Friday, September 22, 2017

Surprise, No Disability!

Scenario:  A character you like is disabled and, as the book progresses, you love that character more and more.  Maybe he/they/she has your disability, maybe a condition or disease not often covered well in literature.  Either way, you’re digging it.  You tense as the climax nears.  The showdown starts and the character has a revelation:  He/they/she was never disabled in the first damn place.

Ugh.

There are books using “fake disability” as a plot twist, and there will probably be more once one or two make it big.  Disabled people rarely see ourselves in literature, so a portrayal we relate to that turns out to be a “mistake”, “shock”, or “drama” is very disappointing.  Plus, it makes our truths seem more tenuous.  Wheelchairs, diseases, canes… they’re all for able-bodied people’s entertainment.

And, these “plots” are definitely for the able-bodied, not us.  Our disabilities are used to tug at the heartstrings of those who have no clue what it is like to be us, who pity us and keep their distance, who donate to a charity and pat themselves on the back.  They want to see the cripple struggle for a “normal” existence and then be “cured”.  It gives able-bodied people a good story, a narrative they agree with:  Disabled people should do everything to live as close to being able-bodied as possible (even if it could kill them)… and then be cured. 

Disabled people don’t get much to choose from in the realm of media when we desire representation.  Many of us are leery when we see a new book with a disabled protagonist or a neurodivergent character in a sitcom. 

Able-bodied/neurotypical people don’t understand it because, to them, any representation is something we should be grateful for.  Any effort should be praised!   They believe these things because they have plenty of representation for themselves and, since it is rare to see a cripple in a movie, they definitely remember it.  They think, because they can name three or four examples of gimps in cinema or books, that there are a lot.  In their social circles, the only disabled people they see or remember are frail grandparents in nursing homes so surely, the amount of people in media reflects the amount of disabled people they’ve met!

Meanwhile, disabled people are stuck with problematic portrayals, sifting through and hoping to find a gem of a character among the drivel.  A book where the plot twist is that the king is really the court jester, or the president is an alien from a war-loving, though inept, sub-race from a parallel universe where our hero saves the day… crutches and all.

Have you ever read a book where disability was used as a shock or twist?  How did you feel about it?

Friday, September 15, 2017

Review: Chameleon Moon by RoAnna Sylver

Image:  A stylized, explosive ball of flame takes up most of the background, descending upon tall buildings that seem to circle the area.  The title of the book and the author's name are in thin, black script across most of the ball of flame.  Small helicopters near the upper corners patrol a smoggy sky.  In the foreground at the bottom of the image, two people stand: A woman with bright pink hair, purple dress, with her hands on her hips, and the other, a bald reptilian man in a black tank top. 

Parole is a crumbling city that is constantly burning and closed off from the rest of the world.  Its inhabitants have powers both great and terrible, but everyone fears two things:  Parole someday tumbling into the fire underground, and Eye in the Sky, the government surveillance.

Evelyn and her wives Rose and Danae are part of the resistance, a movement to keep citizens safe and Parole standing. When Evelyn bumps into Regan (a reptilian man with amnesia), things are set in motion that will test the city and its heroes, if it doesn’t kill them first.
~*~*~
Let me get this out of the way:  Amnesia and dystopia/totalitarian regimes are tropes I’ve read a lot.  So much, in fact, I groaned inwardly when I found out this book had them.  Not again, I thought to myself.  But, this book is more than I first gave it credit for.

The characters are diverse, caring, hopeful, badass, and realistic.  Evelyn and her family are so sweet together and you can tell the three women love one another and their son.  Regan longs for the feeling of love and acceptance he sometimes finds, just out of reach in his lost memories.  Zilch is a nonbinary (stitched together) person looking for their heart.  Even secondary characters are given adequate detail and personalities.  Everyone can (and does) fight for what they love and believe.  Parole is populated with people of a variety of skin tones, sexual orientations, disabilities, neuordivergences, superpowers, and places on the gender spectrum.  Villains are sometimes harder to pin down than one would think.

Parole is a vivid setting.  The details are plentiful but don’t bog down the story in any way.  The buildings inside Parole are adequately described, but the city itself is the real star with cracks in the sidewalk, constant smoke in the air, the white noise of helicopters always patrolling.  I could see it clearly in my mind.

The stakes felt high and the pacing was good.  Though it seemed like there might be a little too much “down time” for the characters at points, even that is essential because of the novel’s tone.

One of the things I liked most about this novel is the hope in it.  The characters face horrors every day (no one in Parole comes away without anxiety, PTSD, or depression) but everyone still loves and dreams.  Our heroes strive to make a better city than the one they fell asleep in.  There is emphasis on chosen family and acceptance, just as you are.

A few things to be aware of:  This book features a drug that is addicting and sometimes fatal, though no detailed descriptions of someone taking it.  There are descriptions of characters burning and an instance of torture.   And, the book ends with things unresolved (there is a sequel out right now).

I definitely recommend this book.

Friday, September 8, 2017

What Would an Organization of "Us" Entail?

My thoughts on what disabled and/or neurodivergent writers would benefit most from in an organization.  This is all subject to change.  Feel free to add what you think is necessary.

Notes:

1.  The best place to start is online.  Many of us can't travel or cover the expenses of starting an organization... online can help with that.  Anything done at a physical location will need significant financial backing.  Even if online is the only place this exists, it could still be significantly beneficial.  Unless it's a nonprofit, I don't see it branching out to "the real world" much.

2.  We need intersectional disabled/neurodivergent poets and writers in some of the top positions.  They know more about true inclusion and can find pitfalls or gaps that someone white, cishet, Christian... can't.

3.  It would need to be accessible in as many ways as possible.

4.  Membership wouldn't be a requirement for all things.

The organization would offer:

1.  An online conference, free of charge.   Possibly, one offline that's low-cost.  Most-to-all presenters would be disabled and/or neurodivergent writers.  There would be no stairs to get onstage.

2.  Workshops and classes, online (at first).  These would be for small groups, as to not overwhelm anyone.

3.  Small prize "gifteds".  Writers would apply, much like a grant, but receive something they need for their work like new reference books, software, etc.  No cash given.  Many of us can't apply for grants without jeopardizing medical care or grocery money...

4.  A mentor program (may be online only).

5.  A newsletter serving to promote member events, new writing, etc.

6.  Working with certain literary magazines, virtual fellowships could be created similar to the Kathy Fish Fellowship.  Other types of fellowships could follow.

7.  Contests.

What the organization wouldn't do:

1.  Create a retreat/residency.  I'd love one, but think a separate organization would be best for this.

2.  Be present at the AWP conference.  We have a great disability caucus there, already.  Members can go anywhere they want, of course.  We just wouldn't be there in an official capacity.

3.  Offer full-on grants.

4.  Charge membership fees.  There might be unavoidable charges for some workshops or whatever, but these would be kept minimal.  Finances are a barrier we don't need to impose on each other.

5.  Have a new press associated with it.  A press is a full-time commitment.  Unless the organization becomes so successful it has "departments', it isn't going to start one.  If an existing press wants to partner... that's different.

I'm certain there are things I'm forgetting in all of this.  The organization's goal is simple:  Connect disabled and/or neurodivergent writers together and provide resources to further craft and careers.  

Everything would only work if a significant group of us banded together and made it so.  I don't have nearly enough funds or know-how to begin this alone, hence the tiny blog.

What would you add in all this?  Do you think an online organization would be helpful enough?

Friday, September 1, 2017

Interview With Speculative Author LJ Cohen

Photo: LJ Cohen

What influenced you to start writing and how old were you when you started?

I started keeping a journal when I was quite young. I think, even then, I understood that I needed to write in order to know what I was feeling. I probably started writing poetry and short fiction by the time I was 8 or 9. For reasons that I only sorted out decades later, I was drawn to the written word far more than to any other art form.

You write (mainly) sci-fi and fantasy novels.  What do you think speculative fiction can accomplish that literary fiction can't easily replicate?

I'm not sure literary work *can't*, but speculative fiction can shine a light on current society without triggering the reader's defensiveness more easily than more realistic fiction can. Whatever the story highlights, it's not about them, but about others. It's less threatening, less confrontative. And yet, powerful. Look at the incredible power of Handmaid's Tale. Perhaps its impact is stronger because it's not quite our reality, but could be.

Do you have a writing routine? If so, what is it? If not, why not?

I'm really great at setting up routines and not quite so good at sticking to them. However, when I'm actively drafting a novel, I set an intention of writing 1,000 words a day for an average of 5,000 words a week. For the most part, I hit those goals and end up with a solid draft of a novel in 4-5 months. I don't really have rituals associated with my writing. I don't need a special environment or particular music versus silence. I don't write at a specific time of day. When I started writing my first novel in 2004-ish, my children were still in grade school and I had a 25 hour a week physical therapy practice. I had to learn to write whenever I could squeeze a half hour out of my other responsibilities.

You have aphantasia (the inability to "see" mental images). Do you have trouble knowing how much detail to add to a character or setting for readers?  Are there any tricks/methods you use when creating new settings?

Wow. Yes. When I was first starting to write and use a critique group, I didn't know I had aphantasia. My writing peers would tell me my dialogue was solid but that I wrote "floating heads in black boxes." It took me a long time to understand that my preference is for spare description when I'm reading and when I'm writing.

I could never understand why writers - especially of fantasy - would spend so much time on lavish, flowing descriptions of setting. My reaction was to page flip until something happened. I 'got' that we were in a forest after the first paragraph, but then the writer kept on describing. It was painful for me to read. Impossible for me to write, even if I wanted to.

I had to find a compromise that included visual description in a way that felt authentic to the reader. I would spend time looking at things in the world and practice describing them. I would ask readers if they had enough grounding in visual description. My husband is hypervisual, where I am not visual at all. I often ask him to read my drafts to make sure I include enough for the reader.

My first drafts are still very light on description and heavy on dialogue and movement. For whatever reason, I find it easier to use visual description through the eyes of my characters than in exposition.

What solidified your decision to be an independent author?  What do you like most about going indie?

I had gone the traditional route and managed to sign with a literary agent in 2008. She went out on submission with 3 of my novels but wasn't able to make a sale, despite glowing rejection letters from many of the big 6 editors. Because I had managed a solo physical therapy practice for many years, I was familiar with running a business. I was also very computer/tech savvy and comfortable with html and css. So creating my own imprint and publishing my work was a good fit.

I love the creative control and I have amazing partners in my publication journey, including my cover artist and editor.

You make beautiful ceramic pieces as a hobby.  Does the inspiration/creative process for ceramics fuel your writing?  Why or why not?

Part of my drive to do ceramics is to have an artistic outlet where I can let go of my need to be perfect. If you've ever wrestled to center 5 pounds of sloppy clay on a wheel, you'll understand that! It's also something I do at a communal studio, so I can be with other artists. That's a needed balance to the long stretches I'm alone at the keyboard with only my characters for company. It's also a truism that my best ideas come to me when my hands are in the clay and I can't  possibly stop to write them down! In a lot of ways, clay is even a better fit for me than writing as it's a very kinesthetic endeavor.

However, if you think it's hard being a writer and making a living, talk to a ceramics artist!

What are the best aspects of writing a series of novels?  What are the worst?  Do you prefer writing a novel in a series or a stand-alone novel?

The best aspects of writing a series? Getting to stay with familiar characters and watch them grow. I don't struggle to find their voices as I move into a new story. The characters are just there, waiting for me. The most difficult? Making sure I don't screw up on continuity issues.  By the time a story makes it to publication, my head is crammed with multiple versions of events. I can't always remember which version is the one that ultimately made it into the book and which was cut. Which is why keeping a series 'bible' is so critical.

I don't really prefer one over the other. Writing a stand alone allows the writer to have a greater degree of closure on a story and sometimes that's the story that wants to be written.

Short stories (you say) are the hardest for you to write.  Why is that? What form of writing do you find the most rewarding?

Yes. They are! I think, just as in the running world, there are people who are natural sprinters (short story writers) and those who are more comfortable as marathoners (novel writers).  There's something about planning the long arc of a plot that is my natural writing rhythm. I envy those writers who are good at both.

My hard drive is full of abandoned snippets of short stories. Of all of the short fiction I've written, there are about a dozen I think of as successful. I still poke at it because some stories aren't novel-length projects and the short story is a beautiful format.

The irony is that my first writing love was the ultra condensed: poetry. And I still return to it often.

Who are your literary influences/favorite writers? (They need not be disabled/neurodivergent.)

My literary influences include the sci fi writers I loved as a child: Isaac Asimov, Robert Heinlein, Andre Norton, Ray Bradbury and Madeline L'Engle. The books they wrote became my companions and my comfort as I grew up.

My favorite contemporary writers include Patricia McKillip (her prose is magical and lyrical), Lois McMaster Bujold (I have read and re-read the Vorkosigan books so many times!), Mary Oliver (an amazing poet. Read "Wild Geese"), and Rick Wayne (his characters are iconoclastic and he does some incredible things subverting genre tropes. And we're working on a co-writing project, so you should definitely read his work!)

How do you deal with the (inevitable) negative reviews?  Any advice for the rest of us?

Yeah. Negative reviews. They happen. It's inevitable. While the best thing is not to read reviews, it's almost impossible for me not to. I don't like to admit it, but a negative review will send me sulking. But only for a little while.

Not everyone will love your books. That's okay. I find great comfort in reading the reviews of my very favorite books - ones I consider classics or must-haves on your bookshelf - and find excoriating one and two star reviews. It's subjective. There are books, shows, and movies that people rave about and I just don't like them.

Ideally, the negative reviews are because the book is garnering attention outside of its typical audience. That's good! It means it's reaching a wider readership. Chalk it up to that and keep writing!
~*~*~
Biography:  LJ (Lisa Janice) Cohen is a poet, novelist, blogger, ceramics artist, local food enthusiast, Doctor Who fan, and relentless optimist. She lives just outside of Boston with her family, two dogs (only one of which actually ever listens to her) and the occasional international student. When not doing battle with her stubborn Jack Russell Terrier mix (aka "other dog") or hanging out with her lab/hound mix (aka "good dog"), LJ can be found writing, which looks a lot like daydreaming. She writes SF, Fantasy, and YA novels under the name LJ Cohen.

Author Links:

Homepage: http://www.ljcohen.net
Blog: http://ljcbluemuse.blogspot.com/
Newsletter: http://www.ljcohen.net/mailinglist/mail.cgi/list/bluemusings
Facebook: http://www.facebook.com/ljcohen
Twitter: @lisajanicecohen
Google+: https://www.google.com/+LisaCohen

Friday, August 25, 2017

Horror and Harm (Neurodivergence & Disability in Scary Books)

Horror is a very problematic genre when it comes to accurate portrayals of neurodivergence and disability.  Though it tends to give neurodivergent and disabled people more spotlight time than many other genres, the representation is often terrifying.

Here are some ways horror is actually terrible:

1.  Serial Killers are a popular subgenre in horror novels and movies.  And, we all know who the killers turn out to be 85% of the time… people with Schizophrenia, Autism, PTSD, and Dissociative Identity Disorder.  You can never have a killer who is just a bad person.  No.  They have to have some type of neuordivergence which makes them “apathetic machines”, or unable to discern hallucination from reality.  Because “normal” people don’t hurt others without reason, right?

2.  Supernatural horror novels, especially those having a possession or haunting plot, run the risk of a surprise twist.  The twist?  The protagonist is actually hallucinating the whole thing!  Yes, the “twist” becomes the neurodivergence.  Because the lives of neurodivergent people are fodder for the neurotypical audience.

3.  The victim is to be pitied and rooted for extra-hard because he/they/she is Blind or Deaf.  It isn’t enough to make a creature/demon/situation nearly insurmountable; the author is using the absence of one sense to being a new terror to readers.  Because everyone is even MORE helpless if they can’t hear or see.  That’s why no one who has lost one sense ever manages to live alone or do things everyone else does.  (Sarcasm)

4.  A group of people investigate an asylum because mentally ill and/or disabled people are frightening, moreso than old buildings.  We’re vile, so vile our spirits haunt the last place we lived just to torment people who weren’t given our disadvantages.  Oh, come the fuck on!

5.  The person in the wheelchair (or with a limp) has been an agent of Satan in more than one book I’ve read.  Possibly, the author is trying to get readers to think the villain couldn’t possibly be that sweet, little cripple in the corner.  Or, perhaps, writers still buy into the stereotype of dark souls manifesting “incomplete or twisted” bodies.

6.  An amputee, person with heavy scarring, someone with severe edema, etc. used for “ick” factor.  Even though this is a tactic used more often in film, it still makes an occasional appearance in books. It isn’t enough to add extreme blood and gore, now body variation becomes endurance for the squeamish. Poor babies.

I’ve probably missed more than a few examples, but these are what spring to mind when I think about horror novels.
Oddly, I can’t think of too many examples of disability and neuordivergence done right in scary books, which is a shame.

What tropes about disability and neurodivergence in horror do you wish would never be written again?

Friday, August 18, 2017

Why I'm No Longer a "Grammar Vigilante"

I was one of "those people".  Do you know the dipstick always correcting other people's spelling and punctuation online?  That was me.  I thought (for some) I was doing them a favor, one they just didn't ask me to do.  For other people, I used it as a way to undermine their trolling.

I will still (at times) "edit for" trolls, especially when they're trying to sound intellectually superior to someone else.  Truly smart people don't flaunt their intelligence to make others feel inferior (and most people who try such a thing tend to have atrocious spelling).

However, I won't give unsolicited editing to acquaintances.  It's a crappy thing to do to someone who is just sharing random thoughts with the world.  I even considered my behavior trolling, once I looked at it closely.  A person on Facebook might not have English as a first (or even third) language.  A disabled person might not have the dexterity to type flawlessly.  Creative spelling and punctuation could be a conscious choice.  Mistakes can happen to anyone.

There is a time for editing words.  At the wrong time, it becomes annoying and hurtful.  I'm thankful I realized it years ago... I'd be insufferable on Twitter!

Have you ever corrected someone's grammar or spelling on social media? If so, why?






Friday, August 11, 2017

Interview with Poet Jeannine Hall Gailey

Photo: Jeannine Hall Gailey 

What influenced you to start writing and how old were you when you started?
I started writing poetry at around 10 years old, at the encouragement of my teacher and my mom. I also started competing in poetry recitation contests, which were a really fun excuse to memorize great poems. I still know at least a large bit of e.e. cummings' "Anyone lives in a Pretty How Town" and Louis Simpson's "My Father in the Night Commanding No" because of contests in the 5th and 6th grades! 

Do you have a writing routine? If so, what is it? If not, why not?
I've always been what I call a "regular sporadic" writer - I wrote in fits, sometimes two poems at a time, sometimes four poems a month. Now I'm trying to make a more concerted effort to write twice weekly. Even if I don't love the results, it's a good practice.

You came back to poetry during a time of illness, when your previous career path wasn't sustainable.  What was your official diagnosis and how did writing affect your outlook on your diagnosis/symptoms?
Yes, I had to quit a fairly demanding job as a technical manager at Microsoft because of my health. I didn't have many of my conditions diagnosed properly until years later - but it turned out I had a primary immune deficiency, a heritable bleeding disorder, plus early signs of the neurological problems that would become more serious later on. My husband encouraged me to go back to school to get an MFA after I quit my job - and because I was in a low-residency program, I was able to participate even while I was dealing with health struggles. Half-way through the program, I had my first book accepted for publication. It definitely took taking time off to get serious about - not reading and writing so much as the part I hadn't had time for - submitting, editing, volunteering, reviewing, etc. 
My health issues have had a huge influence on my writing - and my writing is a great practice that sustains me in the middle of physical illness, injuries, etc. . 

You write fairly often about changes in the (female) body, often with fantastical elements.  Has your relationship with your body influenced this interest?  If so, in what way?

One of the recurring themes in my work is the horrifying, the grotesque, and the monstrous - probably because I've always identified myself as a real-life mutant and being female is already treated as somewhat grotesque and monstrous by our culture. Selkies, mermaids, and dragons, in particular, repeatedly appear in my work. I also explore the tropes of comics - how supervillains are often portrayed as having mutations, illnesses/deformities/things that keep them in wheelchairs. I think if I didn't feel like quite so much of a medical mystery, I might not be quite so interested in these tropes.

Readers of your speculative poetry reach out to you more often than literary poetry readers.  Why do you think that is?  Do you think "genre-snobs" are less of an issue in poetry than in fiction?
It is interesting that I think maybe more people who are interested in my work happen to be fans of speculative and genre work. Maybe these people are more enthusiastic readers than poets are, in general? There are probably still people who don't want their poetry "contaminated" by speculative elements - but notice that Tracy K. Smith, whose Life on Mars was maybe one of my favorite speculative books of poetry, just got named Poet Laureate of our country, so I think the barriers between "literary" and speculative have been breaking down. 

How important to you is the form/style a poem takes?  Is there a form/type of poem you'd never try?
My early training in poetry was very much in a formalist bent, which I think I've mostly reacted against. I did embrace Japanese forms like haiku and haibun, especially in the years I was studying the language, culture of folklore of Japan, because those forms seemed more freeing and interesting to me than the sonnet, sestina, villanelle, etc. I've always been interested in hybrid forms, so I do mess around with couplets, prose poems, mini-paragraphs in poetry, that sort of thing.

You served as poet laureate of Redmond, Washington.  Was the appointment a surprise?  What was the most unexpected part of the position?
No, it was actually a position I was nominated for and then had to apply, just like a job application, and interview for, so by the time it happened, it was not a surprise. Although the fact that Redmond, a city mostly known for its tech (it's the home of Microsoft, among other companies) felt it was important to have a poet laureate program at all, was really exciting to me. The most surprising part was when I got to talk about poetry to Redmond's mayor and interact with local artists - those seemed like great moments of the intersection of civics and literary arts. The most enjoyable part was speaking with teenagers at local schools and doing youth workshops for the city. Redmond's young people are amazingly, inspiringly smart and driven.

Who are your literary influences/favorite writers? (They need not be disabled/neurodivergent.)
There's a big list! I think the biggest influencers have been Margaret Atwood, Louise Gluck, Haruki Murakami, Lucille Clifton, a Japanese writer named Osamu Dazai who is very well known in Japan but less well-known in America, and Kelly Link. Probably fairy tales, comics and television shows have also provided a lot of the inspiration for my work - probably from childhood experiences being sick and stuck indoors, I absorbed a lot of imagination ammunition from watching Miyazaki's movies and reading Andrew Lang's color series of Fairy Books.

What is the worst piece of advice you've ever received on writing/publishing?  Did you take the advice?  If so, what happened?
Strangely enough, I feel like I didn't get a lot of advice about publishing in either my M.A. program or my MFA program. I kind of had to stumble into the "business-side" of poetry for myself, which is why I've been a big fan of projects like the Poet's Market for new writers and have been writing a how-to book for poets about publishing and PR. I also had a group of friends, early in my writing career, who got together to talk about submissions and markets and that was a great thing for me. I really encourage writers to get together to encourage and support each other this way. The writing life is a LOT about rejection - and that can be hard to deal with in isolation. The poetry world can feel like such a secret club, and I don't like that feeling of exclusivity. Poetry should be for everyone - both reading it and writing it. 

You're writing a nonfiction book about PR just for poets.  Why is it so important for a guide to be written specifically for them?  Do you think a lot of books about marketing/branding leave poets out?
Yes, I have found in my own life that there were practically no resources out there specifically for poets on how to market their work. I mean, everyone assumed that poets didn't care, or weren't capable of marketing? I don't know. All the "how to market your book" material I found was mostly focused on fiction writers. Anyway, it was so hard scraping around and finding resources that I started posting blog posts about the topic that were very popular, and then my friend Kelli Agodon, herself a poet and one of the editors at Two Sylvias Press, encouraged me to address the lack of information with a book of my own. I worked on it for two years and I'm excited that it can provide at least a little information for people who have never thought about how to publicize a book of poetry (or knew that they would someday be required to.)
 ~*~*~

Note from Jeannine about her medical issues:  About a decade ago, I started having mysterious falls and some motor skill issues as well as numbness in my hands and feet. These were symptoms I had had for a while but hadn't thought much about, writing them off as clumsiness or stress. A neurological exam - suggested after an orthopedic surgeon determined one of my bone breaks was probably caused by neurological problems, not just "clumsiness" -  revealed neurological damage, and my MRI revealed a handful of lesions in my brain. It was unclear then what the lesions were. I had a new one show up last year. After workups for things like MS and stroke, the current thought is that a lifelong inability to process b12 - not just through my diet, but even shots - has caused permanent neurological damage. I started physical therapy especially for the proprioception and motor skill issues six years ago, when I was told I would be in a wheelchair permanently by three different neurologists. Though I still have setbacks that require a cane or even the wheelchair, I am happy to state that though my problems may continue and worsen as I age, the physical therapy had some success - enough to make walks in the park and going to readings without a cane a possibility for me again. 
I wrote a lot of poems about mermaids while I was in a wheelchair; one of them, "Mermaid on Land" is here: http://eyetothetelescope.com/archives/018issue.html
~*~*~

Biography:  Jeannine Hall Gailey recently served as the second Poet Laureate of Redmond, Washington. She’s the author of five books of poetry: Becoming the VillainessShe Returns to the Floating WorldUnexplained FeversThe Robot Scientist’s Daughter, and Field Guide to the End of the World, coming from Moon City Press in 2016. Her work has been featured on NPR’s The Writer’s Almanac, Verse Daily, and in The Year’s Best Fantasy and Horror. Her poems have appeared in The American Poetry Review and Prairie Schooner.  Her web site is www.webbish6.com and you can follow her on Twitter @webbish6.

You can find links to her books on Amazon - and to purchasing signed books from her directly - here: http://webbish6.com/books/

But she also encourages people to seek out and support small publishers by buying the books directly from them - Steel Toe Books, Two Sylvias Press, New Binary Press, Moon City Press, Mayapple Press.