The Walled Wife (Red Hen Press)
A woman is buried so a church will rise. Nicelle Davis’ The Walled Wife unearths from the long-standing text “The Ballad of the Walled-up Wife,” a host of issues that continue to plague women in the contemporary world: the woman’s body as sacrifice; the woman’s body as tender or currency; the woman’s body as disposable;...
The Walled Wife (Red Hen Press)
A woman is buried so a church will rise. Nicelle Davis’ The Walled Wife unearths from the long-standing text “The Ballad of the Walled-up Wife,” a host of issues that continue to plague women in the contemporary world: the woman’s body as sacrifice; the woman’s body as tender or currency; the woman’s body as disposable; the woman’s body as property; the woman’s body as aesthetic object; the woman’s body unsafe in the world she must inhabit, and in the hands of the people she loves. By unearthing “this fucked-up story,” found in a centuries-old folktale (The Ballad of the Walled-Up Wife) Nicelle Davis’ poems remind us that narratives, like the individuals and cultures that produce them, are imperfect structures. However, through her intelligent and effective use of craft and voice, and the heartbreaking vulnerability with which she engages the perspectives within and without the story, Davis avoids simple replication; she does not “rebuild a corrupt structure.” Rather, she exhibits in The Walled Wife the powerful and expansive possibilities of narrative. This collection makes space (in the narrative, and thus in the reader, and thus in the culture) for so much—for remorse from the builder, for sorrow from the husband, but mostly for this sacrificed woman to be angry, to feel betrayed, to be avenged, to tend to her inner life in the hours of her death, to speak her truth, and insist on her humanity. These poems allow the wife to mourn her stolen life, and as we mourn with her, they enrich our possibilities for empowerment and empathy in the narratives of our lives.
A poetry reading for ugly bridesmaid dresses. Poetry readings, refreshments, photo ops, and an ugly bridesmaid contest competition. Moderated by Juicee Courture.
Nicelle Davis is a California poet, collaborator, and performance artist who walks the desert with her son J.J. in search of owl pellets and rattlesnake skins. She is the author of four poetry collections including her most recent, The Walled Wife, from Red Hen Press. In the Circus of You is available from Rose Metal Press, Becoming Judas, is available from Red Hen Press and her first book, Circe, is available from Lowbrow Press. Her poetry film collaborations with Cheryl Gross have been shown across the world. She is currently working on the manuscript/play, On the Island of Caliban which was recently workshopped by The Industrial Players. She has taught poetry at Youth for Positive Change, an organization that promotes success for youth in secondary schools, MHA, Volunteers of America in their Homeless Youth Center, and with Red Hen’s WITS program. She currently teaches at Paraclete High School.
photo by Sascha Vaughn, Dress by Pavlina Janssen
Jackie Bang’s work has appeared in ZYZZYVA and The Alaska Quarterly Review and most recently their piece, "Rent Easy" in The Los Angeles Poetry Circus Chapbook. They are currently at work on Dinner Bait, a book length end-of-love story set in a New Orleans of adjunct teaching and sex work ten years after Katrina. They are working also on a related psych, folk, blues erotica record with their partner in poetry performance Caspar Sonnet. Both works engages the possibility for species transformation in the human response to climate change through high stakes eroticism as metaphor. Jackie Bang lives and teaches in the IE.
Alexis Rhone Fancher’s poem, “when I turned fourteen, my mother’s sister took me to lunch and said:” was chosen by Edward Hirsch for inclusion in The Best American Poetry of 2016. She is the author of How I Lost My Virginity To Michael Cohen and other heart stab poems, (Sybaritic Press, 2014), and State of Grace: The Joshua Elegies, (KYSO Flash Press, 2015). Alexis is published in Rattle, The MacGuffin, Menacing Hedge, Blotterature, Slipstream, Wide Awake: Poets of Los Angeles, Chiron Review, Hobart, and elsewhere. She is poetry editor of Cultural Weekly.
Photo by Baz Here
Ashley Inguanta is a writer and photographer who is driven by landscape, place. She is the author of three collections:The Way Home (Dancing Girl Press), For The Woman Alone (Ampersand Books), and Bomb (forthcoming with Ampersand Books in 2016). Her work has appeared in PANK, The Rumpus, The Good Men Project, Bartleby Snopes, Adrienne: A Poetry Journal of Queer Women, OCHO, Corium Magazine, the Rough Magick anthology, and other literary spaces. Ashley is also the Art Director of SmokeLong Quarterly. Currently she is working with musician Sarah Morrison, creating a series of projects and performances that combine music, visual art, and language.
Jennifer Bradpiece was born and raised in the multifaceted muse, Los Angeles, where she still resides. She has her Bachelors in Creative Writing from Antioch University. When not rescuing Pit Bulls, she tries to remain active in the Los Angeles writing and art scene: she has interned at Beyond Baroque, and often collaborates with multi-media artists on projects. Her poetry has been published in various journals, anthologies, and online zines, including 491 Magazine, The Mas Tequila Review, and Redactions. She has poetry forthcoming in Rip Rap Journal and The Whiskey Fish Review among others.
