Welcome to this week’s BULL PEN where we celebrate some of the latest and greatest doings of our BCP friends & family. –Noah Stetzer
Logos—a statement’s content or argumentation—in art behaves more malleably than the logos of a speech or an actual argument. A song, painting, film, or poem’s logos is often elastic to such an extent that it can be co-opted; its ethos—the character and credibility of the speaker—is erased or altered so dramatically as to be unrecognizable. Subsequently, this can give (or attempt to give) the work of art a whole new pathos—or emotional influence—than the creator intended. This plasticity can be a beautiful or a maddening thing. —Kathleen Rooney at Poetry Foundation
The latest Tinderbox Poetry Journal features a powerhouse line up that includes many BCP friends and family: Kerrin McCadden, Stevie Edwards, Justin Bigos, Stacey Balkun, and more!
Kathleen Rooney’s, contributor to INCH 16, O, Democracy(Fifth Star Press) is included in the Chicago Review of Books‘ “The 10 Best Chicago Novels of the 21st Century So Far.”
Check out Issue Eighty-Four of The Collagist for BCP author: BJ Hollars—In Defense of Monsters (Bull City Press, due out this year); Grind Daily Writing series participant: Regan Huff; and a review of The Witness(Minerva Rising) a chapbook by Grind contributor, Kelly Fordon.
Memory is both an anchor and a current. In my poetry, it allows me to stop and to plumb the depths of my life, even as it tries to push me forward, to carry me with all the great movement of time. In this way, memory is both about what happened in the past and what’s important to you in the present and how that shapes the future. For me, the past and the present are equally relevant when I sit down to the write poems and, in some cases, they make a good justification for the inclusion of one another. —Emilia Phillips, interviewed at Memorious
by Tiana Clark winner of the 2016 Frost Place Chapbook Competition