Sunday, October 14, 2018


We are pleased to release the Fall 2018 issue of The Marsh Hawk Review. Thank you to the poets for sharing their works. Here are the participants to this issue of the Review:

Mark Young
Irene Willis
Peter Vanderberg
Lynne Thompson
Susan Terris
Eileen R. Tabios
John Simonds
Mara Adamitz Scrupe
Barry Schwabsky
Susan M. Schultz
Janice Lobo Sapigao
E. San Juan, Jr.
Barbara Jane Reyes
Randy Prunty
Paul Pines
Naomi Buck Palagi
Gwynn O’Gara
David O’Connell
Geoffrey O’Brien
Rich Murphy
Michelle Murphy
Daniel Morris
Sandy McIntosh
Tricia McCallum
Agnes Marton
Mary Mackey
Hank Lazer
Amy Grace Lam
Basil King
Burt Kimmelman
Sherry Kearns
George Kalamaras
Jacqueline Jules
Paul Ilechko
Michael Hardin
Grace Grafton
Anne Gorrick
Kirk Glaser
Robert Gibb
Danny Gallardo
Thomas Fink
Thomas Fink and Maya D. Mason
Carol Dorf
Shira Dentz
Aileen I. Cassinetto
Tom Beckett
Ryan Bayless
Ivy Alvarez

Saturday, October 13, 2018


One of Marsh Hawk Press' newest initiatives is the Chapter One Project which shares writers' early beginnings. Watch and listen to Denise Duhamel reading from her Chapter One memoir--click HERE to see the video.

Tuesday, October 9, 2018


Last night, October 8, 2019, a new documentary, Le parrain de Manhattan,  (Trump: The Godfather of Manhattan) premiered on FRANCE 3, French Public Television. It featured an interview with Sandy McIntosh on his recollections of Donald Trump as a fellow military school cadet and opinions of his present occupation. The documentary will repeat often and is available on demand on cable. It's in French, of course. 

Friday, October 5, 2018


Thomas Fink is interviewed about his Selected Poems & Poetic Series by  Shivaji Sengupta and Natsuko Hirata.  You can see this interesting conversation at Dichtung Yammer, but here's an excerpt:
I think that, in much visual poetry, spatial arrangement that departs from the accustomed linearity of free verse influences the reader’s process of meaning-making. In my shaped poems, I solicit the mutual pressure of words’ and clauses’ signifying possibilities and shapes’ constraining and exfoliating tendencies. This also happens in the enjambments and end-stops of free verse, accentual verse, and texts that involve a counting of words per line (something I do), but curves and angles of shaped poems may slow down or speed up a reading process in a different way than these other modes. Except in the “Goad” series, I haven’t intended shapes for series or individual poems to offer referential or emblematic “hooks.” One example would be the smaller quasi-sphere on top of a larger quasi-sphere in the “Jigsaw Hubbub” series which probably encourages a slowing down in the second, longer part. 
When I develop a shape or ensemble of shapes for a poem or painting, I tend to read each abstractly. I prefer somewhat arbitrary collisions between the visual and verbal elements. I’m not George Herbert nor was meant to be, and not only from a religious perspective. Of course, when Willem de Kooning was asked whether it was possible at a certain point in art history to paint a face, he retorted that it was impossible not to; any intended abstraction can be contextualized as a figurative construct.