Publication Date: September 1, 2026

Paperback, 74 pages 

ISBN: 978-1-966677-51-2

In Treesongs, the latest collection from poet Amy Barone, she pays homage to all things green. This volume reveals her love of nature, and emphasizes her deep appreciation for trees – as scenic beauty, environmental necessity, and a source of spiritual wonder.

Praise for Amy Barone & Treesongs

In her new collection of poems, Treesongs, Amy Barone takes us on vivid journeys around the globe. In each of these poems, she offers insights into history, sorrow, joys, and the natural environment, while trees of many varieties stand as witnesses to life. In her poem, “Sanso Garden,” Barone tells of a garden of bamboo trees in Kyoto, Japan where there is a sign that says, “I hope you can meet the Buddha here today.” By savoring these masterful and beautiful poems by Amy Barone, we can most definitely encounter the Sacred.

—Maria Famà, author of Trigger

Amy Barone’s new book of poems, Treesongs, is informed by an amazingly professional and loving feel not for only trees, but for all of Nature’s artifacts; wildflowers, water, etc. She marshals this marvelous array of natural salvation to offset the sadness of where the human world is at today. Barone‘s book joins with Nature and will live forever!

—Ron Kolm, author of The Bookstore Book: A Memoir

Amy Barone’s latest book takes us along as she travels with the intent to sample a menu of the untried. Going from one oasis of peace to another, she visits Iceland, Japan, Laos, Greece, Morocco, India, Italy and, closer to home, Wyoming, Montana, and home itself as she explores the depths of the human heart. Journeying through sections of the book—Leaves, Branches, Trunk, and Roots—we observe through her the special nature of places that nourish the anima and experience the complexity of emotions held within ourselves—longing, lost moments precious or sad, ghosts of the past, search for hope, spirituality, and a sense of peace in untamed landscapes and locations where she can pass through a living prayer thatgoes on and on and learns about and participates in unique spiritual practices of place and its reverence for nature and history.

‍—Karen Neuberg, author of Pursuit & the elephants are asking

About the Author

Amy Barone is the author of Defying Extinction, published by Broadstone Books in 2022. Her book, We Became Summer, was released by New York Quarterly Books (2018). Barone wrote Kamikaze Dance, fromFinishing Line Press, which recognized her as a finalist in the 2014 Annual New Women’s Voices Chapbook Competition. Foothills Publishing released her first chapbook, Views from the Driveway, in 2008. Her poetry has appeared in The Café Review, New Verse News, The Ocotillo Review,and Paterson Literary Review, among other magazines and anthologies. 

‍She spent five years as Italian correspondent in Milan for Women’s Wear Daily and Advertising Age. Barone has worked as a communications director at non-profit, government, and private organizations. She holds a Bachelor of Science degree in Business Administration from Villanova University and a Master’s degree from the Thunderbird School of Global Management.

‍Barone is a member of the brevitas online poetry community that celebrates the short poem. She performs at spoken word events at venues in New York City and Philadelphia. A native of Bryn Mawr, Pennsylvania, she lives in New York City and Haverford, PA.

Publication Date: July 15, 2026

Paperback, 84 pages 

ISBN: 978-1-966677-50-5

The poetry of Jan Minich in The Color of a Cougar takes us from Ohio (“the change of a season, /  autumn in Ohio I haven’t seen / in twenty years, I had forgotten / how fragrant the trees are”) to the Utah canyonlands (“In here Sweetie and I are alone. / A jay is calling from the junipers /  and the chipmunks / have been teasing her all evening”). These poems show us the loneliness, yet satisfaction, of solitude as an antidote for grief: “but I have these mountains, / this solitude that never waivers / and comforts me on cold nights.” That a life well lived may, in the end, be lived alone, and that self-reliance, especially in grief, can save the human spirit.

 Praise for Jan Minich & Color of a Cougar

Steeped in time and experience, Minich writes poems enjambed by image, emotion, history, and conversation. Poems that wend their way through forests and furniture, coves and canyons, baited hooks and black gloves, birds and berries and murderers. Poems with the soft approach of padded feet, the brutal grip of claw and teeth. The poem “Youth, with its hopeful / hopeless conundrum of survival in a time of climate change, / joy filtering into the sandy soil.” The light and sensuality and complexity of “Hanging Gardens.” The chilling historical violence of the Bloody Benders. The dark and troubling nature of human nature in “Ruins,” “Prey,” and “Recess.” Minich channels the characters in this collection of poems to hit a nerve, to staunch complacency. To tell the story of a time in human history when poetry is the only way to tell it.

 —Star Coulbrooke, Inaugural Poet Laureate of Logan, Utah, author of Both Sides from the Middle

Jan Minich plays the long game in his new poetry collection Color of a Cougar. It’s an exemplar of patience and persistence, each poem—even the short ones—going beyond memory or anecdote to find endurance in form. His voice, often elegiac and projecting a vision of our hardscrabble moral predicament, is nonetheless unfailingly affirming. In Minich’s restorative vision, the natural world and the human community, the living and the dead, find solace and survival in the confirmation of the spirit. In “Fortune Teller,” the poet imagines the undertow, “taking me out then pulling me back / to be renewed in the breakers / in the moonlight still farther out,” reminding us that devotion to craft makes the poem, and diligence of prosody is the stuff that makes it eternal.

—Richard Hedderman, author of Still Life with Workboot.

The poems in Jan Minich’s Color of a Cougar live in liminal spaces, and their speakers and personae are at home in the dark, as in “Poland, Ohio”: “After the sun sets and the light / is gone, we feel our way / along the fallen tree / to the other side”. Fittingly, it is a book of memory, both personal and mythic, and of hauntings; the poems meditate on the impermanence of human presence in the world. There are places, it tells us, “Where it’s possible to remain / only if one takes an oath of silence / to the stillness waiting there.” This beautiful collection serves as a reminder and a guide, to the remaining, the oath, and the stillness. 

—Lisa Bickmore, Utah Poet Laureate

About the Author

Jan Minich grew up near fields, ponds, and lakes in Ohio. He has an MFA from the University of Iowa, and a PhD in American Literature and Poetry Writing from the University of Utah. He taught literature at College of Eastern Utah/Utah State University for many years and directed their Wilderness Studies Program. Always drawn to water and the outdoors, Jan summers in Bayfield, Wisconsin, where he cruises Lake Superior in a small boat, and in winter, hikes Utah’s canyons. He lives in Wellington, Utah, with his wife poet Nancy Takacs and their two dogs.

‍Publication Date: September 15, 2026

‍Paperback, 92 pages 

ISBN: 978-1-966677-56-7

In The School for Danger and Other Studies Ceridwen Hall explores her life as both student and teacher, in poems revealing that the former does not end simply because the other is achieved. Interspersed  and interacting with these poems are others exploring her fascination with spies of World War II and the paintings of Claude Monet. Her work inspires the reader to examine their own school days while meandering the paths of art, history, and nature.

About the Author

Ceridwen Hall is a poet, educator, and writing coach. She completed her MFA at the University of Illinois, Urbana-Champaign, and her PhD at the University of Utah, where she received the Clarence Snow Fellowship and the Levis Prize in Poetry. She is the author of Acoustic Shadows and three chapbooks. Her work has appeared in TriQuarterly, Pembroke Magazine, Mississippi Review, Craft, Poet Lore, and other journals. Find her at www.ceridwenhall.com.

Publication Date: August 15, 2026

Paperback, 72 pages 

ISBN: 978-1-966677-52-9

Praise for David Ebenbach & The AI Suspects It Might Be a Hungry Ghost

 David Ebenbach’s latest collection, The AI Suspects It Might Be a Hungry Ghost, is a clever exploration of the larger human forces behind AI. Like the “hungry ghost” which can never be satisfied, “… AI is the culmination/of the human project.” In that way, the poems are less about technology and more a self-reflective commentary on the human condition. That intention is made apparent by the titles of the poems, which give AI impossible attributes, but that’s the point of these brilliant poems. Occasional short nature poems are dispersed throughout the manuscript, reminding us of AI’s limitations and the ways in which wonder is something only we can experience. This book is amazing.

 —Marjory Wentworth, former poet laureate of South Carolina

 David Ebenbach’s new book brilliantly explores artificial intelligence, probing the technology with a humanist's keen eye. Each poem cuts through hype and buzz with humor, sympathy, and imagination. Ebenbach’s phrases turn in surprise, outrage, and discovery, drunk with language, taking the reader on a wild tour of the emerging technology. Lines will make you laugh or shudder with dread and recognition.

 —Bryan Alexander, author of Universities on Fire

 Brain as “Sponge the weight of God,” in Ebenbach’s “The AI Feels Apogee” now my brain taking the gentle hooks offered, poem by poem, in a cadence calling rhythms that know the body. Ebenbach as the drummer setting hook after welcome hook into origami cortex. 4/4 7/4 5/8 more. In his tempo, his hands molt our hands as hook and hook with lines become vectors in starless space hyperdimensional where semantic search is Braille on lips and everything the shape of questions I need. Thank you for The AI Suspects It Might Be a Hungry Ghost.

 —Dawan Stanford, Design Thinking 101 Podcast, President of Fluid Hive 

About the Author

David Ebenbach writes. He’s been writing ever since he was a kid, when he kept his whole family awake by banging away on an enormous manual typewriter, and he’s never wanted to stop.  The author of books of fiction, poetry, and non-fiction, his work has picked up awards along the way, including the Drue Heinz Literature Prize, the Juniper Prize, the Patricia Bibby Award, and more. Born and raised in the great city of Philadelphia, these days David does most of his writing in Washington, DC, where he lives with his family— because he uses a laptop now, he doesn’t keep them awake with his typing—and where he works at Georgetown University, promoting inclusive, student-centered teaching at the Center for New Designs in Learning and Scholarship, and teaching creative writing and literature at the Center for Jewish Civilization and creativity through the Master’s in Learning, Design, and Technology Program. 

Note that David’s last name is pronounced EE-ben-bock. (It kind of rhymes with the delicious Korean dish called bibimbap.)

Publication Date: August 22, 2026

Paperback, 118 pages 

ISBN: 978-1-966677-54-3

(Only) So Far covers a journey of forty years through poetry. Steeped in narrative and expressing love, nature, politics, and engaging word play, Larry W. Moore reveals a rich life well lived.

Praise for Larry W. Moore & Only (So Far)

In the ramshackle house of poetry, no one has shouldered into more rooms than Larry Moore. Editor, entrepreneur, production manager, scholar, book-designer, advocate, and publisher… Larry Moore has created and sustained, in Broadstone Books, one of the most broadminded independent presses in the country. / Now, in Only (So Far), we have the source-code of this achievement. Representing forty years of poetic engagement, this book unveils a mind and heart attuned to a world that is intimate and unbounded…. Only (So Far) travels further than any mapped destination can name.

—from the Foreword by Philip Brady, author or The Elsewhere & others

Among Larry Moore’s gifts is the gift of remembering, and the gift of these poems isn’t only that they capture the resonance of seemingly ordinary things that too often go unnoticed but that they radiate a richness of connectedness through quiet celebrations of people, communities, and histories. These poems are, to borrow a detail from one of Moore’s memories, fireflies at dusk that bring us into the moment and beyond it as well.

—Tim Hunt, author of Then Back Again to Now & others

In Only (So Far) Larry Moore exhibits not just a distinguished editor/publisher’s but a true poet’s grasp of the complex rhythms of a volume of poetry of a sort that will take your breath away. While for two decades Moore has focused upon publishing as wide a range of distinguished poetry as any small press, it would be too much to say that as a poet himself he’s hidden his light under a basket.  Here a constellation of his poems first appearing in literary journals and anthologies over the years easily join a galactic stream of others whose nimble music and searing illumination evoke poets ranging from Gerard Manley Hopkins and William Carlos Williams to Moore’s erstwhile Kentucky compatriot Ada Limon. Only (So Far) makes it blazingly clear that he has not been hiding but rather nursing a veritable galaxy of poems that rival the largest and brightest stellar nurseries the Webb Telescope discloses. 

—Michael Joyce, author of Capricorn, Venus Descendant & others

Larry W. Moore’s Only (So Far) is a celebration of the places that resist cartography—the dusty heat of small-town America, boyhood lit by “orange-red glowing tips of my parents’ cigarettes,” swirls of gingham, pyramids of squash, and “eyes shining out of a ruined face.” Set to the “jerky glissando of ….Irish eyes…..” Moore offers a tour of that “fattened fable” America: dapper yet bristled, these poems are crowded with farmers, clergy, businessman, “bringing the sound of Verdi to the prairie.” They are “spilling into twilight sidewalks / stretching from Havana to Harlem.” They are ecstatic priestesses on a roadhouse dance floor, transforming to the music of “sweet green taste.” They are soft, fragrant poems that light up the world, sometimes as bolts and sometimes as firefly-size specks. There, Moore holds out the label of liberty for our inspection: freedom as a burgeoning, excitable, thing next to the old mythos that “some frontiers / are never closed.” In a masterful balance of humor and reality, Moore shows us that beneath the cracked soil is a bit of moisture, and that everyone is offered a seat on the porch, a pour of expensive gin, and a mirror to see the scratches of language “like all our history: / skeletal / and read backwards.” The poems of Only (So Far) are maps of this community property “made and remade / re-emerging in the utility and beauty of a quilt.”   

—Sara Cahill Marron, author of Reasons for Étant Donnés & others

About the Author

Larry W. Moore is a published poet, translator, literary scholar, and photographer. An honors graduate of Transylvania University (Lexington, Kentucky) with a double major in humanities and psychology, he spent a year in Germany researching the life and work of Hermann Hesse supported by a DAAD foreign study grant, followed by graduate study in history of science and medicine at the University of Kentucky. His critical study of poet Vachel Lindsay was published in Regionalism and the Humanities (University of Nebraska Press, 2003). He is previously the author of The River Remembers, a collection of narrative and persona poems based on the history and lore of his hometown, Frankfort, Kentucky, along with several poems published in journals. Retired from a long career in government where he served in management, training, and policy advisory positions, in 2002 he cofounded Broadstone Media LLC, a cultural promotion

company, and since 2003 has served as publisher of Broadstone Books, a national small press specializing in poetry. He also was for many years the curator of two art galleries.

Publication Date: July 15, 2026

Paperback, 40 pages 

ISBN: 978-1-966677-53-6

Plumb Lines, the new poetry chapbook by Edison Jennings, takes a hard look at the hard life of small-town Appalachia. These poems move between the demise of a derelict church (“As for the church, no one had attended service there in over sixty years so no one was sure what genus of church it was...”),  and the hopefulness of the local Head Start (“Meanwhile the children sleep, still beautiful...”).  This poetry, sad yet beautiful, opens our eyes to small town tragedies both personal and communal. Jennings captures life in his world, and makes it our own.

Praise for Edison Jennings & Plumb Lines

 Edison Jennings’s chapbook, Plumb Lines, is a tapestry of pain and violence, of loss and memory. The writing is direct and fierce, refusing to avoid disturbing truths. The poet’s gift of language is strong, the voice, certain, definitive – placing the reader inside shifting locations: from a wolf’s cave to burned-out church to Head Start classroom to “snow-baffled streams” – revealing the depth of Jennings’s craft, showcasing his mastery of narrative and lyrical forms. There’s an exploration of what remains after loss, after the violence, which is a marvelous but tragic thread working through the poems. Plumb Lines is a powerful work grounded in the grit and ache of life that readers will carry with them – “in a secret pocket…in the false heel of a shoe, or sewn beneath the skin” – long after the book is finished.

—Sam Rasnake, author of Fallen Leaves and A Thread to Follow

The poems in Plumb Lines by Edison Jennings are both mythic and conversational, balancing experience of the sacred and the grounded. They emanate from a meticulous attention to form and especially diction, every word in place, his voice speaking to you as if directly, head cocked or eyebrows raised. Storytelling comes with twists of humor, irony, and pathos to render images indelible—from ashes buried in a maple to a frail man in bed, from children poised between the safety of Head Start and what the world offers outside the sanctuary, to wolves killed by Daniel Boone and crew. And more.

—Felicia Mitchell, author of Trail Magic

Edison Jennings’ finely crafted, insightful new book, Plumb Lines, explores the meaning of “America, that most shocking poem,” from “Napa Valley manse to West Virginia meth lab,” finding cruelty and tragedy but also hope. The title is from the Bible’s Book of Amos, where God puts down a plumb line to show that justice will not be compromised. From the story of how Daniel Boone and his companions killed a wolf and then “cleaned their beautiful rifles,” to the story of a racist murder that stays hidden until “a missing child revealed the township’s dull bucolic a deceit,” these stories are unforgettable, complex and wise, and leave us readers seeing our world—and our country—in a fresh light, sometimes disturbing but always cleaving to the plumb line of justice.

—Robert Thomas, author of Sonnets with Two Torches and One Cliff

At the bottom of a plumb line is a weight, the bob, that enacts or makes visible the perpendicular, the straight-up-and-down. It is a simple tool that enables a skilled craftsperson to make a structure that might enclose or shelter or preserve almost anything.  Edison Jennings is such a craftsperson. When you enter his poems, you see he knows what he’s doing; you understand you are in the presence of a poet acutely aware of the burden of being alive. From inside the sadness that is life, his art erects a shelter, which helps make it possible to go on.

—Robert Wrigley, author of The True Account of Myself as a Bird

About the Author

Edison Jennings lives Southern Appalachia. His poetry collection, Intentional Fallacies, is available at Broadstone Books and elsewhere.

Publication Date: August 15, 2026

Paperback, 118 pages 

ISBN: 978-1-966677-44-4

Bent Cedar Mountain takes us deep into the Appalachians (“They drove past the gas station /  ...for five more miles of gravel / up Bent Cedar Mountain, / flanked thick with mountain laurel.”) and deeper into the lives of Grace and Nohl (“his wife held the boy’s body / close, held him for too many / minutes – until the silence in the room felt like something that would fill their lungs.”)  A novel in verse, this work by Julie Hensley traces the sad, poignant, and often violent lives of its protagonists, “craving the weight of her hips, the scent of her unwashed hair, some sign / she is still real and alive, still his wife.”  Caught between tradition and progress, their marriage unfurls like a fiddlehead fern in the mountain spring.

Praise for Julie Hensley & Bent Cedar Mountain

Julie Hensley’s Bent Cedar Mountain is a brilliant and beguiling poetic enacting novel-in-verse. This one is a fiery and fluid winner, a fascinating narrative lyric recalling iconic American works like The Blainville Testament by the great poet/novelist Sydney Lea. Incredibly, Bent Cedar Mountain delivers a plot-driven poetic in scintillating passages, vignettes demanding our engagement in rendering the lives impressing one another in the land rich with life and loss, a “boy // was born without breath // shadows ringing eyes // tight as fists, lips bruised-violet // and cavernous as the mouth of a fish…” Hensley carries us through the era with precise fascinations, “First the ocean rush // of the fetal heartbeat,// then rising suddenly from the gray // continents hovering //on the screen, her baby, // floating in the current // of her resolve // measuring…” Brings us to be intimate with “bark husked by the frantic // scratch of the dog's claws…against the dusky curtain of the injured // autumn sky…Whereas men's voices are jubilant // as they confer around a large paper- // covered table, wielding sharpened knives // and their own body weight to separate // the pig's skin and pull it toward the spine. // With their goggles and rubber gloves, // they have the look of mad scientists…” And she delights us in exceptional craft and deft wielding of content and subject through an intense poetic, steeped in a ragged and velveted home place. This book is at once delightful and a great escape. A must read, share, and return to read again. What a feat!

­—Alison Hedge Coke, author of Look At This Blue

A marriage is a lot like a farm. It can be a place of tenderness—or it can be a place of cruelty. Reader, in your hands is a parable about how that choice sometimes gets taken from us, a careful tale that shows abuse takes hold quietly, through small, hidden brutalities that accumulate until you wake up one day so afraid there’s nothing left to find but courage. Writing with lush detail and exacting empathy, Julie Hensley proves with this collection that she is one of Appalachia’s premiere storytellers. Bent Cedar Mountain will break your heart.

 —Rebecca Gayle Howell, author of Erase Genesis

 About the Author

Julie Hensley is the author of three previous books, Five Oaks (Lake Union Publishing), Landfall: A Ring of Stories (Ohio State University Press), and Viable (Five Oaks Press). She is also the author of two chapbooks, Real World (Artists Thrive) and The Language of Horses (Finishing Line Press). A Professor at Eastern Kentucky University and core faculty member in the Bluegrass Writers Studio Low-Res MFA Program, she lives in Richmond with her husband, the writer R Dean Johnson, and their two children.

Publication Date: August 15, 2026

Paperback, 42 pages 

ISBN: 978-1-966677-55-0

Drawing on a range of poetic strategies, Susan Eisenberg grafts onrushing news accounts onto the page. With haunting imagery, the poems of Fault Line stress test how the political and moral landscape, friendships, and language itself become altered by the catastrophic destruction in Palestine. The collection closes with a bit of hope from Jenin.

Praise for Susan Eisenberg & Fault Line

These straight-talking, truth-seeking poems, as they fill in the blanks, remind us that what we think we know is shaped by what has been left out of a self-justifying script. Grieving for what they bring to light by looking where we aren’t supposed to go and knowing who we aren’t supposed to know, these ethically grounded poems give statistics embodied human shape, expose the perversion of official naming, and, in the astonishing “Unlearning Deafness,” reveal what can block even open-air calls to prayer.   

 — Eleanor Wilner, Chancellor of the Academy of American Poets

 Susan Eisenberg’s razor-sharp, powerful poetry gives voice to the anguish and horror that swirls and metastasizes through this ongoing history: Gaza, Jenin, the Naqba, the countless dead and wounded, the  bulldozed homes, the trees, the children … a “devastation so shocking so fast / I failed to keep up.” Even irony loses its irony as self-serving justifications spill “like cyanide.” This courageous collection of poems has us join her in protest but also in perseverance: Jenin’s watermelon seeds do germinate, she tells us.

 — Linda Dittmar, author of Tracing Homelands: Israel, Palestine, and the Claims of Belonging 

 For years, Susan Eisenberg, an electrician by trade, has written tough-minded poems about the working-class experience. Now, she turns her clear-eyed vision to the dehumanization and devastation of the Palestinian people. Seeing that dehumanization and destruction from a deeply empathetic Jewish perspective, she writes: “How could a God who / commanded, Thou shalt not steal / promise land not His?” Being a poet above all, she finds her metaphor with her hands in soil, planting thirteen watermelon seeds from Jenin on the West Bank. When nothing grows, to her consternation, her friend advises patience: “They are from Jenin. They don’t give up easily.”  And fourteen plants sprout. The parallels with the cultivation of empathy — and poetry — are unmistakable. The collection closes with an Arabic translation of the same poem, proving that Susan Eisenberg still knows the meaning of the word “solidarity,” and can teach us all. 

 — Martín Espada

 About the Author

 Poet, visual artist, and oral historian, Susan Eisenberg is author of the nonfiction NYT Notable Book, We’ll Call You If We Need You: Experiences of Women Working Construction and five previous books of poetry — Stanley’s Girl, Perpetual Care, Blind Spot, Pioneering, and It’s a Good Think I’m Not Macho. Among the first women in the country to become a licensed union construction electrician, she has read her poems at the ILO in Geneva, Switzerland, and the U.S. Department of Labor; her mixed media art installation, On Equal Terms, exhibited at the AFL-CIO. Honors include the Virginia Quarterly Review’s Emily Clark Balch Prize for Poetry, the Joe Hill Award, and the University of Michigan Center for the Education of Women’s Twink Frey Visiting Social Activist fellowship. A Resident Scholar at the Brandeis Women’s Studies Research Center, she is Poetry Editor of Labor: Studies in Working Class History (Duke). Raised in a three-generation household in Cleveland, she lives in Boston.