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: June 15, 2026

Paperback, 112 pages

ISBN: 978-1-966677-47-5

With Souvenir Chakras, the seventh and final title in Estill Pollock’s book cycle, Cartographic Projections of a Sphere, we find poems of shape-shifting complexity and with a metaphysical pedigree of subject and voice.

Here, a narrative of Charles Dickens and Edgar Allan Poe offers a thoughtful and provocative examination of literary personae—here too the timeline tanka cameos of “One Hundred Views of the Mountain,” its closing sequence presented as the fictional diary of a court lady in ancient China, defining the inherent jeopardy of transient cultural identity.

With the inclusion of his treatment of the timeless “The Battle of Maldon” and the memoir-styled “Analogue,” this volume is a worthy companion to the previous collections in the series—Entropy, Time Signatures, Ark, Heathen Anthems, Alias and Parse Poetica, all available from Broadstone Books.

About the Author

Estill Pollock was born in Kentucky, but has lived in England for many years. The pamphlet Metaphysical Graffiti was published in England by Highcliff Press in the 1990s, and this was followed by the trade edition Constructing the Human from Poetry Salzburg in 2001. Between 2005-2011 the book cycle Relic Environments Trilogy was published by Cinnamon Press (Wales). A collaboration with Broadstone Books in Kentucky provided the impetus for his recent poetry series, Cartographic Projections of a Sphere.

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: May 15, 2026

Paperback, 100 pages

ISBN: 978-1-966677-45-1

In I Feed the Dead, the latest collection from Lennie Hay, she focuses on family – “Losing a name can give you a reality.” Family leads to the importance of food and home – “I sauté lines in free verse, sliding in our childhood butter / with a pinch of narrative.” This rich foundation sustains her through pandemic-imposed trauma set against the beauty Mallorca, where “grace enfolds us inside these hours, / makes us more human, as suffering sometimes does.” Whatever food, family, and home mean to each of us, Hay addresses them evocatively, leaving us filled with food for thought..

Praise for Lennie Hay & I Feed the Dead

“Because hunger follows [her] everywhere,” Lennie Hay’s dazzling collection of poetry looks unflinchingly at the realities of loss. She interrogates her Chinese heritage as she considers the loss of loved ones and wrestles with her own mortality. All of this is masterfully and fiercely executed. Food is never just food and eating is an act of inheritance, mourning, love, and reckoning. Hay’s work is deeply sensitive and acutely witnessed. This is a book that perfectly balances the knife edge of that which fills us and that which empties us. In it, school children “carry their nightmares in backpacks” and the “grave Gulf keeps [her] secrets.” I Feed the Dead is filled with tenderness, beauty, and clarity and I loved every word.

—Didi Jackson, author of Moon Jar & My Infinity

In I Feed the Dead, Lennie Hay writes with skillful attention to the textures and tensions of daily life. Through an Asian-American speaker, the collection explores how identity is shaped by ancestry, appetite, labor, and care. The speaker’s forage through a lineage scattered across immigration records, where family names reduce ancestors to “another variation / a ghost misspelled” culminates in the bold declaration “I claim all our names.” At the heart of the collection, a formal ambition emerges in a crown sonnet where language turns from appetite to predation. Its interlocking lines carry us from “Bilbao’s dim sum” and “pintxos” to a “viral feast” that “waits to gorge on Spain,” enacting contagion through repetition. Hay’s sensory poems bear witness to life’s seasoned moments, unfurling like hand-pulled noodles in Lanzhou, stretched and folded, structure married to art.

—Nancy Chen Long, author of Wider than the Sky

It takes courage to face aging for what it is and to where it inevitably ends. In I Feed the Dead, Lennie Hay takes on the subject as scholar and artist. She describes the tradition of leaving food and gifts at loved ones’ gravesites, intending to keep them safe and content, alive in the minds of the living. She revives her parents and siblings in the vivid language of poetry, as she does a lost friend advising the poet to write more poems. Among the last poems in the book, Hay takes us to her raucous Zumba class, to a jazz festival, and on a voyage with her husband up the St. Lawrence Seaway, leaving his illness at home. The poet offers a guide for living fully and loving widely in poems that are wise, joyful, honest, and informed.

—Maureen Morehead, author of The Red Gate

About the Author

Lennie Hay writes of cultural fault lines and injustice in her poetry often using images reflecting her passions for water, music, and food. Her 2024 debut poetry collection, Lost in America, explored the complexity of growing up Chinese American in the Midwest. Her second collection, I Feed the Dead, uses a range of poems, and subject matter to honor the dead she has loved—her Chinese father, German Ukrainian Mother and others—while she faces head-on life’s fragility for herself and others in today’s world. Lennie holds degrees from the University of Minnesota, the University of Louisville, and an MFA from Spalding University. A retired public-school educator, she lives in Southern Indiana and Florida. Lennie’s poetry has been published in local, regional, and international journals, as well as in anthologies, and has won local and regional prizes.

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: June 15, 2026

Paperback, 80 pages

ISBN: 978-1-966677-48-2

Robert Schultz’s poems speak of love lifelong (“There comes a final parting, our time run out / In this lovely world where time presses”) and eternal (“We’ve taken a photograph of the birth of stars / before Earth.”) In Fear of Heaven he questions how long is eternity? “Eternity is not a long time, / but is time’s opposite-flash / that violates the speed of light.” Time is both daily and cosmic, an unfathomable void but also our most precious gift. “Every morning now when I step / out into the green world, it is as if / my last day, not because it is likely / to be, but because it is one day / certain.” Fear of heaven is the fear all share of losing our earthly paradise.

Praise for Robert Schultz & Fear of Heaven

In Fear of Heaven, Robert Schultz takes his readers into the big themes with a lightness of touch. Schultz’s subjects are found in the near and dear, as well as in the far and nearly unfathomable— in family, a long marriage, and his own garden’s wisdom, as well as in the James Webb telescope’s piercing visions. In this book there are potent nods to nature, and life’s inescapable ephemerality emerges in luminous moments in poems such as “Dusting” and “Winter Smoke.” Though evocative of biblical concepts and language, Schultz’s voice is humanistic when in a haiku he declares, “I pass quickly now / into words, like this white rose / imperishable.” To take the poet at his own words on words, in the included essay, the purpose of poetry is “to carry us out of ourselves and into another’s world.” We meet each other everywhere in this poet’s tender, elegiac voice.

—Cathryn Hankla, author of Return to a Certain Region of Consciousness: New & Selected Poems

These poems balance continuing jolts of mortality with visions of the timeless. Fear of Heaven incorporates touches of humor and subtle irony in songs of wonder, in a range of forms: sonnet, couplets, haiku, rhymed and unrhymed lyrics. Schultz conveys with vivid alertness the mysteries of the cosmos and the mysteries of dailiness, connected by a thread of autobiography. The concluding essay on the “primordial” in poetry probes deep into our awe of the gift of language, memory, witness, and bonds of human love.

—Robert Morgan, author of To Honor the Imagined Whole

About the Author

Robert Schultz is the author of nine books in three genres, including a novel, The Madhouse Nudes, and a work of nonfiction, We Were Pirates: a Torpedoman’s Pacific War. He has taught at Cornell University, The University of Virginia, Luther College, and as the John P. Fishwick Professor of Literature at Roanoke College.

Publication Date: June 15, 2026

Paperback, 84 pages 

ISBN: 978-1-966677-43-7

 In One Hundred Texts to the Mother of Beauty, Gerald Wagoner writes of love, both physical and spiritual, framed by special intimate environs. “Every kiss a taste of spring water, so cold your eye teeth ache.” Wagoner’s poems are crafted as messages to his muse, the Mother of Beauty, addressed by many names, among them Klio for order and Urania for the cosmos, each inspired by a unique voice. “Heavenly Urainia, by whose grace go I. Sing the quickening of quarks: the weak force, the strong force, the gravity of it all that gathers us together.”

Praise for Gerald Wagoner & One Hundred Texts to the Mother of Beauty

In a hundred invocations, entreaties, connections, contentions, and yearnings, Gerald Wagoner writes of encounters with the elusive and enlivening other—manifesting as muse, engenderer, and persistently possible paramour ever-altering in her proximity, These lithe, imagistic missives conjure both common life and abiding myth, with settings from the Gowanus Canal to waking dreamscapes of desire. One Hundred Texts to the Mother of Beauty gives us lyrics that at once classical and romantic—paeans to the desired inspirer, enthrallments to the passions of poetry.

—David Groff, author of Live in Suspense

Gerald Wagoner’s One Hundred Texts to the Mother of Beauty is both ecstatic and expansive, a dreamscape that touches on every myth I can think of that binds the creative powers of human effort to the divinely inspired eroticism of supernatural beings and their love. I loved getting lost in these tiny missives of desire, creation, devotion, and supplication. Wagoner’s touch is feather light, though his voice carries the weight of his art’s urgency.

—Jason Schneiderman, author of Self Portrait of Icarus as a Country on Fire 

One Hundred Texts is a modern-day scroll depicting the many layers of love we only secretly acknowledge.

—Kristine Esser Slentz, author of Face to Faces

Sometimes in this book, there’s an almost-babble, like that of the lovelorn, a descent and ascent into the vortex of language attempting to say what love is and where it goes and lives and takes us prisoner. But this poet’s experience as a sculptor, his awareness of this Earth upon which we build and create keeps us just this side of beauty, with enough patience to detect “a faint whiff of the whispering night.” Sometimes he turns snitch, involves us all in the brazen effort to find the love he’s after—“the city was there, a commotion of wanting.” And we find we can’t deny, not a word of it.

—Mervyn Taylor, author of Unpainted Houses.

About the Author

Gerald Wagoner is the author of When Nothing Wild Remains (Broadstone Books, September 2023) and A Month of Someday, (Indolent Books, March 2023). Hischildhood was divided between Eastern Oregon and Montana where he was raised under the doctrine of benign neglect.  He has a BA in Creative Writing from the University of Montana and an MFA in sculpture from SUNY Albany. Wagoner exhibited regularly, and has taught Art and English for the NYC Department of Education. He currently lives in Brooklyn.

Publication Date: May 15, 2026

Paperback, 132 pages

ISBN: 978-1-966677-46-8

David Hargreaves’ Watch for Ice on Bridge couples personal memories and experiences against the backdrop of the natural world. Hargreaves grapples with the drowning death of his younger brother – “No one warned my little brother there will be no warning… // ...if my belly crawl and wrist lock grab, like I had seen on TV, might save him.” A harsh cancer diagnosis confronted, “To placate the Fates, spinning the thread of this tale: six weeks radiation / And a hormone injection.” These incidents set, respectively, against a winter frozen lake and the cold sterility of the modern MRI lab are vividly described and evocative. Watch for Ice on Bridge takes the reader into Hargreaves’ experiences with frank emotion and no sentimentality.

Praise for David Hargreaves & Watch for Ice on Bridge

From chemotherapy to needle-nose pliers to a Swainson’s thrush, there’s a singular voice that finds mystery and wonder wherever it goes. The power, here, is that Hargreaves refuses easy taxonomies… these poems don’t seek to order the world or arrange dioramas of the human experience. They instead shine a light on all that is deranged and beautiful and impossible. They live in the irreconcilable spaces we call a daily life. A powerful read.

—Michael McGriff, author of Angel Sharpening its Beak & Inquest

David Hargreaves’ poems combine gentle, sometimes delicate language with a robustness of perception that aims to capture the world in all its complex diversity—not with the aim of preserving it in amber, locking it up in a museum case, or pressing it between the pages of a musty book, but in order to allow it to dance, to sway, in our imaginations and memories. Watch for Ice on Bridge is a book of many pleasures, a book to savor.

—Troy Jollimore, author of Tom Thomson in Purgatory & Syllabus of Errors

About the Author

Born in Detroit, now a longtime resident of Oregon, David Hargreaves is a poet, translator and linguist. His translation of Nepal Bhasa poet Durga Lal Shrestha’s collection of poems, The Blossoms of Sixty-Four Sunsets, appeared in 2014, and his translation of Chittadhar Hrḍaya’s poem “River,” for the anthology River Poems (Everyman’s Library Pocket Poet Series), appeared in 2022. His own book of poems Running Out of Words for Afterwards (Broadstone) was published in 2022.