Author: Lisa Hase-Jackson

  • Missives of Publication: Flint & Fire Enters the World

    Missives of Publication: Flint & Fire Enters the World

    On July 31, 2018, I received notice that my first book of poems, Flint & Fire, had been selected for publication.

    Mind you, this was after earning a Masters in English, a Master in Fine Arts, and sending the collection out to a dozen or more open reading periods and contests over a number of year.

    Admittedly, I struggled with feelings of low self-esteem during those years (which still plagues me at times) and was timid about sending out work, which needlessly slowed the entire process, yet I still felt overlooked each time a friend or colleague won a book award or landed a book publication.

    When the notice came, I was a astounded that the struggle had finally come to a close, and equally excited. I wanted very much to call my mother to tell her the news, but she had passed away the week before.

    So, though my search for a publisher had come to a close, the process of culling through the poems and revising, reordering, and editing what remained had just begun–as had grieving for my mother.

    Dear Lisa,

    I am delighted to inform you that Jericho Brown has chosen Flint and Fire for publication by The Word Works in this year’s HiIary Tham Capital Collection. Congratulations! I’m editor for the series. I too really loved this manuscript, especially for its geographical and emotional range, for it’s voice, and for its moving engagement with the meaning of devotion to people and place.

    My first question is this: is the manuscript still available? If it is, and if you accept this offer of publication, we will send a contract by email and get the publication process underway. Our publication timeline (a question all authors have) is dependent on the length of the editing process, but our goal is to have the book ready for AWP (Late March in 2019) in Portland, Oregon. The Word Works will have a booth and a good presence there. 

    As a final note, should you accept this offer of publication, we will be informing all our submitters for this year in the next week, so if you wouldn’t mind waiting until we’ve done so to announce the good news far and wide, we would very much appreciate it!

    I’m currently traveling, but I will be available by both email and phone for any questions. I can be reached at ************, or at *************. Would you also send us your phone number? We don’t seem to have it as part of your application file. 

    Many congratulations! Jericho is writing a blurb for each poet, and I will share yours with you as soon as he sends it.

  • Knit What Now?

    A highway patrol officer tried to pull over a speeding car on the interstate, but the car wouldn’t stop. He pulled alongside the car and was astounded to see that the old woman behind the wheel was knitting, completely oblivious to the patrol car’s flashing lights and siren. The officer shouted over his loudspeaker, “Pull Over!”

    “No,” the old lady yelled back, “it’s a scarf!”

  • Great Waves

    In the early days of the Meiji era there lived a well-known wrestler called O-nami, Great Waves.

    O-nami was immensely strong and knew the art of wrestling. In his private bouts he defeated even his teacher, but in public he was so bashful that his own pupils threw him.

    O-nami felt he should go to a Zen master for help. Hakuju, wandering teacher, was stopping in a little temple nearby, so O-nami went to see him and told him of his trouble.

    “Great Waves is your name,” the teacher advised, “so stay in this temple tonight. Imagine that you are those billows. You are no longer a wrestler who is afraid. You are those huge waves sweeping everything before them, swallowing all in their path. Do this and you will be the greatest wrestler in the land.”

    The teacher retired. O-nami sat in meditation trying to imagine himself as waves. He thought of many different things. Then gradually he turned more and more to the feeling of the waves. As the night advanced the waves became larger and larger. They swept away the flowers in their vases. Even the Buddha in the shrine was inundated. Before dawn the temple was nothing but the ebb and flow of an immense sea.

    In the morning the teacher found O-nami meditating, a faint smile on his face. He patted the wrestler’s should. “Now nothing can disturb you,” he said. “You are those waves. You will sweep everything before you.”

    The same day O-nami entered the wrestling contests and won. After that, no one in Japan was able to defeat him.

    From Zen Flesh Zen Bones: A Collection of Zen and Pre-Zen Writings compiled by Paul Reps and Nyogen Senzaki

  • Bad Mouth, Good Friends

    Bad Mouth, Good Friends

    My and Gary’s reading for Rebecca Aronson’s Bad Mouth Poetry Series in Albuquerque, New Mexico on September 6, 2025 at the Q Staff Theater was a long time in the making.

    We used to live in Albuquerque but relocated to Charleston, SC in July 2013 when Gary was hired as an Assistant Professor at the College of Charleston (and I was later hired as an adjunct) thus bringing to close my third and Gary’s second stint living in our favorite city so far.

    Though I should not have been, I was surprised by how overwhelmed with emotion I became the moment I stepped off the plane. The mesa, the mountains, the endless sky, that particular ineffable light that I’ve only experienced in Albuquerque, all brought back a rush of deeply seated memories of my early childhood years. Having not been back to New Mexico since my mother’s passing in 2018, those past moments popped up like so many perky roadrunners alert to to every scampering lizard.

    Anyway, we were delighted to read with our dear friend Christina Socorro Yovovich, whom we’d read with in at the UNM bookstore for National Poetry Month in 2008 (we think) and to have with us the talented musician Keith Brunstein.

    If you ever get a chance to read for Bad Mouth, you should totally do it. The Q Staff venue is exceptional — theater style raised seating, great acoustics, and a darkened interior to contrast with the enchantingly hot, bright sun of the high desert. And there is plenty of room in the foyer for social gathering and book signing.

    Many of our dearest friends and chosen family came out to exchange warm, genuine embraces, touch on recent griefs as a gesture of kinship, and share heartfelt anecdotes as a way to remove the sting from our collective recent troubles.

    I honestly couldn’t see leaving again, except that, well, I am building a good life here in Pittsburgh where new friends embrace me with the same level of warmth as those in Burque and the literary community appears to have plenty of room for newcomers — and outsiders — like me.

    Invitations for more readings have us making concrete plans to return to Albuquerque with more frequency and the many requests for virtual meetings and classroom visits will ensure our attentions are not so easily distracted from our Southwestern home this time.

    We’ll be back soon, Albuquerque. As soon as we can.

  • Writing on the Fly

    Writing on the Fly

    It’s not often that a confluence of time, space, energy, and opportunity converge to create an ideal environment for writing. But just such a convergence did occur Friday afternoon, September 12, at the Pitt Writing Center with the workshop “Poetry in Everyday Stories: Celebrating the Empathy of Ed Ochester” facilitated by Pittsburgh’s rock star poet, Jan Beatty.

    As facilitator, Beatty expounded the power of nuance and understatement, the efficacy of concrete detail, and the vibrancy of dialogue. Using the brilliant work of Ed Ochester as model and illustration, she also emphasized the role of witness, empathy, and relationship in creating great poetry.

    We looked at Ochester’s “This Poem is for Margaret” and “Mary Mihalik” and drew from them inspiration for the series of writing prompts Beatty next led us through as we held in mind people we know or had recently engaged with in our everyday lives, noting that “there is great humainity in the people and the situations we run into every day, and that often these small meetings go unspoken.”

    Encouraging empathy with each progressive step toward a completed poem draft, Beatty suggested the utilization of direct address, such as that used in “This Poem is for Margaret” and stories from our past or our community’s past, such as is used in “Mary Mihalik.”

    For the first poem prompt I wrote about my encounter with an angry man at the garage who yelled at me because of where I’d parked my car and for the second prompt I wrote about a favorite aunt.

    Participants were completely absorbed in their writing and clearly enjoyed the experience. Many also generously shared their responses with the group when asked. I came away feeling encouraged and looking forward to developing the drafts I’d begun.

    Preciously what a workshop should do.

  • XLV As imperceptibly as grief

    XLV As imperceptibly as grief

    Emily Dickinson

  • Post Solstice Academics and Poem Acceptance

    Having a featured poem on Vox Populi this Saturday morning, belonging to late 2025 is a wonderful benchmark and a real acknowledgement of my continued integration into the Pittsburgh literary community.

    Thanks to friend Ruth E. Hendricks for the connection and to editor Michael Simms for choosing “Post Solstice Academics” for today’s poem!

    Now, back to grading papers!

  • Pens and Needles

    Pens and Needles

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  • Lunch Between Poets

    Lunch Between Poets

    Among the number of talented, well-known poets that the University of Pittsburgh Press brought in from around the country this weekend to celebrate the life and work of former editor, Ed Ochester, was the poet Denise Duhamel, my mentor turned friend and colleague.

    Like most people who encounter her, I sort of fell in love with Denise’s warm energy and enthusiasm right off the bat. She was my faculty mentor for two out of four semesters at Converse University, but we continued our interactions well beyond the workshop arena. She’s oh so sharp when it comes to poetry and I grew tremendously as a result of working with her, not just in my writing, but in my confidence as a poet and in learning how to navigate the “poe-biz” (poetry business).

    We had been emailing each other about her Pittsburgh visit since sometime early last year, so had plenty of time to make plans, and to build anticipation for our reunion — despite knowing it would be brief and filled with other obligations.

    We caught up over lunch yesterday and shared news we most wanted from one another: how is the job, the partner, the writing, the next book, have you heard/seen ______? what’s happening with ______ , how are you navigating the current political climate?

    It was an easy back and forth, as it always is — a gentle re-centering, a moment to celebrate successes with someone how cares, to commiserate common or respective griefs with someone who understands. And, for me, a moment to take stock of how far I’ve come in my chosen life and career as a poet.

  • Albuquerque Homecoming

    Albuquerque Homecoming

    They didn’t have to throw a parade for G and me. I thought that was awful nice though. Saying it was for the state fair was a good cover. keeps us humble.

    Rockin the drolics
  • List of Submission Deadlines

    This is a suggested timeline just to give the project some structure and motivate those of you who work best with a deadline.

    Poems for April 1-6 prompts are due August 31, 2025:

    Poems for April 7-12 prompt are due September 30, 2025:

    Poems for April 13-18 prompts are due October 31, 2025:

    Poems for April 19-24 prompts are due November 30, 2025:

    Poems for April 25-30 prompts are due December 33, 2025:

    Full Submission Guidelines

    2026 Editorial Calendar

    PromptDue DatePub Date Range
    April 1: Journal MiningAug. 31Jan. 1-11
    April 2: ProtectionAug. 31Jan. 12-23
    April 3: BeginningsAug. 31Jan. 24-Feb 4
    April 4: Whispers of WorkAug. 31Feb. 5-16
    April 5: Absences UnfoldedAug. 31Feb. 17-28
    April 6: TransformationAug. 31Mar. 1-11
    April 7: HumorSept. 30Mar. 12-23
    April 8: UtteranceSept. 30Mar. 24-Apr. 4
    April 9: ContradictionsSept. 30Apr. 4-16
    April 10: Game OnSept. 30Apr. 17-28
    April 11: Collect, Remix, RepeatSept. 30Apr. 29-May 10
    April 12: Pro-prose-alSept. 30May 11-22
    April 13: What You Leave BehindOct. 31May 23-Jun 3
    April 14: The Thin VeilOct. 31Jun 4-15
    April 15: EyesoreOct. 31Jun 16-27
    April 16: ApocryphalOct. 31Jun 28-July 9
    April 17: 17 SyllablesOct. 31July 10-21
    April 18: ElementalOct. 31July 22-July 31
    April 19: Chance ItNov. 31Aug. 1-11
    April 20: Temp-oralityNov. 31Aug. 12-23
    April 21: Focus PromptNov. 31Aug. 24-Sept. 4
    April 22: Intangible InheritanceNov. 31Sept. 5-16
    April 23: By Any Other NameNov. 31Sept. 17-28
    April 24: Hands OnNov. 31Sept. 29-Oct. 10
    April 25: In TuneNov. 31Oct. 11-22
    April 26: Not the Kind You FlipDec. 31Oct. 23-31
    April 27: Top of the MorningDec. 31Nov. 1-11
    April 28: Child’s PlayDec. 31Nov. 11-22
    April 29: Endings that Shape UsDec. 31Nov. 23-Dec. 3
    April 30: Course and MethodDec. 31Dec. 3-14
    Revision PromptsDec. 31Dec. 15-31
  • Accepting Poems!

    The Zingara Poetry Project celebration of prompts continues. Please send poems for the following prompts by September 30, 2025:

    While I have several nice poems to represent prompts posted during tose first week of April, I am still accepting submissions for the following categories:

    I’m asking poets to send 1-2 previously unpublished poems inspired by these prompts in the body of an email to ZingaraPoet(at)gmail.com with the NAME OF THE PROMPT included in the subject line. (Replace the (at) with @)

    Please also include a few sentences about your writing process (how you got from prompt to final draft) in your email, including any of the revision prompts that helped you along the way (if you used one). I want to know about why you made the choices you made. If even one line, image, or theme from your original draft appears in the final version, it qualifies for this challenge.

    Feel free to include an image to accompany your poem.

    Poems may be overtly related to any of the prompts, or have only a thread of connection. If you wrote a poem in response to a prompt and threw out all but one line during revision, that counts. Surprising is preferred to the predictable.

    Include a brief professional biography of 50 words or fewer, also in the body of your email.

    Simultaneous submissions are fine, just please let me know immediately if submitted work is accepted elsewhere.

    Revision Prompts

    Be Kind, Rewind

    Stanza Is Another Name for Room

    Find Your Rhythm

    Submission Guidelines

    2026 Editorial Calendar with Due Dates and Publication Ranges

    PromptDue DatePub Date Range
    April 1: Journal MiningAug. 31Jan. 1-11
    April 2: ProtectionAug. 31Jan. 12-23
    April 3: BeginningsAug. 31Jan. 24-Feb 4
    April 4: Whispers of WorkAug. 31Feb. 5-16
    April 5: Absences UnfoldedAug. 31Feb. 17-28
    April 6: TransformationAug. 31Mar. 1-11
    April 7: HumorSept. 30Mar. 12-23
    April 8: UtteranceSept. 30Mar. 24-Apr. 4
    April 9: ContradictionsSept. 30Apr. 4-16
    April 10: Game OnSept. 30Apr. 17-28
    April 11: Collect, Remix, RepeatSept. 30Apr. 29-May 10
    April 12: Pro-prose-alSept. 30May 11-22
    April 13: What You Leave BehindOct. 31May 23-Jun 3
    April 14: The Thin VeilOct. 31Jun 4-15
    April 15: EyesoreOct. 31Jun 16-27
    April 16: ApocryphalOct. 31Jun 28-July 9
    April 17: 17 SyllablesOct. 31July 10-21
    April 18: ElementalOct. 31July 22-July 31
    April 19: Chance ItNov. 31Aug. 1-11­
    April 20: Temp-oralityNov. 31Aug. 12-23
    April 21: Focus PromptNov. 31Aug. 24-Sept. 4
    April 22: Intangible InheritanceNov. 31Sept. 5-16
    April 23: By Any Other NameNov. 31Sept. 17-28
    April 24: Hands OnNov. 31Sept. 29-Oct. 10
    April 25: In TuneNov. 31Oct. 11-22
    April 26: Not the Kind You FlipDec. 31Oct. 23-31
    April 27: Top of the MorningDec. 31Nov. 1-11
    April 28: Child’s PlayDec. 31Nov. 11-22
    April 29: Endings that Shape UsDec. 31Nov. 23-Dec. 3
    April 30: Course and MethodDec. 31Dec. 3-14
    Revision PromptsDec. 31Dec. 15-31

  • Cultivating and Sustaining Writing Communities Panel

    Cultivating and Sustaining Writing Communities Panel

    For the first time in countless years of trying, an AWP panel I’m a part of has been accepted, my first and only so far.

    I’m very excited to be presenting with Emmy Perez, Lorna Dee Cervantes and Guadalupe Mendez and deeply appreciate Rebecca Aronson, our moderator, for pulling this excellent panel together and including me on the roster.

    So, this year I won’t just be tagging along or volunteering to man a booth or table, I’ll actually be part of the program.

  • Upcoming Bad Mouth Reading in Albuquerque

    Upcoming Bad Mouth Reading in Albuquerque

    Gary and I will be returning to one of our hometowns for Rebecca Aronson’s Bad Mouth poetry reading series in just under two weeks.

    We can hardly believe it has taken twelve years for us to return to Albuquerque.

    Leaving the mountains, the high desert, and our good friends that summer twelve years ago was heart wrenching and we thought for certain we would get back to visit often, even made promises to do so, but building careers and navigating hurricanes with limited funds and, of course, dealing with the Covid Pandemic all bent our futures and our wills to other priorities.

    Actually, I was scheduled to do a live Bad Mouth reading back in 2020, but lock-down conditions required we do a virtual event instead. I think one person has viewed it in all these years, probably because I am terrible at self-promoting, but I read poems from my first collection, Flint & Fire (Word Works Books) for that reading, which you can view here, as a kind of teaser, if you are interested: 2020 Bad Mouth Reading with Lisa Hase-Jackson.

    I have since published my second collection, Insomnia in another Town (Clemson University Press), from which I will be reading on September 6.

    Gary will be reading from his newly published collection, Small Lives (UNM Press), as well as from his previous two collections, Origin Story (UNM Press) and Missing You Metropolis (Graywolf Press). This is the first time he will be reading from Small Lives, so I guess that makes this a kind of book launch. Appropriate, since UNM Press is locating in Albuquerque.

    Now that I think about it, Gary and I read together at a salon-style gathering in Rebecca’s home that last week we were in Albuquerque, so I guess this means we’ve come full circle. Or at least completed one of the many circles we find our selves a part of.

    So, if you’re in Albuquerque on September 6, please do try to come by. As the flyer mentions, most of the proceeds from donations will go to support NM Dream Team, which I’ve linked here so you can get a sense of the good work they do.

    If you are unable to make the Saturday reading, Gary will also be interviewing with Sara Daniele Rivera at Beastly Books (yes, the bookstore owned by George R.R. Martin) up in Santa Fe the night before, Friday September 5, from 5-6:30 PM.

    Or, better yet, come to BOTH readings!!

    It’s so cool that we get to promote our newest books and do a mini book tour together. Please come out and help us celebrate. We’re excited to get to see everyone again!

  • The Finest Liar in the World

    The Finest Liar in the World

    Gearing up to prep and teach this semester’s “The Fairy Tale and the Poem” topics in poetry class beginning August 26.


    At the edge of a wood there lived an old man who had only one son, and one day he called the boy to him and said he wanted some corn ground, but the youth must be sure never to enter any mill where the miller was beardless.

    The boy took the corn and set out, and before he had gone very far he saw a large mill in front of him, with a beardless man standing in the doorway.

    ‘Good greeting, beardless one!’ cried he.

    ‘Good greeting, sonny,’ replied the man.

    ‘Could I grind something here?’

    ‘Yes, certainly! I will finish what I am doing and then you can grind as long as you like.’

    But suddenly the boy remembered what his father had told him, and bade farewell to the man, and went further down the river, till he came to another mill, not knowing that as soon as his back was turned the beardless man had picked up a bag of corn and run hastily to the same mill before him. When the boy reached the second mill, and saw a second beardless man sitting there, he did not stop, and walked on till he came to a third mill. But this time also the beardless man had been too clever for him, and had arrived first by another road. When it happened a fourth time the boy grew cross, and said to himself, ‘It is no good going on; there seems to be a beardless man in every mill’; and he took his sack from his back, and made up his mind to grind his corn where he was.

    The beardless man finished grinding his own corn, and when he had done he said to the boy, who was beginning to grind his, ‘Suppose, sonny, we make a cake of what you have there.’

    Now the boy had been rather uneasy when he recollected his father’s words, but he thought to himself, ‘What is done cannot be undone,’ and answered, ‘Very well, so let it be.’

    Then the beardless one got up, threw the flour into the tub, and made a hole in the middle, telling the boy to fetch some water from the river in his two hands, to mix the cake. When the cake was ready for baking they put it on the fire, and covered it with hot ashes, till it was cooked through. Then they leaned it up against the wall, for it was too big to go into a cupboard, and the beardless one said to the boy:

    ‘Look here, sonny: if we share this cake we shall neither of us have enough. Let us see who can tell the biggest lie, and the one who lies the best shall have the whole cake.’

    The boy, not knowing what else to do, answered, ‘All right; you begin.’

    So the beardless one began to lie with all his might, and when he was tired of inventing new lies the boy said to him, ‘My good fellow, if THAT is all you can do it is not much! Listen to me, and I will tell you a true story.

    ‘In my youth, when I was an old man, we had a quantity of beehives. Every morning when I got up I counted them over, and it was quite easy to number the bees, but I never could reckon the hives properly. One day, as I was counting the bees, I discovered that my best bee was missing, and without losing a moment I saddled a cock and went out to look for him. I traced him as far as the shore, and knew that he had crossed the sea, and that I must follow. When I had reached the other side I found a man had harnessed my bee to a plough, and with his help was sowing millet seed.

    ‘ “That is my bee!” I shouted. “Where did you get him from?” ‘ “Brother,” replied the man, “if he is yours, take him.” And he not only gave me back my bee, but a sack of millet seed into the bargain, because he had made use of my bee. Then I put the bag on my shoulders, took the saddle from the cock, and placed it on the back of the bee, which I mounted, leading the cock by a string, so that he should have a rest. As we were flying home over the sea one of the strings that held the bag of millet broke in two, and the sack dropped straight into the ocean. It was quite lost, of course, and there was no use thinking about it, and by the time we were safe back again night had come. I then got down from my bee, and let him loose, that he might get his supper, gave the cock some hay, and went to sleep myself. But when I awoke with the sun what a scene met my eyes! During the night wolves had come and had eaten my bee. And honey lay ankle-deep in the valley and knee-deep on the hills. Then I began to consider how I could best collect some, to take home with me.

    ‘Now it happened that I had with me a small hatchet, and this I took to the wood, hoping to meet some animal which I could kill, whose skin I might turn into a bag. As I entered the forest I saw two roe-deer hopping on one foot, so I slew them with a single blow, and made three bags from their skins, all of which I filled with honey and placed on the back of the cock. At length I reached home, where I was told that my father had just been born, and that I must go at once to fetch some holy water to sprinkle him with. As I went I turned over in my mind if there was no way for me to get back my millet seed, which had dropped into the sea, and when I arrived at the place with the holy water I saw the seed had fallen on fruitful soil, and was growing before my eyes. And more than that, it was even cut by an invisible hand, and made into a cake.

    ‘So I took the cake as well as the holy water, and was flying back with them over the sea, when there fell a great rain, and the sea was swollen, and swept away my millet cake. Ah, how vexed I was at its loss when I was safe on earth again.

    ‘Suddenly I remembered that my hair was very long. If I stood it touched the ground, although if I was sitting it only reached my ears. I seized a knife and cut off a large lock, which I plaited together, and when night came tied it into a knot, and prepared to use it for a pillow. But what was I to do for a fire? A tinder box I had, but no wood. Then it occurred to me that I had stuck a needle in my clothes, so I took the needle and split it in pieces, and lit it, then laid myself down by the fire and went to sleep. But ill-luck still pursued me. While I was sleeping a spark from the fire lighted on the hair, which was burnt up in a moment. In despair I threw myself on the ground, and instantly sank in it as far as my waist. I struggled to get out, but only fell in further; so I ran to the house, seized a spade, dug myself out, and took home the holy water. On the way I noticed that the ripe fields were full of reapers, and suddenly the air became so frightfully hot that the men dropped down in a faint. Then I called to them, “Why don’t you bring out our mare, which is as tall as two days, and as broad as half a day, and make a shade for yourselves?” My father heard what I said and jumped quickly on the mare, and the reapers worked with a will in the shadow, while I snatched up a wooden pail to bring them some water to drink. When I got to the well everything was frozen hard, so in order to draw some water I had to take off my head and break the ice with it. As I drew near them, carrying the water, the reapers all cried out, “Why, what has become of your head?” I put up my hand and discovered that I really had no head, and that I must have left it in the well. I ran back to look for it, but found that meanwhile a fox which was passing by had pulled my head out of the water, and was tearing at my brains. I stole cautiously up to him, and gave him such a kick that he uttered a loud scream, and let fall a parchment on which was written, “The cake is mine, and the beardless one goes empty-handed.” ‘

    With these words the boy rose, took the cake, and went home, while the beardless one remained behind to swallow his disappointment.

    From The Violet Fairy Book edited by Andrew Lange