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Today we're celebrating the publication day of Oscar Oswald's Irredenta! In a conversation for the Nightboat Blog, Nightboat author Gillian Conoley and Oscar Oswald discuss the seductions, pitfalls, and politics of the pastoral, the lyric "I," and the American West, among other topics. Take a look below!   Gillian Conoley: Dear Oscar, your debut Irredenta, so aptly named, is both positioned within and a critique of the pastoral tradition. I’m intrigued by the lyric you shape throughout, a “herdsman’s song” full of resistance and dissent, and yet also a lyric that retains a delicious lush sense of the lyre. You might not…

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Happy publication day to Villainy by Andrea Abi-Karam! In an interview for the Nightboat Blog, Andrea speaks to Villainy designer and Nightboat editor-at-large Evan Kleekamp (who edited the book alongside editor-at-large Kim Calder), about the political brattiness of advocating for oneself, collaborating over Zoom, the Arabic script justification kashida, and much more. Take a look below: Evan Kleekamp: So which one of us is harder to work with 😈 Andrea Abi-Karam: I really don’t feel like I’m hard to work with though I am very particular about how my work is rendered visually and materially, as you well know :). As a poet who writes…

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In an interview for the Nightboat blog, poet and writer Snigdha Koirala, author of Xenoglossia, speaks with poet Divya Victor, author of Curb, about documentary poetics, the "debts and gifts" of citation, the practice of witnessing, water, and more. Take a look below! Snigdha Koirala: The act and practice of witnessing is a concern throughout Curb. I was particularly struck by “Blood/Soil,” which grapples with the 2015 police assaults against Sureshabhai Patel in Madison, Alabama. There seems to me a double construction of the witness in this poem: the first being the lyric-I, the I writing on the page, which…

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What goes into the making of a book cover? Take a behind-the-scenes look with Rosie Stockton, author of Permanent Volta, and Nightboat designer Rissa Hochberger on the visual inspirations which led to the final cover of Permanent Volta—from S&M lesbian pulps to falling vines to Lacan—and the process of creating a truly representative cover for the book. At the beginning of the process of articulating a vision for the cover of Permanent Volta,  I offered a few abstract directions of moods we could go in: “flat / pamphlet / grecian / typeface forward” or “deserty nocturnal / sexed up pastoral / solarized…

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Today on the Nightboat blog, we're taking a spotlight to Cole Swensen's Art in Time, published in May by Nightboat. Read through for Cole's take on the artists who inspired the writing of this collection--as…

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Happy publication day to Gillian Osborne's Green Green Green, a collection of hybrid essays on histories of nature writing and the natural world. Here, Gillian Osborne writes on the work of artist Orra White, the wife of American geologist Edward Hitchcock, and how the impact of her work and the experience of looking through her archive influenced Osborne's thinking behind Green Green Green. ______________________________________________________________________ “When Flowers annually died and I was a child, I used to read Dr Hitchcock’s Book on the Flowers of North America,” Emily Dickinson wrote to Thomas Wentworth Higginson in 1877. “This comforted their Absence – assuring me…

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