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David Ebenbach’s first full-length collection of poetry, We Were the People Who Movedis available from Tebot Bach. The book won the Patricia Bibby First Book Award. “These profoundly moving poems register in the reader’s heart and won’t be budged. Truth-telling and tonic, they are poems by which to measure one’s life,” Kelly Cherry has written of Ebenbach’s work. For Jesse Lee Kercheval, We Were the People Who Moved “is a journey you will be grateful for having taken, a book that will stay with you long after the last poem.”

Ebenbach has several recent publication credits. In August, his story “Nobody Else Gets to Be Crazy When You’re Being Crazy,” was featured in the online edition of AGNI. His poem “Everything is Going to Be Okay” appeared in the March 2014 edition of Stirring: A Literary Collection, as well as in The Ilanot Review: Sacred Words. Ebenbach, winner of the 2012 WWPH Fiction Prize, has also contributed poetry to the Washington Post’s weather blog, Capital Weather Gang.

The new chapbook by Brandel France de Bravo, “Mother, Loose” won the Accents Publishing Prize in 2014 and was published in January 2015. Sandra Beasley, author of “I Was The Universe,” writes: “Deft and heartbreaking, these poems ask us to step out from under the sheltering wing of Mama Goose, and into the arms of Morpheus.” Read an interview with the author here. The chapbook may be purchased online from the Accents Publishing website.

Sid Gold’s latest book, Good With Oranges, was published in January 2015 by Broadkill River Press. About the author, Lyubomir Nikolov writes: “Sid Gold is a quintessential American poet…who keeps expanding his artistic universe.” During 2014, Gold received a Maryland State Arts Council (MSAC) Individual Artist Award for Poetry; his second such award.

The Baltimore Review published Piotr Gwiazda’s poem ”The Propertyless”. In Translation, a web-exclusive section of The Brooklyn Rail featured Gwiazda’s translations of poems by Grzegorz Wróblewski.

Kathleen Hellen, author of Umberto’s Night (WWPH, 2012), has recent work in Rhino and The Wide Shore. In 2015, Poetry Daily featured her poem “A Month of Sundays,” which originally appeared in Tar River Poetry. Read it here.

Hellen’s latest chapbook, Pentimento was released in August 2014. It is her second chapbook with Finishing Line Press.

Of Hellen’s “How I Came to Some Advantage”, one of the poems in the upcoming chapbook,Swarm Poetry Editor Dillon J. Welch says:

“The economy of her words, the strange pigment in images, the unanticipated ways in which her lines unfold and break off; these are few of the many reasons I was compelled to publish Kathleen’s poem. On first read, it was evident that this poem was of another planet, another solar system entirely. But it’s what kept me returning that made me truly fall in love: “I see / inside crying the signs beyond shadows I seem. What looks to be / the reason is the trees are signs, confounding.” This poem is the picture of innovation in writing, and for that I love it, as you should, too.”

You can read the poem here. The chapbook can be ordered directly from Finishing Line Press.

Hellen’s poetry has appeared recently in Drunken Boat and Oyster Boy Review, which also published her review of poet Junzaburō Nishiwaki’s The Modern Fable.

Elisavietta Ritchie’s essay on the Macomb Street Workshops has been published in Beltway Poetry Quarterly. Ritchie’s piece focuses on three notable writers — Maxine S. Combs, Elizabeth Follin-Jones, and Hillary Tham — who were stalwarts of the 1980s-era workshops hosted by Ritchie.

Ritchie has recent poetry in Loch Raven Review, The Ledge, and Lalitamba Journal. Recent fiction by Ritchie appeared in Issue 47 of Prime Number.

David Taylor recently had two new stories appear in print: “Lovely, Dark and Deep” in Gargoyle 61, and “That Red Vest” in The MacGuffin’s Fall 2014 issue.

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