NEW in YES, POETRY – “Rivulets” by Juliet Cook

By Juliet Cook

“Maybe it’s better than missing
the parts I loved. Part of the problem
is that half of what I love is bad for me
and it feels like the only way
to tone down one bad habit
is to get involved with another.”
from the poem “Rivulets”, by Juliet Cook,at YES POETRY today!
read more HERE –

Source:: Blood Pudding Press

NEW in White Stag Journal / Behind The Presses!

By Juliet Cook

Blood Pudding Press editor and poet, Juliet Cook, is incredibly delighted to be included in the new White Stag Journal Behind the Presses, which shares poems from poets who are also editors!
Her poem, “Out of Control” appears alongside poems by Lisa Marie Basile, Kristy Bowen, Megan Burns, Jeff Chon, Anthony Frame, Nichole Goff, Isobel O’Hare, Carleen Tibbetts, and Robert Andrew Perez.
Read some poetry HERE ––the-editors.html

You didn’t really deserve me on top
of you. I didn’t deserve to be born
this way, unable to shut my own mouth,
filled with an ongoing expanse of stingers.

from Juliet Cook’s poem, “Out of Control”

partake of more HERE –

Source:: Blood Pudding Press

Social Media Revelation – This Joust In – Vol 1 Issue 2

By Writing Knights Press

I honestly should have known better. I am not an idiot when it comes to tech stuff. I should have realized and applied myself earlier about the change in Facebook’s algorithm (algorithm is a pain in the ass to remember how to spell by the way). So, this lack of adaptation almost lead to me having 10 submissions for the Hessler Street Fair Poetry Anthology. The common response I received from people was they “didn’t see any promotion” on social media.

Thankfully, I had my one last ditch effort and went through two full contact lists and sent out a mess of a couple mass-type emailings and we now have a full, thick, throbbing collection of submissions for me to go through and let everyone know who is in, come May 23rd at Happy Dog (facebook event).

Even if you aren’t included in the anthology, you should absolutely attend the show and get a copy of the book. All of the proceeds go towards the Hessler Street Fair and that is one of the few institutions we absolutely love.

Click Read More for news about additional Submission Calls.

National Poetry Month is coming to a close in a few days and Writing Knights is charging ahead with our 10/30 (ten well crafted poems in 30 days). Submissions for that go from May 1-May 10 for inclusion in a Wayward Sword litmag to be determined later. Details here.

The Wayward Sword: Break the Mold has extended the submission guideline to May 10 and is reflected in a Facebook Event. There are five different calls.
Break the Mold.
Personify Poems.
Cover Art.

The Grand Tournament is still looking for submissions. There is a $5 entry fee (per person, per category) and a questionnaire we ask all entrants to fill out.

We also plan to have Vendors and Sponsors (we already have 1 sponsor, but are seeking more). So if any press or artist related person is looking to get a super inexpensive booth at a potentially well attended event, hit us up.

Other information about the Grand Tournament can be found under Grand Tournament 2018 up at the top of this page.

Original Book Cover from Wikipedia

In the tradition of haikuists who submitted for 1,000 Paper Cranes, Writing Knights is opening another submission call for 1,000 haiku under the name: “The Hero with a Thousand Faces” from August to the end of October.

Last but not least, we are always accepting FourPlay submissions from new authors (or at least new to Writing Knights authors). Details here.

Thank you for reading and we hope to see submissions from all of you for something!

Azriel Johnson
Director of Writing Knights

Source:: Writing Knights Press

Loss and Foundering by John Burroughs – Reviews!

By Dianne Borsenik

NightBallet Press is pleased to report that John Burroughs and I just returned from an exciting reading tour in the Midwest. Everywhere we went, John read from his new NBP book, Loss and Foundering, which is gathering some very nice reviews. Here are some of the reviews, with many thanks to the reviewers and readers, and some photos of John reading his work.

“This is truly a fabulous book. From the succinct haiku to the longer poems of anguish and wonderment, this is a book from a poet who has plunged the depth. There is joy to Burroughs also. A joy in the recognition of existence, a joy to be found in the revelation of honesty in the face of sorrow. To say the least, this book kicked my ass and will be a book that I go back to again and again.”
–John Greiner

“Heartbreaking and humorous by turns. Excellent wordplay. I enjoyed each poem, but I found several that demanded to be read aloud. So I did, and reveled in the sound of the words. I will read — and speak — these poems again and again.”
— Susan Lime

“Burroughs is a skilled explorer of language. This book, as his others continues to appreciate and push our crazy language as he explores grief, politics, and staying afloat through it all. Several of the poems are pure and heartbreaking. All of the poems are surprising and so worth our attention.”
–S Stephanie

You can get your very own copy of Loss and Foundering, and read all about its publication, HERE.

Source:: NightBallet Press


By Juliet Cook “She describes her style as, “emotional hailstorms (based on and derived from thoughts/feelings/memories) that are redirected and reshaped into poetry, sometimes more direct and other times more abstract. Often on the dark side.””

(Thank you very much to Bekah Steimel and Shannon Steimel for conducting this interview with me!)

Read the interview in its entirety (or just read parts of it, if you’d like), starting with a poem HERE –

Source:: Blood Pudding Press

The Hero with a Thousand Faces – Haiku Submission Call

By Writing Knights Press

Cover of the original, from Wikipedia
A hero ventures forth from the world of common day into a region of supernatural wonder: fabulous forces are there encountered and a decisive victory is won: the hero comes back from this mysterious adventure with the power to bestow boons on his fellow man.

Joseph Campbell’s summary of the monomyth.

A haiku may not seem like a hero’s journey, three lines or less, 17 syllables or less (or more) there are so many variations, some even include other forms similar like senryu.

But anyone who has written a truly remarkable haiku knows the struggle over syllabic count or the new English translation of what the Japanese called ‘on‘ or ‘morae‘ or even content that is relevant to a potential audience.

Submissions Accepted:
August 1, 2018-October 31, 2018


Subject line:
“The Hero with a Thousand Faces – (Preferred Creator Name)”

Email Body:
Up to 10 haiku/senryu.
These pieces can be linked to one another in a renku
(a series) or they can be stand alone pieces.
If your piece(s) come in the form of visual art, that is also acceptable,
just make sure the image is no larger than 3.5″ x 7″ 300 dpi jpg
(attach these instead of embedding in the email, do NOT embed them in a word document).
Our ideal is for 100 haikuists to send in 10 pieces each,
but we won’t discriminate if you only have 1 to send us.

Cover Art:
If you have an idea of something that might work, please submit!

Author Photo/Bio: *optional*
Black and white photo no bigger than 2″ x 2″ 300dpi
Bio written in haiku/senryu form.

Slated for the end of November (just in time for holidays).

Free PDF of completed anthology, huge discount on author copies.

Revert to author after publication.

Write about something you’ve never heard someone write about before OR write about something someone else has written, but do it in your own unique fashion.

Source:: Writing Knights Press

A NEW Mini-Review of “A Red Witch, Every Which Way” by Juliet Cook and j/j hastain (Hysterical Books, 2016)

By Juliet Cook 5 out of 5 stars
“Absolutely beautiful and disturbing at the same time, just the way I like my poetry!” Sarah Peterson’s delightful mini-review of “A Red Witch, Every Which Way” by Juliet Cook and j/j hastain

acquire your own copy HERE –

Also available from Hysterical Books –

Also available from Amazon –

Source:: Blood Pudding Press

Links to a few Blood Pudding Press chapbook reviews

By Juliet Cook The Book Reviews section of M. Earl Smith’s new website includes two reviews of Blood Pudding Press poetry chapbooks.

“Stick Up” by Paul David Adkins, which is still available in the Blood Pudding Press shop HERE –
and “Girl Gang” by Juliet Cook (currently discontinued)
Thank you to M. Earl Smith! Read the reviews by clicking the links HERE –

Source:: Blood Pudding Press

A NEW Review of the Blood Pudding Press poetry chapbook, “Paloma” by Jennifer E. Hudgens at Drunk Monkeys

By Juliet Cook

“This collection, beautifully hand bound by Blood Pudding Press, is a love letter to those who have left, and those who are left behind.”

from a NEW 100 Word Book Review of the Blood Pudding Press poetry chapbook, “Paloma” by Jennifer E. Hudgens.

thank you very much to Drunk Monkeys for this review.

read the rest HERE –

acquire your own copy of “Paloma” within the Blood Pudding Press shop HERE –

Source:: Blood Pudding Press

genuine feelings/conflicted feelings/conflicted forms of expression/death (some personal thoughts from Blood Pudding Press editor/poet/person Juliet Cook)…

By Juliet Cook

I have mixed feelings about poetry open mics, because on one hand I do want to share parts of my creative self, but on the other hand, I often feel uncomfortable publicly sharing my poetry unless a literary magazine or press specifically chose to accept it for publication. Sometimes publicly sharing it in front of a crowd feels a bit too close for comfort to forcing myself upon other people. Granted that doesn’t necessarily make sense, because most of the people who attend poetry readings are other poetry people who chose to attend for poetic reasons, but I sometimes (possibly incorrectly) sense them looking away from me or rolling their eyes. I can visualize a specific guy looking away last time I read one of my poems in public, but that doesn’t mean I know WHY he chose to look away.

If I was chosen as a featured reader (rather than random open mic reader), I sometimes feel better about it – but overall, I still tend towards feeling edgy and/or somewhat awkward and/or rather uncomfortable.

However, I don’t want to be invisible or unknown or unseen or unheard or un-involved in the poetry scene. But with that said, I’m no scenester. I don’t want to attend reading after reading in order to be a big part of a particular scene, and not allow myself enough time to focus upon my personal creative process. I feel the need to focus quite a bit of my time and mental energy on creative processing and writing by myself.

But on the other hand, I do like to not only read other poets, but also listen to, meet, and sometimes interact with other poets. I don’t want any poets to feel un-heard (unless they want their whole process to be private), but I tend to relate to poets who are into the actual creation of poetry more than poets who are into being a big part of the poetry scene. I’m not saying some people can’t be significant parts of both to an extent. I think it’s a balancing act that different people balance differently.

I personally alternate between focusing on my own poetry – and focusing on other people’s poetry via my small indie print press (Blood Pudding Press) and my online blog style lit mag (Thirteen Myna Birds) – and sometimes reading my poetry/listening to other’s poetry in person/in public.

But the primary mental/emotional part of it for me and my personal poetic/artistic expression is via the actual writing and the actual poetry.

Also, I often feel like with my own poetry and my press poetry and my slow reading, I don’t have nearly enough time to focus on just reading for the sake of reading – whether online literary magazines or print chapbooks or books. I’m not kidding when I say that I literally have HUNDREDS of unread poetry chapbooks and books in my home, because I like to support small presses by acquiring books that seem appealing to me, but also my reading is WAY slower than it used to be (before my stroke) and my brain is different than it used to be, and I can’t read/process anything quickly, so it’s hard to combine my own writing with a print press with an online blog style mag with reading other stuff too. That change of my brain sometimes makes me feel sad.

But I’m happy to be a creative individual, primarily poetry focused, with occasional spurts of visual art.


On another level of sadness, I sometimes feel like I am terrible when it comes to talking non-poetically about certain emotionally devastating issues, including death.

I don’t just want to tell someone that I’m thinking of them or praying for them (even if that is true); I want to express more/deeper/more individualistically, but sometimes I don’t know what to say or how to say it, unless I say it poetically/artistically in a way that’s open to interpretation.

It’s not that I’m unemotional or don’t have real life feelings.

I think I’m good at expressing my feelings on a small scale personal level; but I’m not good at expressing my feelings on a larger scale level, in which lots of people are expressing themselves in rapid succession. I guess I’m not good at rapid succession?

I don’t like to open presents fast, because I want good gifts to last as long as they can.

I don’t like to express strong sadness fast, because I don’t want it to come close to ebbing too soon.

I don’t know if any of this makes logical sense.

I don’t know what to do sometimes.

I don’t know.


So sometimes when a poet I know suddenly dies, I don’t know what to say right away. I don’t want to be silent about it, but I also don’t want to be someone who hardly ever says anything about someone when they’re alive, but suddenly seems to have a lot to say shortly after they pass away.

But I certainly don’t want it to seem as if I’m ignoring someone after they pass away.

But I also have mild aphasia based memory issues that seem to further add on to my not knowing what to say.

I do know that poet Marthe Reed suddenly passed away and I feel sad and upset about it, but I do not know what to say in a larger scale way. I did not know her very well on a personal level, but I have been aware of her poetically for years. I think I initially became aware of her through the Dusie Kollektiv, which I was involved with for several years, which was a truly wonderful, unique, creative, incredibly poetic, individualistic, expressive experience. I’ve read several of Marthe Reed’s chapbooks and they still exist within my home space. I am aware of her Black Radish Books. I’ve seen and briefly met her in person at a writing conference I attended. I don’t remember what we might have said to each other, which upsets me. Online, I’ve heard her read with my poetic collaborator j/j hastain – Marthe Reed and j/j hastain were poetic collaborators too. I truly appreciate Marthe Reed’s long term genuine poetic passion and ongoing poetry flow. I feel sad that she’s passed away too soon and I feel for those who knew her on a more in depth personal level. I am glad that her poetry will live on.

Sometimes I feel like I don’t communicate enough on a personal emotional level, in large part because I tend towards becoming overly emotional, to the extent that loss devastates me.

But then I worry that my reluctance to express feelings about death on a personal level aside from art/poetry might cause it to seem as if I am just ignoring death and I am not.


Sometimes when I try my best to express my true feelings in the moment, I end up ruining things.

But sometimes if I don’t express myself, I feel too close to approaching stagnation.

Source:: Blood Pudding Press