March Madness

March finds Rescue awaiting such wealth: our spring catalogue has nearly sprung, we’ll be trekking to LA for AWP in a few weeks—and soon (but soon) we’ll announce the fourth title in our Open Prose Series.

Starting right now, our spring catalogue is available for preorder. That’s Melissa Dickey’s startling second collection of poetry, Dragons, and Erik Anderson’s disquieting genre-bender, Estranger, the third title in our Open Prose Series.

If you’re in LA in two weeks, join Rescue, Akron Press, and CSU Poetry Center at 7 PM on Friday, April 1, at Seahorse Sound Studios (less than a half-mile from the Convention Center!) for “The Midwest Goes West: A Mixtape for LA,” featuring readings from Sara Deniz Akant, Erik Anderson, Bridgette Bates, Jonathan Blum, Brittany Cavallaro, Leora Fridman, Lily Hoang, Lo Kwa Mei-En, Philip Metres, Jennifer Moore, Emilia Phillips, Martin Rock, and Vinnie Wilhelm (and also drinks).

And until we meet again, we’ve compiled a confectionery of essays, fictions, reviews, and poem-gems to tide you over:


Adrienne Raphel (her What Was It For forthcoming) has a poem, “The Ringmaster,” at Cosmonauts Avenue. To the circus!

Poetry Crush has up “The Lady of Civilization,” from Vanessa Gabb, whose Images for Radical Politics is forthcoming in the next year.  

Read poems from Melissa Dickey’s Dragons at Mountain Fold Books (and if you’re in Colorado Springs, be sure to catch her reading at Mountain Fold with Sasha Steensen on Saturday, March 19).

At Verse Daily, Dot Devota’s “Vow” (from The Division of Labor) has been made.

Four awfully good poems by Andy Stallings are on display at Atrocity Exhibition.


At Consequence Magazine, examine this “Evidence” from Hilary Plum, Open Prose Co-editor and author of the essay Watchfires, forthcoming from Rescue.

Up at Essay Daily, check Erik Anderson’s essay “Those Bodies, These Words,” on drones, stabs at humor, and “I’m a Believer.”

“Everyone is always reading Montaigne perhaps because Montaigne was always reading,” begins an essay by Hannah Brooks-Motl, author of The New Years, on Montaigne (and her book M, about Montaigne). Why not do as everyone always does and read on here?


“You’d be missing out not to follow the fire,” according to a Devil’s Lake review of Sara Akant’s Babette (and they’re right).

Keen insights from Scout’s review of Calenday: “Haldeman’s short lines seem to insist on the truth that we never know what comes next.” (But you can probably guess what happens when you click here.)

Be it in bright bright LA or in the compact of sharing delicious dim pages, we hope to see you soon.





December Dispatch

Post of Books Past...

Jonathan Blum, author of Last Word, will be teaching a fiction writing workshop in LA in February and March. Interested? We are. Link here.

Benjamin Mackey, illustrator of Penny, n., Toughlahoma, was recently featured on The Huffington Post for his Twin Peaks Tarot deck. Kudos, Ben!

Post of Books Present...

Sara Deniz Akant’s Babette and Dot Devota’s The Division of Labor were released last month (with fanfare)! Babette debuted at #11 on the Small Press Distribution’s Bestsellers list, while The Division of Labor was selected for Joshua Marie Wilkinson’s Books of 2015 on The Volta (alongside Rescue poet Hannah Brooks-Motl’s M). A giant thank you to those who came to celebrate with us at Chicago’s Downey Mansion for November’s reading-raffle-extravaganza!

We’re excited about Prelude, a thrilling new journal out of New York. Find Rescue writers Hannah Brooks-Motl and Adrienne Raphel in the new issue, or check ‘em online!

Post of Books Future...

We’re delighted that judge Cathy Park Hong selected Adrienne Raphel’s What Was It For for this years’ Black Box Prize, and we’re further delighted to announce Vanessa Gabb’s Images for Radical Politics as our Editors’ Choice! Both collections will be published in our 2016–2017 catalog.

Preview a decadent poem from Adrienne’s What Was It For at Lana Turner, or check out Vanessa’s essay on VIDA or her recent interview with THE KIND here. 

The fourth Open Prose Book Competition looms! In January, send us your book-length prose submissions — our Open Prose editors Zach Savich and Hilary Plum are looking for next year’s strangeling piece of nonfiction, fiction, or sui generis prose to join the series-ranks of Anne Germanacos’s Tribute, Christian TeBordo’s Toughlahoma, and Erik Anderson’s Estranger (forthcoming May 2016). More submission information available here.

We’re now offering year-long subscriptions! Check out our current or past years for a discounted bundle price — in any case, all subscriptions can be found here.

2015 Black Box Poetry Prize Results:

Dear Friends & Readers,

Rescue Press is thrilled to announce Adrienne Raphel as the winner of this year’s Black Box Poetry Prize. Adrienne’s manuscript, What Was It For, was chosen by our judge, Cathy Park Hong, and will be published in our 2016-17 catalog. We've also selected Vanessa Jimenez Gabb’s Images for Radical Politics as our Editor’s Choice, to be published the same year.

Adrienne Raphel was raised in southern New Jersey and northern Vermont. She has an M.F.A. from the Iowa Writers’ Workshop and is a Ph.D. candidate at Harvard. Her chapbook, But What Will We Do, is forthcoming from Seattle Review. Raphel is a regular contributor to the New Yorker online. Her writing has also appeared in, among other publications, the Paris Review Daily, the Atlantic online, Assignment, Lana Turner JournalPrelude, and Poetry Northwest.

Vanessa Jimenez Gabb is the author of the chapbooks midnight blue (Porkbelly Press, 2015) and Weekend Poems (dancing girl press, 2014). She is the co-founder of Five Quarterly and teaches at Newark Academy. She is from and lives in Brooklyn, NY.

Thanks to all of the wonderful poets who sent us work and congratulations to the finalists. We'd also like to remind you that Sara Deniz Akant’s Babette, winner of last year’s Black Box Poetry Prize (chosen by Maggie Nelson), is available for pre-order along with Dot Devota’s The Division of Labor. 

Rescue Press

Kirsten Kaschock: Confessional Sci-Fi: A Primer
Emily Liebowitz: National Park

J’Lynn Chapman: Beastlife
Stella Corso: Eat Island
Claudia Cortese: Wasp Queen
Ginger Ko: Inherit
Sara Renee Marshall: To Be New For the Empire
Jenn Marie Nunes: Those People
Michael Shea: Winner of the Fence Modern Poets Prize
Carleen Tibbetts: Dossier for the Postverbal
CL Young: Overhead Projector

Bridgette Bates (Safety Book #40)

1. Could you tell us the name of a book that you love, and why?

The Collected Poems of Weldon Kees.

I had always loved more dizzying, image-driven poets, but Kees’ crystalline prose-like lines unnerved me with their precision. The dead are named, avenues are numbered, mouths speak extensively with long stanzas of dialogue. So much is illuminated before Kees himself goes missing. The narrative of his life infiltrated my reading of his poems in a way that I typically never read poetry with biography in mind. It is believed Kees either jumped off the Golden Gate Bridge or ran away to Mexico. I like to think he is living in an alcove of the Mayan ruins, finding solace in the cerulean waters.

2. Where were you when you first read, or saw, or heard of this book?

I discovered Kees’ and his collected works during my first Midwestern winter of blinding blizzards. It was my first year at the Iowa Writers’ Workshop. I was getting little writing of my own done, so I hibernated with a lot of reading. I was reading Donald Justice’s book of essays, Oblivion. Justice has an essay where he praises how none of Weldon Kees’ poems are flawless. I immediately went to Prairie Lights and bought Kees’ collected works. As a young writer struggling to write, flaw inspired me.

3. Did this book influence your own writing, thinking, sense of the world, or work?

His poems not only haunted me during the coldest winter of my entire life to date—as I spent one late night shoveling my car out of a pyramid of snow, only to realize it was not in fact my car, I heard his fugue: “Falling night/Will cover all”—but beyond that white trench, I have carried with me Kees’ polarizing enchantment with the world—the ephemeral nature of long seasons, dark humor, the beauty of heartbreak.

4. Give us a line or excerpt from the text that intrigues, engages, mystifies, inspires, disgusts, or transforms you. Discuss…

People often critique dialogue in film and books for not sounding believable, which I find ridiculous. I want to be transformed by words on a screen or on a page in a more fantastical way than what I encounter on the street or on my iPhone. Kees was a master at composing utterly beautiful dialogue sequences. Is there anything more breathtaking than this spoken exchange in his poem “Girl at Midnight”?

“Christ, we could die

The way deer sometimes do, their antlers locked,

Rotting in the snow.”

5. Who did you send this book to, why?

I would like to send this to my best friend living in Ohio in honor of the upcoming winter, but she’s a new mom, and that’s such a raw state, that Kees may lead to some type of emotional combustion, so it’s probably best to send her Kees in the summer.