Interview With Dream Horse Press
What makes Dream Horse Press a unique part of the publishing community?
We present a wide variety of voices in poetry, particularly those writers who pay attention to the craft of sound and imagery.
What sort of qualities do you look for in a manuscript or piece of work that you are considering for publication?
We are open to all styles, we are looking for collections of poems that work and belong together as a book. We adore work that has something to say but not at the expense of craft: such as sound, image and literary device.
Do you have a specific aesthetic preference? How would you describe that aesthetic?
We do not have an allegiance to schools or styles of poetry – that is fairly evident to anyone who reads a few of our books. We believe poems are meant to be read aloud and when selecting manuscripts we take particular care to read them with that focus.
What is the readership like for Dream Horse Press? What do you imagine your typical reader is like?
I imagine our typical reader to be intelligent with a preference for poetry that has some depth to it—the kind of poetry one doesn’t skim over but returns to again and again, and then recommends the works we feature to other like-minded readers.
What is the next exciting thing happening at Dream Horse Press?
We just released Roleplay by Juliana Gray, and are in the process of releasing Katherine Soniat’s A Raft, A Boat, A Bridge, A. E. Watkins’ Dear, Companion, and Dan Rosenberg’s The Crushing Organ. We have a great selection of works forthcoming again from writers of many different aesthetics: By a Year Lousy with Meteors, a collaborative chapbook by Ariana-Sophia Kartsonis & Cynthia Arrieu-King; Wen Kroy by Sheila Black winner of our Orphic Prize; James Cihlar’s Rancho Nostalgia; Judith Skillman’s New and Selected Poems titled, The Phoenix; and Keith Montesano’s latest book which is a take on ekphrastic poems based on secondary characters in movie scenes—terrific idea and execution!