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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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Today on the Nightboat blog, the poet Carrie Hunter discusses the writing and process behind her book Vibratory Milieu, taking us along with her as she details her experience writing poems in the back of…

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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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Today on the Nightboat blog, we're highlighting the soon-to-be-published Honey Mine by Camille Roy (ed. Eric Sneathen and Lauren Levin, pub date 6/29), a book of collected stories written roughly between 1985 and 2018.…

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As Pride month approaches, we're revisiting Neotenica by Joon Oluchi Lee, finalist for the Lambda Literary Award in Gay Fiction and the Ferro-Grumley Award for LGBTQ Fiction from the Publishing Triangle Lambda Literary Award! Editor (and fellow Nightboat author) Andrea-Abi Karam sits down to pick Joon's brain on writing sex scenes, queer life in the early-2000s Bay Area, and the future of gay cruising post-pandemic. Take a look! _______________________________________________________________________ Andrea Abi-Karam: As you already know, we both lived in the Bay Area but at slightly different times. Could you talk about the process of writing and setting Neotenica in an early 2000s Bay Area—an era that has…

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On the publication day of Eruptions of Inanna, learn more about the thinking and process behind author Judy Grahn's queer reclamation of these ancient myths, as well as Grahn's long and storied history of…

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Happy publication day to Muriel Leung's Imagine Us, The Swarm! For the Nightboat Blog, Leung speaks with poet and prose writer T.K. Lê about collective imagining; illness, contagion and their racist historical specters; Asian American femme anger; and so much more. _______________________________________________________________________ T.K. Lê: You write about the ritual of the word “once,” how it signals the start of a story that is pinned to a finished past, and how that story is important enough to be remembered. Saying “once” implies you are in the future of this past story. You continually reveal the falsity in this linearity, showing instead how history lives…

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