hybrid

We believe in the fissures art can create in consciousness when, even if just for a moment, we experience a more vital way of operating in the world—and through that moment then seek out more extreme and enlightened modes of existence.

We do a lot of work behind the scenes, but the writers create the work so they deserve the most credit and profit for it. They are the reason we even have a project to work on in the first place.

Love Song for My Lemon Hare   Green trees, sap green—streaming the interstate and hemming the fields, ladled as if from Constable’s brush, from Manchester to Nantwich, muted, yet golden,…

  The moon is far away, but still it sways the tides   Never look at the black sun, my grandmother tells my mother. My mother is a child, and…

Some words we like to throw around are: generosity, materiality, love, emergence, multitexuality, book-as-object, pleasure, vernacular, and hybridity.

What is a question that has stayed with you through time, clung to you like an inhalation? What is a question that pulls you out from syncope? For me, it…

I wanted to find an approach that would encourage writers to promote their work while also creating an urgency for the reader. The answer was Disappearing Chapbooks. Collections with a shelf-life of 72hrs.

It’s hard to find a place if you don’t fit into those categories. Part of this is that small press publishing is generally unpaid or underpaid. To ask an already marginalized person to take on that type of unpaid labor is difficult, and it creates this cycle.

It’s sort of a marriage of my beloved zine culture and the indie press world. Zines are a huge influence on my life, I thought I invented them when I put out my first “Question Authority” zine in high school. I am always inventing things that already exist.

Website Submission Guidelines Interview with Kate Partridge and Alyse Knorr, Editors How did Switchback Books start? Switchback Books was founded in 2006 by the amazing poets and editors Hanna Andrews,…

We want to be troubled and inspired by the work. If there is anything explicitly outside our aesthetic, it is work that does not trouble us. We also want to be challenged by the distinct and diverse aesthetics of the various editors working together in this collective press.

glo is influenced by emo, cowboys, nature pix, racing, wrestling, critters, dirt, and water. aesthetically we are chaotic good. we want to bring really drippy/sensitive/empathic art to the world—we’re hyperpersonal.

We’re not exempt just because we’re editors: if we’re going to ask for this type of work, we better be able to do this type of work. We have to know what it feels like to make it. It’s beyond us, but we’re not beyond it.

We hand-bind all of our books. The covers for our journals are made from 6-packs of local breweries. We’ll gather friends to help us, buy some beer and pizza, and spend a lot of time cutting boxes, and sewing our books.