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MARCEL MALONE Lew Watts October 2016
NIGHTFALL Anne Valley-Fox October 2016
THE SKY WATCHED – POEMS OF OJIBWE LIVES Linda LeGarde Grover September 2016 Winner of the 2016 Editor’s Award
BINI – MEMORIES OF A FORGOTTEN COUNTRY Nabin Kumar Chhetri September 2016 Winner of the 2016 Discovery Award
THE LAST STONE IN THE CIRCLE Irena Praitis June 2016 Winner of the 2015 Poetry Prize
COLTRANE”S GOD Donald Levering December 2015
JACKALOPE Denise Low December 2015
LIFTED TO THE WIND Susan Gardner October 2015
fragile Jeffrey Thomson November 2015
FAR AWAY Gregory Lawless October 2015 Winner of the 2014 Poetry Prize
HARD PROOF Molly Kirschner
OCCOQUAN Gary Worth Moody March 2015
ECHO LIGHT Kate Gale September 2014 Winner of the 2013 Editor’s Award
MELANGE BLOCK Denise Low April 2014
CHURCH OF NEEDLES Sarah Sousa May 2014 Winner of the 2013 Poetry Prize
THE WATER LEVELING WITH US Donald Levering 2015 New Mexico Press Women First Prize
LOVE ENOUGH Ann Filemyr
RANSOMED VOICES Elizabeth Raby
A FIVE-BALLOON MORNING by Charles Trumbull 2013 Touchstone Distinguished Book Award
THE SHAPE OF CAUGHT WATER Robyn Hunt
TO INHABIT THE FELT WORLD Susan Gardner 2013 Eric Hoffer Book Award, Honorable Mention for Poetry
ALGONQUINS PLANTED SALMON Donald Levering
HAZARDS OF GRACE Gary Worth Moody
DRAWING THE LINE Susan Gardner 2011 Eric Hoffer Book Award, Honorable Mention for Memoir
Marcel Malone is a beautiful first novel, a touching and engaging story of two lost souls whose exploration of the meaning and structure of words and memories brings unexpected confrontations and consequences. It is the odyssey of personal transformation through the experience and love of poetry. Psychologist Vera Lewis, troubled by her own hidden despair, prescribes a radical treatment for her patient, Marcel. Depressed by constant rejection, Marcel finds comfort in writing poetry. Vera becomes drawn to the unfamiliar world of poetry and through her growing knowledge and use of poetry, she uncovers the source of Marcel’s difficulties. Her newfound exploration and writing of poetry become her means of resolving the secrets of her past. Her psychological descent and eventual emergence into a new life are strangely similar to the path taken by her former patient, Marcel.
Anne Valley-Fox sets out to investigate personal issues of aging, loss, and regeneration of spirit. Her signature voice is tough and tender, sensuous and exacting. This collection is lively with questions, brave explorations of human character and behavior. Introspective poems are matched with intense evocations of the external world’s beauty and cruelty. These are intimate meditations: Valley-Fox invites the reader to lean in close as she “sorts through the wreckage,” “bows to the morning,” waits for a song “on the wave of your next breath.” A number of poems evoke the dazzling work of other writers, as if to say: here’s how language, deeply imagined, sets us free.
Bini is a flow of memory salvaged in the delicate act of recollection. The poems here are untethered to any physical time and appear as ephemeral as a gentle wind sweeping across a moonlit mountain, and yet these are poems firmly rooted in lived experience across cultures and geographies. Each poem in this luminous collection stands as a signpost of diversity, of peoples, places, cultures and the immigrant experience.
The Sky Watched is a collection of poetry – some bilingual – that tells the collective story of a Minnesota Ojibwe family against the backdrop of history that begins with creation and continues to this day. Through poetry, Linda LeGarde Grover contributes to the continuation of Ojibwe worldview and survival in the recounting of history and family stories. In The Sky Watched the voices of children, adults and elders, of Indian boarding school students and traditional tribal storytellers, and of the Manidoog, the unseen beings who surround our lives every day, are given voice in a manifestation of the Ojibwe oral tradition teachings on the written page.
These poems report from the human edge and as their readers we are changed. That they are visually simple is what makes them shocking—so few words revealing so much, suggesting by simplicity an enormity—of sadness, regret, outrage, pain. The litany of relative sentiments is long, but it reaches toward understanding, too, no matter how much we resist, and that may be the ultimate shock. “Don’t think I am not you,” one poem ends. Underneath all these tellings, music offers itself everywhere, and perhaps keeps us—and the people in these poems—going, but it is not the same as consolation. When we reach such moments as, “I sing for Papa,” the music is almost unbearable. This is a clearly important book, worthy in its humanly difficult work. ―Alberto Ríos, poet, memoirist, Arizona Poet Laureate 2013-2015
Love of music and honor for musicians are the heart of Coltrane’s God, Donald Levering’s 7th full-length collection of poems. In this joyful tribute to the “language of emotion,” the people’s music of blues and jazz accompanies life’s knocks and peaks. Among the players are a street busker wailing laments in the rain, a choir boy with changing voice, an itinerant fiddler at a WPA work camp, romping barrelhouse piano players, and a woman singing scat in a tram tunnel. One of the book’s motifs is “ear worms,” music that gets stuck in your head, ranging from Mozart to “The Bristol Stomp” to Oliver Nelson’s scales of braided horns. In the title poem, the voice of the god of John Coltrane admonishes the famed sax player to “blister their ears with arpeggios.” More than half the poems have been published in journals; the 2015 Mark Fischer Award 1st Runner-up poem is included. Levering’s prosody is delightfully musical.
Jackalope recounts the seriocomic encounters of a Native American trickster who travels through a world that’s “part factual and part mythological, just like everything else.” In the “intergender” Jackalope/Jaqalope Kelley’s picaresque sojourns in bars (mostly), truck stops, and galleries, history meets tall tale, dream and vision worry the mundane, and humor functions as a salve for wounds of the long-oppressed. Here is a multi-faceted and incisive look at America from the viewpoint of its indigenous people and spirits. —William Trowbridge, Missouri Poet Laureate
Lifted to the Wind is artist and poet Susan Gardner’s sixth book, a rich collection of poems from over four decades illuminated with original brush-and-ink work. Her mostly short poems, some in Spanish as well as English, probe the complexities and contradictions of human experience—art, love, loneliness, eros, even war—even as they portray the natural world with vividness and precision: “Thin ice cracks in tatters” in “Nebraska Sunrise”; “Thunder rolls its baritone song” in “Rain in Santa Clara.” Yet they don’t stop there—as we see the girl in “August” “listening to the shadows,” and as “Galaxy” concludes, there’s “Still a trace of red sky beyond the grounded world,” these poems take us to another dimension: they lift us to the wind. – Gordon Ball, author of East Hill Farm: Seasons with Allen Ginsberg, Dark Music, and ’66 Frames: A Memoir
Life and death and poetry, love and loss, nature and spirit, joy and risk, delight in small things and large–these are among the pleasures of fragile, a book to read in a gulp, and then to be savored in small bites for years to come. Jeff Thomson is a poet of the mind but also a poet of the heart, both figurative and literal, and here he proves himself a memoirist of the heart and mind as well. Fragile marks new territory for this accomplished poet, new treasure for his readers, new ways to think about our world. — Bill Roorbach, author of The Remedy for Love
The poems in Far Away explore the gothic landscapes and depleted economies of a semi-fictional state on the margins of empire. The beleaguered voice at the center of this collection wanders through foreclosed houses and shattered relationships, caught between vision and memory, forgetting and curiosity. These are poems that “look too much” but don’t know what to feel. Human loss and state neglect overlap in Far Away to reveal a republic of isolation.
Molly Kirchner has a keen ear both for spontaneous American idioms and for the elemental sounds of language itself. She also has a sharp eye both for the significant human gesture—legs hanging off a pier, a hair tucked behind an ear—and for the details of the nonhuman world, some of which are big as the sky in summer, some small, yet all somehow human gestures, too, as when “the white pines’ five-needled fascicles / dangle as if from the wrists of hands waiting to be / kissed.” Reality is always, everywhere, and free—as this poet tells us, “You’re lucky. It’s enough. / You don’t have to deserve it.”– Christopher Collins
I admire Gary Worth Moody’s work for its long, haunting lines, for its connection to the historic record, for its humanity, and for its ambition. His connection to Black Mountain poets is present on the ranging fields of his pages and also his concerns with deep geography—here the remaining imprints of slavery and feminist struggles. This poet ignites words with fire. In reading Occoquan, I enter timeless conflagrations of events. This book is a live ember. – Denise Low, Kansas Poet Laureate 2007-09, author of Mélange Block
The poems in Kate Gale’s ECHO LIGHT do what poems should do—they give wings to darkness, shadows and bruises. We find ourselves lost in cornfields and then saved in a desert, a city, unsuspected places. Gale crafts poems that are ‘curiously powerful’ and offer us ‘salvation from boredom.’ The stories, the speakers weave myths of intoxication and sensuality, reminding us of ‘words you aren’t saying.’ They roam from earth and snow to sun, stars and sky. ECHO LIGHT ‘has invented the world’ of poetry that we yearn for—a world full of imagination, music and flight.—Lory Bedikian
Aim for the eye,’ Denise Low writes and in her poetry, she constantly threads the most precise images through the the sturdy music of each poem’s world. Low speaks with intelligence, art, and originality. Altogether, the poems in this collection delve into the nuances of various elements of a life to show us an expanded understanding of the layers of reality. ‘May all our bones rest in peace,’ Low writes at the end of ‘Flint Hill Lullabies,’ showing us how history travels in our bones and the bones of wherever we live.—Caryn Mirriam-Goldberg
Denise Low was Kansas Poet Laureate, 2007-091
CHURCH OF NEEDLES dwells in the tension between our desire for autonomy and our need for connection; with each other, with our own mercurial selves, with god. If the poems circle a place of alienation, where even the landscape appears aloof if not hostile, where the bond between a mother and her newborn isn’t a given, they often arrive at redemption, but a curiously godless one. Threaded through poems of darkness, of abuse, betrayal, witness and hardship, god is merciless when present, but more often obstinately absent. The voices of a ridiculed small town giantess, the abused wife of a Civil War veteran and a former slave making her way in the north dialogue with contemporary voices telling their own stories of suffering. Loneliness, like an Andrew Wyeth landscape, is the familiar ground on which these characters have built their lives, not counting on but surprised by unexpected grace.
These poems take the reader for a whirlwind of a ride through language brilliantly used and finely crafted. They invite us to better understand the transforming power of love even as we experience its ‘tumult between danger and safety,’ and they reflect the rollercoaster ride that we all know love to be. Filemyr’s poems explore the emotions of love with a profoundly human compassion and great respect for love’s sacred core. The deeply moving last poem ‘Love Enough’ is without question, the most amazing and important love poem I have ever read. Every word rings with its own truth, its own wisdom. This book is a ‘must read!’—Michael S. Glaser, Maryland Poet Laureate
Donald Levering takes us from ocean bottom to outer space, and from the jungles of Costa Rica to Arctic regions to the Andean heights of Chile, observing all the while the ways in which the earth’s surface and its creatures labor to survive. These poems are never didactic, restrained and beautifully rendered as they are; rather, they evoke over and above the vulnerability man has imposed on nature, the vulnerability of man himself as he shares with them the shadow of extinction. Elegaic and observant, these poems illuminate the connections that inform our lives.—Leslie Ullman
“Forche, Milosz, Neruda: all our true poets of witness are poets of what we can’t not see, poets of the heightened awareness that comes from danger. Levering offers THE WATER LEVELING WITH US in the same spirit and tradition as these poets. It is a book rich with images of the natural world and with sympathy for the people who inhabit it. It is a book modest in its ambition of making us pay attention, but that is the kind of modesty that can change the world.—Benjamin Myers
Donald Levering’s eleventh poetry book, ALGONQUINS PLANTED SALMON , makes myths into poems of wonder and warning. It celebrates dancing cranes, flitting moths, and falling stars. It likewise decries river damming, coal mining, and monstrous poisonings such as at Fukushima and the sonic onslaught on dolphins. It is a book in which, “Nature is making her last stand,” as she is paved over “to make way / for the passing of humans.” It closes with elemental odes offering succor: a night train from the ice ages, juncos whose feet “tap out the secret of flight,” gravity as circus master, an apostrophe to the wind.
RANSOMED VOICES is a thoroughly engaging book that presents an astounding sweep of history….—Alan Berecka
[It} is a personal story, it is a family history, yet it is your history… This book will bring back your childhood and remind you of who and why you are who you are…—Clark H. Tester
Winner of the Touchstone Distinguished Book Award
Charles Trumbull is a poet of quiet, deep emotion. His haiku are ripples on the pond; the source invisible, yet of paramount importance. There is a sense not just of the past in these lines, but of the future, the reclaiming back of things as they were. Certainly thoughts such as these are never far away in a desert clime… Trumbull has composed a set of poems that in some ways are like whispers, just barely heard, until we learn how to focus in on the sound. It isn’t so much the volume of the sound as it is the locale. It comes from within. —Lilliput ReviewPoetry Blog
Exploding in consonants and fertile juxtapositions of verbs with their luxuriant tenses, rubbing against the grain…celebrating the meaning of anything seen, held, or enjoyed—this collection rocks the reader in ways post-modern poetry never will…. these poems make us want to believe in the human project—the words breathe and beat with music and electricity….” Indeed, these poems go after life, dragging it in, holding it close—devouring it through iambs and “…the Felt World.” —Eric Hoffer Book Award, Honorable Mention for Poetry
Susan takes us by the throat…into seemingly veiled poems that leave haunting images for us to reinterpret, to meditate upon. These are poems for the poet-breath within us.. As a fellow poet, I am revived by this gathering of penetrating tenderness. —James McGrath, author of Speaking With Magpies
The work is painfully honest and joyously expressive. You can almost hear the voice of the poet in the structure of the poems and in the powerful cadence of the words. Susan’s work speaks of honest emotion, introspection, and heart. —Sharon Vander Meer, Happenstance
Drawing the Line ~ A Passionate Life received the 2011 Eric Hoffer Book Award, honorable mention for memoir.
“surprising nuance and depth” Kirkus Reviews;
“most interesting and impressive” Drunken Boat
“a work to savor…. imbued with the same vitality, restraint, and dignity as a perfect line” Blood Lotus
The author recounts her life with an artist’s eye, furnishing telling details about the places and people she encounters. Despite the disappointments in her life, the narrator doesn’t wallow in self-pity. Instead, she ties her experiences to political and historical events with clear, sometimes funny one-liners…. her writing mirrors her line drawings—simple lines with surprising nuance and depth. The book’s title evokes her love of calligraphy, her meandering travels, her poetry (the book includes several poems) and society’s expectations for women that she must decide to uphold or not. Her deliberate storytelling style makes for thoughtful… reading. Artists, writers and other “outsiders” will find much to ponder in this reflective memoir. — Kirkus Reviews
The musical vowels of her poetry give us a quiet assurance…each word hovering in its own luminous space, although some poems hint occasionally at unrest, violence, and global conflict…. each poem bleeds moods, tones, and hues in subtle ripples and depths…. ” -Karen An-Hwei Lee, poet, Santa Ana, California
Susan Gardner, an astute observer of human nature and the natural environment, is skilled at illuminating relationships and drawing contextual meaning from her surroundings. The strength and lyrical appeal of her poems, in English and in Spanish, bridge the gaps between the two languages with clarity of meaning and the best poetic values. It is a challenging task to translate poetry from one language to another, given the differences in rhythmic feel and expressive syntax between any two languages. In this case, the work is characterized by rich imagery and a clear, concise means of expression, no matter which language serves as the starting point.
In this human family, a man digs a hole in his backyard for a swimming pool, hoping the excavation will hold his children as he divorces their mother. Another inks his lover’s name on his knuckles; a teenage daughter explores her sexuality. A wife sings to her husband, who does not hear, through a marriage muted by disappointment. The inhabitants learn a language that lifts beyond the bills being paid, drunk on the memory of tastes they had nearly forgotten. These are unwavering poems marked by flirtation, anger, forgiveness, and praise, poured into vases of roses, blessed with THE SHAPE OF CAUGHT WATER.
HAZARDS OF GRACE journeys through landscapes, natural and familial that bridge the 20th and 21st centuries. The work harnesses the tension between lyric and narrative forms to mirror the collective memory of a generation balanced on the cusp of history. The characters that inhabit these poems, farmers, ranchers, damaged war veterans, Siberian miners, gravediggers, and denizens of the wild, wield equally brutality and love. From barren ruined farmsteads and ranches of west Texas, Siberian coal mines, the claustrophobic woodlands of Virginia, the city surrounding the Pentagon on September 11, and finally to the ascetic landscapes of northern New Mexico, HAZARDS OF GRACE illuminates the archetypal power of wildness to render us human.
A large format collection with 44 color plates features Gardner’s work in each of these art forms. It presents a rich blend of classic aesthetics and personal insight. The book is an object of visual delight fully in keeping with the elegant, compelling nature of its content. Her visual and literary art still reflects the style of forceful spontaneity and directness she developed early in her career.
“Her art speaks of what is not seen yet is present, of what is common yet irredeemably precious”—J. W. Mahoney.
Red Mountain will launch BINI – MEMORIES OF A FORGOTTEN COUNTRY by Nabin Kumar Chhetri , Friday, September 2, 2016
Red Mountain will launch JACKALOPE by Denise Low. Also reading will be Robyn Hunt (THE SHAPE OF CAUGHT WATER), Linda LeGarde Grover (THE SKY WATCHED, forthcoming in 2016) and Susan Gardner (LIFTED TO THE WIND POEMS 1974-2015). December 6, 1 pm, The Performance Space, 7 Caliente Rd, Santa Fe.
Susan Gardner will read from LIFTED TO THE WIND POEMS 1974-2015 and her memoir DRAWING THE LINE, Florida Gulf Coast University, November 20, 2015, 5 pm.
Red Mountain will launch two major books, fragile by Jeffrey Thomson and LIFTED TO THE WIND POEMS 1974-2015 by Susan Gardner. Sunday, October 25, 2015, 6 pm at Teatro Paraguas, 3205 Calle Marie, Santa Fe, NM 87507
Denise Low will read from MELANGE BLOCK, Ann Filemyr will read from LOVE ENOUGH and we launch HARD PROOF by Molly Kirschner, Sunday, July 12, 2015, 5 pm at Teatro Paraguas, 3205 Calle Marie, Santa Fe, NM 87507
At AWP Minneapolis Red Mountain authors Denise Low, Donald Levering and Susan Gardner participate in a panel moderated by Ann Filemyr, Thursday, April 9, 2015, 1.30 pm, Minneapolis Convention Center Room 101J. The poets will read on Saturday, April 11, 2015, 1.30 pm at Main Stage 1.
Red Mountain authors Robyn Hunt and Gary Worth Moody of Santa Fe, and Kate Gale of Los Angeles, joined by Ron Koertge, will read from new and recent works on Sunday, October 26, 2014, 2 pm at op cit books, Sanbusco Center, Santa Fe, New Mexico.
Susan Gardner will read from recent works, (DRAWING THE LINE and TO INHABIT THE FELT WORLD), and meet with the FOUR CORNERS POETS, October 11, 2-5 pm, San Juan College, 4601 College Blvd, Farmington, NM 87402
Susan Gardner, Donald Levering, and Ann Filemyr, read from recent works at Poets House, 10 River Terrace, New York, NY. Saturday, September 27, 2014, 6 pm. This event is made possible in part through the Poets House Literary Partners Program
Red Mountain authors Donald Levering (THE WATER LEVELING WITH US), Denise Low (MELANGE BLOCK), and Susan Gardner (TO INHABIT THE FELT WORLD) read from their recent works at the Santa Fe Community Foundation, 501 Halona St (corner of the Paseo de Peralta) Santa Fe, New Mexico, Sunday, June 15, 2014, 2.30 pm.
Launch of THE WATER LEVELING WITH US by Donald Levering, El Museo Cultural, 555 C. de la Familia Santa Fe, New Mexico, in the Santa Fe Railyard, May 16, 2014, 6 pm.
Launch of LOVE ENOUGH by Ann Filemyr, op cit books, Sanbusco Center, Santa Fe, New Mexico, April 6, 2014, 4 pm
Red Mountain Press and the New Mexico State Poetry Society are launching an initiative to establish a state poet laureate in New Mexico. To further this effort and to celebrate the laureates already among us, the event is at IAIA Commons on Sunday, November 3, 2013. Santa Fe poet laureate, Jon Davis, will read his poem to open the program. Four poet laureates, Walter Bargen (Missouri), Michael Glaser (Maryland), Denise Low (Kansas), and Luci Tapahonso (Navajo Nation), will discuss the merits of instituting a poet laureate position for the state of New Mexico. The panel discussion will be followed by the laureates reading from their own works and a social hour of conversation and book signing.
Launch of RANSOMED VOICES by Elizabeth Raby, Teatro Paraguas, 3205 Calle Marie, (off Henry Lynch Road), Santa Fe, New Mexico, September 22, 2013 5 pm
Launch of A FIVE-BALLOON MORNING by Charles Trumbull at op cit Books, Santa Fe, New Mexico Sunday, July 21, 2013 3.30 pm.
Launch of THE SHAPE OF CAUGHT WATER by Robyn Hunt Ventana Gallery, Santa Fe, New Mexico June 23, 2013. 4.30 pm Launch of
TO INHABIT THE FELT WORLD by Susan Gardner, op cit Books, Sanbusco Center, Santa Fe, New Mexico June 9, 2013 3.30 pm Reading and reception
The 2015 Poetry Prize awarded to Irena Praitis for THE LAST STONE IN THE CIRCLE publication June 2016
The 2015 Editor’s Award to THE SKY WATCHED by Linda LeGarde Grover, publication in September 2016.
The 2015 Discovery Award to BINI by Nabin Kumar Chhetri, publication in September 2016.
The 2014 Poetry Prize awarded to Gregory Lawless for FAR AWAY, publication September 2015.
The 2013 Poetry Prize awarded to CHURCH OF NEEDLES by Sarah Sousa, publication in May 2014.
The 2013 Editor’s Award awarded to ECHO LIGHT by Kate Gale, publication in September 2014.
The 2016 Red Mountain Prize for Poetry will award $1000.00 and publication of a full-length book of poetry. The most important criterion is that the manuscript manifests significant themes in beautiful, strong and evocative language.
The winner will receive publication with our standard contract and a $1000 award. All entries may be considered for future publication.
SUBMIT by September 15 via the submission manager.
The author must hold all rights to the work. The manuscript may include poems previously published in a periodical, an anthology, chapbook, or on the web but the manuscript as a whole may not have been published as substantially the same work. Proper attribution must accompany previously published work.
The author must be over 21 years of age.
Send a manuscript of 48-72 pages in a single document via the submission manager.
Each poem must begin on a new page with the title of the poem at the top. Do not have your name or identifying data on the manuscript. The submission manager links your data to your submission and you may enter an optional cover letter, which is not visible to the judges.
Use Times New Roman or similar 12 pt font, with at least one-inch margins, 1.5 or double-spaced, paginated, with a Table of Contents. Title page should include ONLY the title. The text must be written in English and must be solely the author’s work. Very short poems, such as haiku, may be grouped together on a single page if they would appear together in the final book.
Simultaneous submissions are accepted but you MUST notify Red Mountain immediately and withdraw your work at once if the work is accepted elsewhere.
Red Mountain authors will do an initial blind reading of each entry and nominate the finalists. The publisher will choose the winning entry from among the finalists. If a judge recognizes work during the blind reading, that judge will recuse him/herself from consideration of that entry. People related to the publisher are not eligible. The final decision is at the sole discretion of the publisher.
For guidance, please look at the books Red Mountain has published. No purchase is required to enter but we hope you will read the books, available at your public library and independent bookseller and our website, http://www.redmountainpress.us, Our books are distributed by http://www.spdbooks.org. Red Mountain Press, of course, does not discriminate on any ascriptive basis (i.e., gender, nationality, race), but is very discriminating in choosing the books it can publish.
The deadline is September 15. The non-refundable online application fee is $28.
No information will be available in response to telephone inquires. Email questions to email@example.com and write prize query in the subject line.
Please check the website, http://www.redmountainpress.us, for updates and further information. The winner and finalists will be announced on this page.
SUBMIT here through the electronic submission manager.
Printed entries are accepted. Send two copies. Use Times New Roman or similar 12 pt font, with at least one-inch margins, 1.5 or double-spaced, paginated, with a Table of Contents. Title page should include ONLY the title. Add a single separate copy of the cover sheet with all contact information and any other material you wish to send. Manuscripts should be fastened with a spring clip. Manuscripts cannot be returned. The print application fee of $30 is non-refundable.
We believe that there is a wonderful variety of fine, contemporary work being made today. The public is avid for art, poetry and literature that illuminate our world with beauty and meaningful ideas but which all too often do not meet the criteria of commercial publishers. This work can find a home here. We publish contemporary books of the highest quality. The books are as beautiful as their contents.
The emphasis will always be on quality and relevance to contemporary life.
We collaborate with artists and authors individually to realize their unique vision in the form of a book.
Red Mountain Press awards a prize for poetry.
RD Ross, the owner and publisher of Red Mountain Press, is a tireless organizer, giving a lifetime of service to community efforts, especially in the arts and education.
Susan Gardner, publisher and founding editor, is a poet, painter, photographer and literary editor. She has received wide recognition for her poetry and memoir and her art has been exhibited in museums and galleries in Europe, Japan, Mexico, and the United States.
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Red Mountain Press publishes poetry and poets' memoirs and literary fiction.
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Guidelines and Submission Manager for the 2016 prize at 'Poetry Prize' tab; submissions after April 1; deadline is Sept. 15.
The 2016 Red Mountain Poetry Prize will be announced shortly.
RED MOUNTAIN PRESS has a full publication schedule for the near future. We will read new submissions again in a few months. Please do not send submissions without prior arrangement. If invited to send your manuscript, use Times or Palatino 12 point font and formatting in Word, without gimmicks, glitz or gyrations. We have no fees for regular submissions. You may submit by mail or via the Submission Manager.
Manuscripts cannot be returned. Do not send attachments. Because of the large volume of malware, attachments will be immediately discarded.