"Downvoting the Good Lawyer" by Daniela Olszewska

A few weeks ago, I went through a five minute registration process on NPR's website just so I could downvote the comment pictured above (never accuse me of not backing up my political and aesthetic beliefs with real life actions…). Good Lawyer's comments are not unusual or even particularly offensive. I hear some version of these sentiments every damn time a "friend" makes the mistake of mentioning in mixed company that I craft the occasional poem. I guess I see calls for "making sense to an average person" as something of a feminist issue. What I mean is, "average person" is usually (maybe even always?) a(n invisible) code for male (white, heterosexual, middle class, able-bodied, etc.)

Marisa Crawford on Thelma & Louise

We called it a horror movie. Because of the end. Because they almost made it. Because they maybe could’ve made it. Because they never could’ve made it. Because the world we live in wouldn’t have let them. And because they knew it. Switchback author Marisa Crawford (The Haunted House) writes about Thelma & Louise for Bitch Flicks.

"In Praise of Inefficiency, Or: Why I Love Reading for the Gatewood Prize" by S. Whitney H

When I joined the staff of Switchback Books in 2009, I was excited to be a part of something that combined a strong mission in which I believe with an artform that I’ve loved since childhood. But when I started reading for the Gatewood Prize that first time, I began to doubt the wisdom of our (amazing and talented) Founding Editors, Hanna Andrews, Becca Klaver, and Brandi Homan. I thought surely there must be a better way. Because they read EVERYTHING. And not only did they read everything, but they also refused to have the other staff and readers simply vote on submissions to indicate their favorites. Nope. They discussed EVERYTHING. At the time, I was the managing editor and I thou

Manifest Reviewed at Horseless Press

"I’ve been thinking about your title poem, 'Manifest,' and how this word functions conceptually in this collection. When something manifests, it is proven, it makes itself clear, it is evident. Yet, psychologically speaking, it’s kind of the tip of the iceberg-that little bit of the unconscious mind that lets itself poke through. It fights against our need to repress, to keep in darkness-manifest versus latent content of the dreams that seem to elude you. In this poem, 'Looking is a moss that needs space.' In my own work, I’m preoccupied with the gaze, the looked-atness of things, what is imposed and what we impose as the looker and the lookee. Subject-object relationships. I’m in lov

The Gatewood Prize Deadline is Approaching!

If you identify as a woman and have a manuscript for your first or second book of poetry, be sure and send it our way before June 1. Our editors read every manuscript that's submitted for the Gatewood Prize, and we would love to read yours. So go ahead and send it in. This year's judge is the always amazing Eileen Myles.

Friday Switchlinks

For those in Chicago, be sure to check out the Poetry Foundation's Sitting Between the Sea and the Buildings symposium tomorrow (Saturday). * Switchback author Kathleen Rooney's latest book is getting noticed in the Chicago Tribune and the Reader. * Charmion, aka Laverie Vallee, trapeze artist, stripper, and noted muscular woman of the Victorian era. Thomas Edison was a big fan. * Blogger/cartoonist Allie Brosh has returned after a long absence to talk about living with depression, and it is powerful and moving. * Sesali Bowen points out that "Hookup Culture" is not a thing. * Kate at Autostraddle on the problem of misogyny in the butch community. * Maureen Johnson's Coverflip challenge emph

Mónica de la Torre

Switchback's own Mónica de la Torre, author of Four, has a nice long conversation with Andy Fitch at The Conversant.

An Eleventh Hour Editorial from Nicole Faust

Don't get me wrong, reader, I genuinely felt excited when asked to contribute to the Switchback Blog v2.0 (is that what we're calling it? I suppose I am), but in this moment of writing, approximately six hours before I've promised our editor that I would have it sent over, I feel hesitant—well, terrified—yet to decide what it is that I'd like to say. It is my instinct to just immediately apologize about the tangles of thought and text to follow, the lack of focus and resolution with which I will write about the situations of small press publishing and of women, the axis at which these subjects meet. But, then, what am I apologizing for? This is the internet. We've all seen the bullshit that

Staff Profile: Ellen Fogelman

1. What do you do for Switchback? I'm the Development Coordinator, which means I research grants and other funding opportunities and apply for them. The best part of this has been hearing all the different project ideas that the Switchback editors and staff have—the future looks very exciting from here. 2. What do you feel like you get out of working for Switchback? I strongly believe in Switchback's mission and am happy I get to be one of the people working to support it. Also, it's great to be part of such a vibrant and hardworking team! 3. Where are you from, and how important is where you’re from to you? I'm from suburban Chicago, which is not very exciting. I would say the specific

© 2017 Switchback Books

  • Black Facebook Icon
  • Black Twitter Icon
  • Black Instagram Icon