Glass Poetry Press is a micro-press in Toledo, Ohio that publishes poetry chapbooks. They also publish the online poetry journal, Glass: A Journal of Poetry. Their chapbooks are beautiful designed, hand-bound, and side stapled with full-color card stock covers. Their initial print runs are 200 copies and each chapbook will be kept in print as long as there is sufficient demand, to be determined by the press.
I wondered how and why this press came to be, so I asked editor (and most excellent friend and fellow poet) Anthony Frame a few questions to find out. See my interview with Frame and link to submission guidelines below.
HOPKINSON: Tell me a little bit about Glass Poetry Press.
FRAME: Glass Poetry Press is a micro press that publishes around five poetry chapbooks each year, all of which are accepted during our fee free open reading period (and, occasionally, through solicitation). We also publish the monthly online poetry journal, Glass: A Journal of Poetry. The journal also publishes book reviews, interviews, and, through the Poets Resist series, current events poems.
HOPKINSON: How/why was Glass Poetry Press originally started?
FRAME: Glass was originally started as a quarterly electronic journal in 2008 (happy 10th birthday, Glass!). Holly and I were a little frustrated by the literary scene at the time – online journals were really starting to take off, there was a boom of journals popping up, but because this was still pretty new and access to easily creating websites was newly affordable, there were a lot of awkward years for the online literary world in the early 2000s. Journals would pop up and then they’d disappear a day or two after publishing their first issue. As this kept happening, Holly and I thought we could do it, do an online journal, and not let it disappear. So we did. We published for six years before we decided we couldn’t give Glass the attention it needed. But we kept the website up and running – since March, 2008, the Glass site has been accessible with every poem we’ve published.
After we closed Glass, I still wanted to publish, I still wanted to be an editor, but I was really interested in chapbooks. I really wanted to work with an author on a larger project and work with them to bring that project to the world. When I won my second Ohio Arts Council grant, I decided to take a shot at it and I reopened Glass as a chapbook micro press with an online journal. And it’s been a wild roller-coaster ever since. And I’m forever grateful to the literary community for all of the support and love they’ve shown to my little dream-come-true.
HOPKINSON: Who is your target reader audience?
FRAME: I think it changes from manuscript to manuscript. I try to trust my authors to determine the audience of their work and then use the press to try to put these chapbooks in those audiences’ hands. I think about Jennifer Givhan’s Lifeline, which has a very different audience than Jennifer Met’s Gallery Withheld. And I think (I hope) I can then bridge those two audiences and maybe, by publishing GW and Lifeline in the same year, expand the audience of both authors and the reading scope of both audiences. I mean, that’s the dream, I’d say.
HOPKINSON: What type of work are you looking for?
FRAME: I mean, anything and everything. Every time I say, ‘This is what a Glass chapbook is like,’ someone submits something completely different that blows me away (Logan February’s How to Cook a Ghost is a good example – I never could have predicted that manuscript, but it’s haunted me [excuse the pun] since I first read it).
So, I think I’ll say that I’m looking for manuscripts that are coherent, manuscripts where the pages feel like they belong together. I’m looking for poems that have a strong sense of themselves – their rhythms, their unique language, their unique outlook, their specific conceit.
But mostly, I’m looking to be surprised. I’m looking for the manuscript that I never could have imagined.
HOPKINSON: What do you wish you’d see submitted, but rarely comes in?
FRAME: I get a pretty strong variety of manuscripts so it’s hard to say that I there’s something I wish I saw or saw more of (I mean, I still haven’t had a Tori Amos chapbook submitted but….). I think, if anything, I’d like to see more manuscripts that are one chapbook length poem or one chapbook length sequence. Most chapbook manuscripts are a collection of poems, and I love those, but I’m also very interested in work that thinks of itself as a chapbook, that seems designed to be a chapbook, that’s really wrestling with the chapbook form rather than just the chapbook length, if that makes any sense.
HOPKINSON: What are some of your favorite lit mags/journals?
FRAME: Soooo many! My absolute favorite is The Shallow Ends. The work Eloisa Amezcua is putting out each week is always amazing and The Shallow Ends has become an integral part of my week (looking forward to Thursday, returning to the archives after sitting with the week’s poem, etc). I also adore Foundry, Tinderbox, The Boiler, The Shade Journal, and Up The Staircase Quarterly, to name a few. These are some of the places I look up to and that I strive to make Glass as good as.
HOPKINSON: Where can folks send submissions?
FRAME: All submissions should be emailed, either as a .doc(x) or .pdf file, to email@example.com. Full guidelines can be found here: http://www.glass-poetry.com/submissions.html
FRAME: Just shoot me an email 🙂 firstname.lastname@example.org
DEADLINE: March 31, 2018, midnight EST
SUBMISSION FEE: None
PAYMENT: Authors whose chapbooks are chosen for publication receive fifteen complimentary copies and may purchase additional copies at a discounted price. Authors whose chapbooks are chosen for publication will also receive a complimentary copy of the other chapbooks published during their year.
FORMS: Poetry chapbooks between 15 and 25 pages (not including title page, acknowledgements, etc), give or take