teacher/farmer, and Jude Lally, a man in his mid twenties, tied to a wheelchair due to progressive Friedreich’s Ataxia. The building was bursting at the seams with a standing-room-only crowd. We sold out of all copies we had. I was a bit nervous, but also elated. I had had a dream the night before in which I saw a series of blessings for the new beginning, so I carried that confidence with me to the book launch.

 

Describe the moment (how far was it in the process) when you could exhale with the full knowledge that Accents was here to stay.

I always knew Accents was here to stay. There was/is a need for a press like Accents and I believed in the principle “if you build it, they will come”. I also believed in the capability of the Accents team to make smart artistic and business decisions and to fully deliver on commitments. So, I guess the moment when I exhaled with the relief that we have something of value was the moment I decided to commit to building Accents into the physical world. I remember the constant buzz of creative excitement, the brainstorming, the joy of the possibilities, the hard work, the learning, the marvel at how everything was coming together.

 

What do you think makes Accents unique as a publishing company?

I’m not so sure anymore. We started with handmade chapbooks and I used to say that I’ve personally printed, trimmed and shipped every one of our books. As the books became popular, however, we had to give up this practice and start sending our books to be “professionally” printed. That was bittersweet – we lost our unique look, but gained the potential to publish thicker books with glossy, color covers. Then I used to say that we’re a poetry publisher, but now we’re starting to branch into novellas, collections of short stories, memoirs. Are we becoming more like other presses? Probably so. We like to adopt best practices of independent publishing, even though we reinvented a few wheels. If I have to point to one thing that may make us unique, it would be our willingness to adapt.

 

Describe what you’re putting together for the February 4th anniversary party at the UK Art Museum.

We’re thankful to the UK Art Museum for their hospitality and for the opportunity to celebrate our milestone among the highest quality works of art. Every poet who has ever published a book with us, or had an individual poem in one of our anthologies or magazines is invited to read. We have a fantastic lineup of authors and expect a great turnout. There will be refreshments, awards, surprises, giveaways. In the days and weeks leading up to the event, we will feature a series of interviews with Accents Publishing authors looking back on their Accents books and/or sharing current and future creative plans.

 

As you get ready to celebrate the milestone what are you most gratified, thankful, or proud of regarding Accents Publishing?

I am proud that we have persisted and survived. I am grateful that the vision for Accents not only hasn’t diminished, but has in fact expanded with exciting and innovative ideas. I am thankful for the support of the readers, authors, the media, the local and global poetry communities. I am grateful for the gifts Accents has brought into my life, for how this labor has changed me over the years, for how enriched I feel after everything read, edited, published. I feel gratitude for witnessing dozens of transformations of authors into writers. I am grateful for the beauty and the miracle of it all.

 

What’s your vision for the next ten years for Accents?

We do have plans! It is important for Accents to be a vital part of the contemporary literary conversation. We want to continue building and serving the community. I’d like for us to continue establishing ourselves as a premiere poetry publisher. We expect to release a series of novella-length books and memoirs, and also add short story collections to our catalog. We plan to offer writing classes and manuscript services, organize writing retreats. And we have a new goal of further developing the Accents Publishing blog and posting regular and relevant content. And more!

 

What advice would you have for someone who wants to start their own business be it a publishing company or some other venture?

Start small and know what your goals are.
Do have faith that you’ll manage.
Do not overcommit.
Avoid debt.
Review your goals often and let them evolve.
Rest is part of the process.
If you do not love doing it, do something else.

 

Hills and Valleys: Marta Dorton

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Marta Dortion earned a BA in Art Studio, emphasis in Painting from the University of Kentucky. Her painting process involves scraping layers of Liquitex acrylic paint onto canvas with a squeegee. She seeks to feel small on the Earth, to understand her place in the vast order of life and time, to feel relevance in the midst of nature’s enormity. Family and land are elements that run deep in her heart and artwork. Kentucky is a commonwealth of great variety and beauty. The colorful and changing landscapes have played an important role in the art she creates.

Accents Publishing is happy to feature the work of Marta Dorton on our new blog feature. We want to combine visual and written art. Each week we will post artwork submitted to Accents in hopes that you are inspired to write and share.

If you are interested in submitting please send several images or scans of your art to christopher.accents (at) gmail.com with a 50 word or less bio and titles for your pieces when applicable.