With new poetry from Lorrie Ness, Beth Davies, Tara Tamburello, Jennifer K. Sweeney, Malisa Garlieb, Benjamin J. Brezner, Melinda Clemmons, Diana Anhalt, Kevin Stadt, Marc Huerta Osborn, Remi Recchia, Spencer Riggi, Janice Northerns, Alan Chazaro, K.J. Li, Liz N. Clift, Michael Quinn, Ken Hada, Disha Trivedi, Danny Duffy, Angela Maria Spring, Joe Frye, Jennifer Hansen, Leland Seese, Rachel Lauren Storm, Olivia J. Kiers, Brandon McQuade, Robbie Gamble, Barry Peters, and Ceilidh Barlow Cash.
Rust + Moth’s Winter 2019 issue is now available in print! These pages break without bending. On the eve of a dark and critical year, may this fistful of wildflowers flow free through your blood.
The Best of the Net Anthology gives well-deserved recognition to authors and journals who publish online, and the Pushcart Prize honors the best of America’s small presses. Our nominations are off, and Rust and Moth is proud to announce our 2019 nominees!
Best of the Net Anthology
- Command, or, Coding a Filter for Sexual Content in an Online Marketplace, by Julia Roth
- We See Fireflies Our First Night in Chicago, by Laura Passin
- womanhood, by Mela Blust
- Laying the Grave Blanket, by James Reidel
- Bomb Pulse with Culpability, by C. Samuel Rees
- The Hands and the Clock, by Deirdre O’Connor
- persephone dreams of a place where the sky falls out, by Kathryne David Gargano
- Dark Souvenirs, by John Amen
- Love Poem: The Asteroid’s Sonnet, by Benjamin Cutler
- Apricots or Maybe Peaches, Both Are Soft, by David Andrews
- Orphan Hagiography, by Joshua Gage
- The Hands and the Clock, by Deirdre O’Connor
We invite you to take a deep dive into these poems and then explore the larger work of the writers who penned them. It took us weeks to distill these eleven pieces from the many wonderful poems we published in the last twelve months — thank you to all of our contributors for making this such a difficult decision. And good luck to our nominees!
With new poetry from Courtney LeBlanc, Kathryne David Gargano, Lee Potts, Mary Buchinger, Andrea Livingston, Scott Moncrieff, Priyanka Yap, Shannon Austin, David Andrews, Victoria Nordlund, Benjamin Cutler, Megan McDermott, C.C. Russell, Sheree La Puma, Taleen Mardirossian, Stefan Lovasik, Kassandra Montag, Jennifer Mahoney, Joshua Lavender, WJ Lofton, Tomo Lazovich, Jonel Abellanosa, Barbara Daniels, Michele Karas, Samantha DeFlitch, Ash Bowen, Cara Waterfall, Sarah Lyons-Lin, Suzanne Langlois, and Marissa Glover.
Also available for Kindle.
Rust + Moth’s Summer 2019 issue is now available in print! Here you will find sarcophagi, nucleic acids, multiple tornadoes, and burning incense — all things beating back against the current as they rise.
With new poetry from Deirdre O’Connor, Ariana D. Den Bleyker, Clair Dunlap, Suzanne Grove, Caitlin Conlon, E.A. Petricone, Diane Callahan, Audrey Lewis, Imran Khan, Clint Margrave, John Amen, Bojana Stojcic, Rachel Roupp, Michael Mercurio, Emma Easy, Adina Kopinsky, Veronica Kornberg, Nels Hanson, Laura Lee Washburn, Marie Baléo, Emily Lake Hansen, Katherine Fallon, Alice Pettway, Cynthia Atkins, and Noor Alali.
Also available for Kindle.
With new poetry from Ann V. DeVilbiss, John L. Stanizzi, Hannah Carpino, Robin Moss, Rhiannon Conley, Michael Martella, Adelina Sarkisyan, Patricia Caspers, Spencer Riggi, Natalie Solmer, Elizabeth Ruth Deyro, Vincent Petruccelli, Diana Clark, Theo LeGro, Mary Hanrahan, Arah Ko, Julia Roth, Theadora Siranian, Ben Togut, Emry Trantham, Emily Schultz, Steven Duong, and Suzanne Langlois.
In memory of the great Sharon Mansfield. Every student should be so lucky to have had a teacher like you.
Rust + Moth’s Winter 2018 issue is now out in print! These poems are liminal, evening-dark, and determined. Come leaf through the year’s last pages and take notes when you can — this is a graduate-level class on how to carry a silence.
With new poetry from Tanya Singh, Brandon Melendez, Kristy Bowen, Reilly D. Cox, Kanika Lawton, Keith Carver, Aldo Amparán, John Sweet, Yuan Changming, Jennifer Wolkin, Darren C. Demaree, Mariya (Masha) Deykute, Anthony Lawrence, D.W. Struthers, Luisana Cortez, Catherine Rockwood, Emily Paige Wilson, Ron Stottlemyer, Emily Tuttle, and Jen Stewart Fueston.
Also available on Kindle.
The Best of the Net Anthology gives much-appreciated recognition to authors and journals who publish online, while the Pushcart Prize honors the best of America’s small presses. This fall, Rust + Moth devoted time, love, and a few stamps to nominating our favorite poems for these anthologies, and we are proud to shout their names from the rooftops now.
Best of the Net Anthology
- The Capacity for Malignancy is Ancient, by Chera Hammons
- Ascend from the moon, by Erin Coughlin Hollowell
- Frontier, by Lotte Lee Lewis
- Landscape with Human Figures, by Samuel Hughes
- Outside Pablo’s, by Jackson Burgess
- These Are The Things That Shape Us, by Wanda Deglane
- Grief, Carrying, by Kanika Lawton
- Shoveling Snow, by Reilly D. Cox
- The Good Body, by Ginna Luck
- It’s Only Ever Autumn, by Emily Paige Wilson
- How Merleau-Ponty and Anonymous Zen Masters Saved the Author’s Sanity, by Catherine Rockwood
- Collect of the Day, by Emma Bolden
Electricity, innovation, and language rarely strike the same hilltop like this. We invite you to take a closer look at these pieces and see with fresh eyes what poetry is capable of.
Also, if you’re thinking of contributing to Rust + Moth, there’s no better place to get a feel for our journal than these selections. It took us weeks to distill these twelve from the many wonderful poems we published last year — thank you to all of our contributors for making this such a difficult decision. And good luck to our nominees!
Rust + Moth’s Autumn 2018 issue is now out in print! This is a heavy one, dear readers, laden with ink and black water. We invite you to fill your pockets, go deep, and hold your breath as long as you can.
With new poetry from Laura Passin, James Croal Jackson, Rebecca Kokitus, Brian Randall, Alexandre Ferrere, Pat Hanahoe-Dosch, Ashley Underwood, Jen Davis, Kate Wright, James Reidel, Alyssa Hanna, Catalina Righter, Phillip Watts Brown, David Gilmore, Erin Wilson, Daniel Pieczkolon, Deanne Napurano, Peter E. Murphy, John Grey, Gabe Herron, Amy Strauss Friedman, Christina Thatcher, Cynthia Atkins, Savannah Cooper, C. Samuel Rees, Mela Blust, Emma Bolden, Martin Ott, Brendan Stermer, Kimberly Dawn Stuart, Effy Winter, Sally J. Johnson, Cameron Morse, Susan Richardson, Neva Bryan, and Kathleen Mitchell-Askar.
Ten years. Ten dizzy trips around the sun. Forty seasons, hundreds of authors, and the singular gift of poetry, flagged down and rebroadcast from the nearest moon tower.
Rust + Moth’s ten-year anniversary issue is now available in print! Featuring our favorite poems from our first decade as a journal, this special Summer 2018 issue features a litany of surprises for our beloved contributors and readers.
With poetry from Hannah Dellabella, Meghan Bliss, Tammy Robacker, Brittany Adames, Moriah Pearson, J.A. Batty, Katie Gleason, Chloe Stricklin, Liz Hogan, Monica Lewis, María Isabel Alvarez, Avery M. Guess, Lauren Yates, Emily Corwin, Erin Marie Hall, Kristen Case, Torrin Greathouse, Kevin Casey, Denise Rodriguez, Estlin Thomas, Isabella Black, Salvatore Attardo, Sergio Ortiz, Matthew Payne, Chera Hammons, Suzanne Langlois, Mary Alice Endicott, Matty Layne, M. Brett Gaffney, Tasha Graff, Sarah Nix, Jacqueline Sabbagh, Patrick Venturella, Brian D. Morrison, Hannah Kroonblawd, Julia Kolchinsky Dasbach, Tyler Kline, Tom Carrigan, and Vanessa Bissereth.
Ten years and counting, dear readers… this one’s for ya’ll. Thank you for being our mustard seed.
With new poetry from Zoë Fay-Stindt, Elizabeth A. Dear, Lotte Lee Lewis, Catherine Esposito Prescott, Ginna Luck, Jack Martin, Wanda Deglane, Alana Saltz, Jessamine Price, Jack B. Bedell, Sarah Broussard Weaver, Erin Traylor, Kim Welliver, Bobby Steve Baker, Kelly Eastlund, Amber McBride, Kathryn Leland, Sara Brody, Mariel Fechik, Mike Soto, Jackson Burgess, Sherine Gilmour, and Charlotte Covey.
“I explain to my patients that abused children often find it hard to disentangle themselves from their dysfunctional families, whereas children grow away from good, loving parents with far less conflict. After all, isn’t that the task of a good parent, to enable the child to leave home?”
―Irvin D. Yalom
This is not the story of a good parent. The Patient Admits, a ferocious and singularly inventive chapbook from author Avery M. Guess, is a harrowing look at parental abuse, psychiatric hospitalization, and the author’s own black-eyed fight for autonomy and survival. Some will feel intimidated by the book’s acidic subject matter, but for those willing to take the leap, The Patient Admits reads like an army field manual, or perhaps a forbidden spellbook. These poems ― which, on a personal note, contain the single most chilling piece I’ve encountered in almost 10 years of editing a literary journal ― draw the reader back like an arrow and never let go.
The chapbook begins deep in the always-lit hallways of a psychiatric facility, and it is here that Guess unveils her first survival tactic: the manipulation of letters and words. By a process of subtraction and reordering, she rips apart her own admission paperwork and tells a far-more lived and comprehensive history than the original document ever could. Subsequent pieces, culled from inpatient writing exercises, employ acrostic poetry to defiant effect. Guess’ utilization of found poetry reveals her rare power over the written word, which, after appropriate dissection and reassembly, can be used to pick locks:
Anything I say will be held against me. This complaint for instance. You’ll label me non-compliant for complaining. I may be held. There are restraints for that. Medicine. Jackets. Rooms. But I swear, I’m only moving two letters around. I-A-N-T. A-I-N-T. The beginning’s still the same.
The beginning can’t be changed, but the present can certainly be medicated. The Patient Admits is littered with medicine of ambiguous efficacy. Prozac. Wellbutrin. Effexor. White tablets that open portals to snow-covered forests, where the trees “wear their skeletons on the outside.” It’s details like this, authoritative and strange, that mark Guess as a fierce voice and true wordsmith. And when the words themselves fail and fall apart in her hands, Guess keeps going, manipulating the very paper said words are written on. This process feeds into an unusually lucid description of PTSD and its attendant flashbacks:
Draw two dots, six inches apart, on a sheet of paper.
Label the first dot childhood (or substitute a time in your life that haunts you).
Label the second dot with your name and location. Include the current day, date and time.
Draw a line between the two dots. Call this linear time. It travels from point A (the past) to point B (which is always right now).
Call this good. Call it the past staying where it belongs.
Fold the paper in half so the two dots line up exactly.
Take a pencil or other pointed object and punch a hole from point A through to point B.
See how the distance between the dots shrank from six inches to barely a whisper in an instant?
This kind of poetic meta-manipulation casts a disorienting spell upon the reader. Simply put, there is no ground here, and each such masterful choice, further reinforced by frequent and powerful references to the ocean, are dizzying to read. Electroshock treatments are re-imagined through the lens of boiled lobsters. Dark memories hover like jellyfish underwater, where the will to live becomes the will to float. Depakote becomes a portal to a violent and vodka-drowned dollhouse. These are choppy seas, and the ending isn’t necessarily happy… or, for that matter, an ending. But this book, dedicated to the “good therapists,” is one of the most haunting portrayals of mental illness ― and survival ― to emerge from any medium in years. The Patient Admits is not the story of a good parent, a tragedy which becomes clearer with every fucked-up page-turn. But it is the story of a child. A child who endured, and a child who left home.
A child who became a writer when she grew up.
Editor, Rust + Moth
For the Dancing Girl Press catalog entry, please visit:
A strange and sped-up mind once said, “I am the living, whispered warning in the Roman general’s ear: ‘Glory is fleeting.’ And in that verb – that active verb ‘fleeting’ – there I live, there I reside.”
With new poetry from Ann V. DeVilbiss, Brittany Adames, Twila Newey, Olivia Wall, Ronda Broatch, Matthew Heston, Dana Koster, Nathan Elias, Ashton Kamburoff, Erin Coughlin Hollowell, E.B. Schnepp, Caylie Herrmann, Phillip Watts Brown, Melanie Ritzenthaler, Molly Davidson, AJ Wolff, Jamie McGillen, Ginger Hanchey, and G. J. Sanford.
The Pushcart Prize honors the best of America’s small presses. This November, Rust + Moth nominated the following six authors for the Pushcart Prize, and we are proud to shout their names from the rooftops now.
- The Patient Admits, by Avery M. Guess
- Straggler, by Lauren Yates
- Spell to Reveal Origin, by Ann V. DeVilbiss
- Husk, by Erin Marie Hall
- Enough, by Amanda Galvan Huynh
- I Will Only Answer If You Rephrase the Question, by Laura Filion
These poems tell the truth, and each one tells its story with discipline, music, and courage. We invite you to take a closer look at these pieces and see with fresh eyes what poetry is capable of.
Also, if you’re thinking of contributing to Rust + Moth, there’s no better place to get a feel for our journal than these selections. It took us a few weeks to distill these six from the many wonderful poems we published last year — thank you to all of our contributors for making this such a difficult decision. Good luck to our nominees!
Rust + Moth Autumn 2017 is here! Follow the bread crumbs — these spiral pages carry broken homes on their backs. You can read this strangely cohesive collection on our website or purchase a physical copy.
With new poetry from Chera Hammons, Samuel Hughes, Jon Riccio, Maggie Fern, Laura Filion, Kieran Collier, Aden Thomas, Mitchell King, Kari Astillero, Suzanne Langlois, Michael Wayne Hampton, Erin Jin Mei O’Malley, Brian Cordell, Amorak Huey, Joshua Lee Martin, Lauren Yates, Elspeth Jensen, and Nicole Stockburger.