I’ve got four new pieces up at Heavy Feather Review, each from different sources/directions. I haven’t published much lately and haven’t been submitting  due to life’s complexity & brevity, plus the fact that I’m sitting on new Misery pieces so there’ll be something exclusive for the Sarabande book.

So I’m particularly glad to have some work in Heavy Feather. The editor wrote an introduction that I like a lot:

Sarah J. Sloat reminds us that even in our digital culture writing is about texture. Combining words, images, and erasure, her work exposures the landscape residing within every page. Sloat is a poetic detective that looks behind the whiteness. At her hand, the line of text moving across then down a screen becomes inhabited space where we are invited to linger. For Sloat, reclaiming the native, pre-Cambrian territory of literary art is its truest celebration.

The first piece in Heavy Feather is “Form of the Pages,” which is not an erasure but a collaged page from Benjamin Franklin’s autobiography. There are two erasures, too, one from Eudora Welty’s “Thirteen Stories” (Moon Lake), and the other from Richard Ford’s “Independence Day.” The latter started with a found poem I did ages ago as part of the Pulitzer project with the now defunct Found Poetry Review, a Jenni B. Baker brainchild. The last is a collage with a phrase ripped from the Welty collection. It’s dominated by a photo from a book about a chemical company, flowers from a book on indoor plants, some library ephemera and strip of a glossy graph.