“Lisa Sisneroz’s Believe Me is a powerful debut collection of poetry that compels us to hear and recognize her voice, the song of a survivor. In these lyrics, she sounds a healing pathway through writing and remembering. She speaks the secrets that bind our community and reclaims what it means to survive with tenderness and care. Believe Me urges the reader to listen and, in doing so, creates a space for their transformation.”
—Mary Delgado García
“Chad Dean is as thoughtful as wry here, a combination well suited for tracking and illuminating around his reluctant man down into the crowd, solitary Allen. The care the author takes with Baltimore of contemporary moments touches all the more in light of the errant and loosened retiree who seems intent on making himself ever more so, and deepens that narrative reflex to perceive to retreat, intensely attentively, into what his self-mitigated environment leaves.”
—Douglas A. Martin
“Louise A. Hammonds’ weaving of wordplay and sonic etymology combine to make us think and re-think existing relationships between poetry, scripture, and the shaping of our perceptions and beliefs. To Soothe A Teething God is a deconstructive creation aimed at destroying a mythic paradigm and its real-world consequences.”
Raymond Luczak, author of A Babble of Objects, says “the musical dialogue on the pages of American Reverie pays homage to those lost to police harassment and violence. The poems in American Reverie offer us all a much-needed fresh reminder of what it means to be an American right now.”
Coauthor of American Reverie, Synnika Lofton, discusses Poetry as Resistance and Identity:
THEODORE SHANK’s Follow the Flickering Down blurs the distinctions between memoir, poetry, short story, and song. It oscillates through the Santa Cruz mountains and coastal communities of Capitola and Live Oak, California, diving into the energy and mystery of life’s moments as they quiver in the cauldron of memory. Follow the Flickering Down cuts directly into memories and images, exposing the raw energy, emotion, and power of various levels of human experience. Its language sparkles with simplicity and directness, creating a musical atmosphere of truth and honesty.
THEODORE SHANK’s writing has appeared in Reed Magazine, The Porter Gulch Review, Perfume River Poetry Review, Inside Surf magazine, The Santa Cruz Sentinel’s Poetry Space, and Hectic Times fanzine. His short story “El Puentito” won the Best Prose award for the 2017 edition of The Porter Gulch Review. Over the years, in addition to writing, studying literature, and teaching, Shank has been an active member of the Santa Cruz underground music scene. In the early 90s, he was the vocalist for the local rock band Lost in Line, before switching to bass for bands Locus and Time. In the late 90s-early 2000s, he was bassist and founding member of The Fire Sermon, a band that put out 3 records, Burn, Freaks and Healers, and Love Lies Bleeding, and performed extensively in the San Francisco Bay Area and on the West Coast. In more recent years, Shank has developed a deep appreciation for Jazz, especially Miles Davis, John Coltrane, Bill Evans, Dave Brubeck, Thelonious Monk, and Charles Mingus. Therefore, music is a major influence on the mood, tone, impressions, and rhythms of his poetry and prose. Shank lives in Capitola, California with his wife Katie and two boys Cooper and Riley. He currently teaches English at Mission College in Santa Clara, California.