Thank you for age sixteen when I, bashed apart by loneliness,
curled up in your dark hair and white skin and the spaces
between your crooked teeth...

Read the poem at The Junction . . .

Poets who have been writing for several years end up with lots of unfinished drafts and notes. As a freelance editor, I often work with clients who have tons of old drafts and no clue how to process them. For myself, I often write 100+ poems in a year, resulting in a massive amount of poem clutter.

After all, you don’t want to abandon those poems that are older, because they feel like your babies. But it is necessary to sort through them, to choose poems for publication or to just decide how to categorize them. As Paul Valery said, “No poem is ever ended, every poem is merely abandoned.” Poems that don’t work now might work later. Poems that aren’t published in a journal or magazine might make it into the later draft of a book.

As I was thinking about this process, I wished there was a good method for sorting through old drafts. Then I remembered one of my favorite Netflix shows and a woman named Marie Kondo.

Read the full article here . . .

“The writing of poetry is not a craft. We are making birds, not birdcages” –p.47, Dean Young, The Art of Recklessness

Revision is one of my least favorite things to do as a writer of fiction, but when it comes to poetry, I absolutely love it. As an editor, I work with many poets who are struggling to understand what a poem is and how they can improve their poetry. They see other poets succeeding (getting poetry acceptances, writing full-length collections, etc.) and want to know how to be a better writer of poetry.
In her MasterClass, Margaret Atwood says, “Revision means re-vision — you’re seeing it anew, and quite frequently when you’re doing that, you see possibilities that you didn’t see before and that light up parts of the book in a way that wouldn’t have happened if you hadn’t done that.”


Read the full article here . . .

Have you ever thought about memory? It's such an important tool in writing poetry, and yet we remember things without even realizing it. Every moment of every day, we're remembering our grocery lists, our tasks, but also the memories of emotion and love and wonder and fear. Memory gets us through our day.

Mary Oliver said the goal of revising is to write "memorably." So what makes a reader remember a poem? As children, we were taught to memorize poetry. But most readers usually only memorize poems they love as adults. 
 
Read the whole article here . . .

I have a new poem up at Barely South Review. This poem also happens to be part of my new book and debut full-length book of poetry forthcoming from CLASH Books in September of 2021. Stay tuned for more boney weirdness, y'all. 

Read the poem here . . .

Starting in May I’ll be doing a new poetry project on my Instagram.

#SerialKillerSummer is a series of erasure poems using found source text from famous murderers. I’ll be posting blackout poems (hopefully every day) that use the words of the creepiest, darkest, most rotten dirtbags and twist them. Erasure is the art of creating a poem from a found text by removing and cutting away words or blacking them out. What remains is an entirely new and original poem.

Why serial killers? Well, I’m a true crime junkie and I realized there are so many fascinating sources like interviews, court transcripts, manifestos, and other true crime found sources to work with. I got obsessed with how we can cut these killers down and get back at them for the lives they’ve taken. Manipulating their words is the best way I’ve found as an artist. My work is always interrogating the world we live in, shining a light in the darkest crevice.

Follow along on Instagram!

I have a new poem up today at Mithila Review! "We're Refugees Who Found Love Searching for Atlantis" is a pantoum poem that first appeared in Italian in my chapbook Numinose Lapidi from Kipple Press. I am very honored that Mithila Review agreed to publish the English and Italian version, translated by the late Marco Raimondo. 

Marco was an Italian translator of poetry who died due to complications surrounding his disability. Before he died, we discussed my sending out poems from the book so that they could be read together, and it was a dream of his to be published in magazines. I am honored to fulfill that dream today. 

Also, you can listen to me read the English version aloud in this publication :) 

Read it here . . . 

​Dates: March 1-28
Format: Group Workshop (more info)

From Plath to Sexton to Lorde to Walker, women are the backbone of experimental poetics. In this class, we’ll read the work of popular feminist poets and write our own poems inspired by their work. Audre Lorde said, “The master's tools will never dismantle the master's house.” By celebrating the work of the women who came before us, this workshop will explore how to dismantle the patriarchal conventions of poetry by diving into the canon of women poets.

Register at the early-bird price of $275 (regular price: $295) before February 15.

 It's that time of the year again! I'm here to update you with all the things I published last year. It's been a fruitful year despite all the chaos, and I am supremely grateful as always for the editors who read and enjoy my work. Thank you to all the publications on this list! 

This year I have several Rhysling-eligible poems for SFPA members to consider for nomination. "Yes, Antimatter is Real" is eligible for the Dwarf Stars Award. My short story "The Red Shoes" in the Coppice and Brake Anthology from Crone Girls Press is eligible for the HWA Bram Stoker Awards in the anthology category. (If you'd like a copy of the anthology to review, send me an email at hlwalrath at gmail dot com.)

These days, it might seem superfluous to submit poetry to journals and magazines when you can make a living as an Instapoet instead. But in the world of poetry, having many publications under your belt can be a way to build towards publishing a chapbook or full-length book of poems.
What follows is a step-by-step guide for poets on submitting your work. This is part of a series of articles for new writers who’ve never sent their work out before. While everyone’s process is different, I hope these tips and tricks can be a starting point for you to figure out your submissions process and start getting your work into the world.

Read the full article here . . . 

I had a blast chatting with folks this year at the virtual World Fantasy Convention! It was such an honor to get to answer questions about indie publishing and author marketing, and to get to be on a panel with some of my favorite poets. Here are the recordings for your watching pleasure: 

​Poetry Barn Self-Paced Course: Writing Resistance Through Erasure, Found Text & Visual Poetry
DATE: Ongoing
TIME: Asynchronous, Self-paced
PRICE: $99
Hybrid poetry forms can be a powerful form of resistance. From Jerrod Schwarz’s erasure of Trump’s inaugural speech to Niina Pollari’s black outs of the N-400 citizenship form, contemporary poets are engaging with the world through text, creating new and challenging works of art. Heralded by the rise of the “Instapoet,” visual works are a way to take poetry one step further by crafting new forms and structures that often transcend the page. 

In this four-module independent study workshop, you’ll study the forms of poetry that draw from outside sources and texts, learning how artists are reshaping the narrative of resistance and how to draw from news, media, canonical works, and other found texts to create our own work in conversation with the current world.

Shortly after you register, you’ll receive an email containing an invitation to create an account and begin learning. (Please note: This class does not include feedback or interaction with the instructor or other learners.)

Writespace: Poetry Critique (Synchronous  1-Day Workshop)
DATE: Saturday, October 10th 1-4pm CST
TIME: Online, Synchronous 
​In this workshop, we'll focus on four fundamentals that editors look for in poetry. It's one thing to write poems, it's another to start sending out your work to publishers. How do you know if the poem "works"? How can you revise a poem so it stands out in a slush pile? We'll focus on reading poetry like an editor, with an eye towards structure, word choice, content, and first and last lines. This is a critique workshop, so participants will be asked to submit up to two poems (max 4 pages) in advance. ​

I have a new poem up at Twisted Moon Mag, Issue 5: We Hold Up Eternity 

You make me into all of your favorite things. Wax-winged, you model my body to your likeness. Everything must be similar, the remains. You step upon my altar, run a finger along my lips, lick the dust from your skin. It tastes like skin cells and sweat and stardust...

Read the whole poem here . . . 

I have a new poem up today at Liminality: A Magazine of Speculative Poetry. This poem is called “Acacia,” and it’s named after a plant commonly used in rituals and spellcraft.

Use to anoint torches and consecrate hope chests. Endows protection as well as psychic and mystical powers. If planted inside a fairy ring, it will bring prosperity to the closest home. If burned, it creates a hypnotic state that is often perilous.
​
TW: This poem deals with illness and cancer.

Read the poem at Liminality

I've read a lot of writing prompts in my time, and they all suck. Seriously. What is with this “Write a poem about a man who finds a dog on the side of the road and then he brings it home and then it eats his shoe . . .” prompt bull-honkey? (Okay, I made that prompt up, but that’s how most of them sound.)

Read the full article here . . . 

​
I have a new poem up at the Science Fiction and Fantasy Poetry Association mag Eye to the Telescope. It’s called “Now the Patient Recounts the Houses in Her Mind.” This poem is inspired by the work of author Shirley Jackson. It’s a combination of The Haunting of Hill House and We Have Always Lived in the Castle.

Read it here . . . 

Last year in February I wrote 28 tiny love poems on post-its. Valentine’s Day is coming once again and I’ve once again decided to write a poem a day in February to celebrate. Last year I was surprised by how many people enjoyed my tiny poems. I guess there is something simple and sweet about the concept of love — and that translates well to short poems.

Read the full post here . . . 

I’m reading the poetry book submissions for Interstellar Flight Press, it occurs to me that a lot of writers struggle to put together poems for a collection. But when the right congregation of poems appears, it’s so exciting as an editor. Poems, when collected, have the ability to speak to each other in new and interesting ways not explored in their individuality.

Read the full article here . . . 

I am sharing excerpts from my new poetry chapbook over on my Instagram page, so I thought I would combine them here for easy reading. I will update this as new translations come in! My new chapbook is called Numinose Lapidi and it will be published soon by Kipple Press.

Read the full article here . . . 

Every year at the end of the year I post a review of all the articles, poems, stories, and books I’ve published that year. 2019 was a big year for me in writing. While I felt like I wasn’t getting a lot done, I was surprised when I looked back and realized I really had written a great deal.

Most of my time was spent working on two novels-in-progress. But I did manage to send out some poems for publication too. I’m very honored by the editors who recognized and published my work. Here’s to 2020 and another year of writing.

Books
Glimmerglass Girl — Won the Elgin Award for best speculative chapbook
Numinous Stones — To be published in Italian in 2020 by Kipple Press

Poems
The 2019 Science Fiction and Fantasy Poetry Association Contest, Winner: Short Form Category: The Fox and the Forest (Erasure of Ray Bradbury)
The 2019 Science Fiction and Fantasy Poetry Association Contest, Winner: Long Form Category: The Mining Town
Apparition Lit #8 (October 2019) — Belly of the Beast
Mirror Dance Issue 44 (Spring 2019) — Farewell Dead Men
Not One of Us #61 (April 2019) — ​A Book Is a Tomb and Words Are Souls
The Avenue: Issue V: Music (April 2019) — Chopin Falls in Love with the Night (1827–1846)
The Knicknackery Issue 6 (February 2019) — Bayou Dream
Dreams & Nightmares Magazine (Issue #111, January 2019) — An Unknowing Breach of the Law
Kaleidotrope (Winter 2019) — “All the Glory of Her Earthly Shell”

On Writing:
Medium (12/18/19) — My NaNoWriMo Was a Mess
Writing Hacks (11/27/19) — Tricking Yourself into Writing
Bulletproof Writers (11/28/19) — The End of the Year Sometimes Sucks for Creatives
Storymaker (11/25/19) — Reluctantly Writing About Death
Interstellar Flight Press (11/15/19) — Defying Genre in The Dream House
Daily Muse Books (10/24/19) — NaNoWriMo Isn’t Just for Books
Medium (10/15/19) — Does Publishing Short Stories Matter?
Medium (9/4/19) — The Writing Life: An Infographic
Medium (8/28/19) — 40 Writing Milestones to Celebrate
Medium (8/21/19) — Queries, Contributors, and Common Terms: An A-Z glossary for submitting writing
Horror Writer’s Association Newsletter (7/1/19) — Darkness & Light
​Medium (5/16/19) — Fighting Rejection & Imposter Syndrome
Medium (5/3/19) — Switching Genres
​Medium (4/3/19) — Creating a Writer’s Mission Statement
​Medium (3/27/19) — NaPoWriMo: A Poet’s Challenge
​Dream Foundry (3/14/19) — The Cone of Silence
​Medium (3/11/19) — These are a Few of My Favorite Rejections
​Medium (1/31/19) — Forming a Critique Group 101

If you are a member of the SFPA, my poems are eligible for the Rhysling Award. Click here to download a PDF version for reading. 

A year and a few months ago, my father died. Today, I signed a contract for a small poetry book on grief and dealing with my father’s death that is going to be translated into Italian and published in Italy. The world spins in weird ways, I guess.

Before my father died, I always looked on books about the death of a loved one in, I’ll admit, a pretty messed up and slightly dismissive way. I hated cancer memoirs, books that dived headfirst into the nitty-gritty details of death: bodies and hospitals and medicine and the grotesque humanity of grief. Also, there was a connotation with these books. When they were written by women about caring for loved ones, they often got lumped into women’s fiction, whereas a man writing about grief was somehow reinventing the wheel.

Read the full article on Medium . . . 

Confessions of a Supermassive Black Hole
You can’t escape my body.
I deform spacetime, invisible.
I collapse, even as everything surrounds me.
I am the center of you, of your galaxy.
I sieve particles, radiation, light,
searching for the ghost of my former self.
My gravity is also my weakness.
​

It’s my favorite day of the year, so I thought I’d share a poem from my back catalogue of published work. This poem is an erasure/blackout of Shirley Jackson’s book We Have Always Lived in the Castle.

In case you’re unaware of this form, erasures are a type of found poetry where you “erase” words from a found text and the words left behind form a poem.

Read the poem here . . .