NEWS: 

Jennifer's second book of poetry, Exclusions and Limitations, will be published by Plume Editions. Details to come!

"Moths" (from Jennifer's book White) is included in Summer Poems, now up at the Poetry Foundation.

First Day in Trade will be published in The Best Ten-Minute Plays 2017, edited by Lawrence Harbison and forthcoming from Smith and Kraus. The play had its world premiere in 2016 at Rover Dramawerks in Plano, TX.

A monologue from Ellery has been selected for The Best Women's Stage Monologues 2017, edited by Lawrence Harbison and due out from Smith and Kraus.

The Mysterious Affair at the Christies had its world premiere at Rover Dramawerks as part of its 365 Women a Year Festival of new plays in April 2017. Read about it in BroadwayWorld here.

"Man Keeps Eighty Sheep in His House, Authorities Say" is in The Plume Anthology of Poetry 5, edited by Daniel Lawless and published by Plume Editions/MadHat Press. (February 2017)

The Great Gaffe is in The Best Ten-Minute Plays 2016 (Smith and Kraus), edited by Lawrence Harbison. The play had its world premiere in 2016 at Monster Box Theatre near Detroit.

RECENT:

Two new poems in Plume: "Visitors" (August 2016) and "Fireflies" (April 2016)

"Moths" featured in Bustle's "11 Poems About Summer for Your Long Hazy Days" (July 2016)

"Goldfish" now published in The Florida Review (June 2016)

"Moths" has been set to music by Robert Paterson in Summer Songs. The song cycle (which also contains poems by May Sarton, Anne Sexton, Sara Teasdale and Sharan Strange) premiered in May 2016 at New York's Merkin Hall in a concert by American Modern Ensemble. Read "Moths" in Poetry Magazine here. Find "Moths" on The Writer's Almanac with Garrison Keillor here.

Three new poems in Literary Mama: "Like an Ear" (May 2016), "Alphabet for the Stay-at-Home Parent" (April 2016) and "Addition" (March 2016)

Charlotte's Letters was named a Semifinalist for The Eugene O'Neill Theater Center's prestigious National Playwrights Conference (2016).

Pre-War was presented by 13th Street Repertory Theatre in New York as part of In Her Name, a festival of new plays celebrating women's voices in theater. Read about it in BroadwayWorld here. (April 2016)

"Moths" featured on MariaShriver's website in celebration of National Poetry Month (April 2016)

"Susanna and the Elders" (from White) reprinted in Veils, Halos & Shackles, international poetry on the abuse and oppression of women, edited by Charles Fishman and Smita Sahay and published by Kasva Press (April 2016)

Three poems (“Pear in Storm,” "Lot's Wife," and “The Annunciation") published in Red Truck Review (April 2016)

Charlotte's Letters was selected by The Irish Repertory Theatre in New York for its New Works Series. A staged reading was presented by a stellar cast in 2016. Read the BroadwayWorld article here.

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...It falls in pieces, it falls because it must
and who can say that it doesn’t fall purely out of love for the earth? From earth
comes water and from water, soul—born like the stormy flux of love.

Listen: if we touched I could lose you or lose myself, falling into your arms
as rain falls, finally, onto the earth, then rises somehow through the air again,
irrepressible as souls. It is the beginning of everything.

                    —FROM "RAIN," WHITE

RODNEY (to Audience)

The thing about juggling—what no one really knows—is that it has no clear definition. Not unlike some people. What is it, really? Is it art or entertainment? Reality or illusion? One thing is certain: you must never take your eyes off the balls, not for a moment. For if you do—if you look away, say, at something that’s coming at you...then everything falls.
  
        —From juggling with mr. fields

...the shell-pink snapdragons you planted
are phosphorescent in your absence, and space

after words like so long mimics
the splash of displaced water. Louder

colors persist after evening dissolves.
Your voice still haunts me. Pray for tomorrow’s

resoundingly empty sky.

             —From “singular Constructions” White

DANITA

I never understood the expression "heavenly bodies." Because a) they're not bodies, and b) they're not in Heaven. Heaven's a place we can't see until we get there. If we get there. If it even exits. 

      —From quasars


She is making herself and not herself—
anguish dressed in baroque repose,

a motionlessness that is never still,
arranged, betraying nothing—

the restrained line of an eyebrow or lip,
the arc of a neck, the skillful reflection

of a sleeve of the moon-white gown
in the olive-green water

gradually assembled, balanced there
in this unexpected moment,

this small world holding its breath.


               —From "SUSANNA AND THE ELDERS," WHITE