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NEWS: 


Jennifer's second book of poetry, Exclusions & Limitations, will be published in March 2018 by Plume Editions in conjunction with MadHat Press. For advance praise, see the Poetry section of this site.

First Day in Trade is in The Best Ten-Minute Plays 2017, edited by Lawrence Harbison and forthcoming in January from Smith and Kraus. The play premiered in 2016 at Rover Dramawerks in Texas.

A monologue from Jennifer's new full-length play Ellery is in The Best Women's Stage Monologues 2017, edited by Lawrence Harbison and due out in January from Smith and Kraus.

RECENT:

Charlotte's Letters was selected for the 2017 NEWvember New Plays Festival Dublin. A staged reading was performed at Dublin's Belvedere House on November 18, 2017. Read about it in Broadway World here.

The Mysterious Affair at the Christies had its world premiere at Rover Dramawerks in Plano, TX in April 2017. Read about it in Broadway World 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.

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

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

"Moths" (from Jennifer's book White) is featured in Bustle's "11 Poems About Summer for Your Long Hazy Days" (July 2016).

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

Charlotte's Letters was a Semifinalist for the Eugene O'Neill Theater Center's 2016 National Playwrights Conference.

"Moths" has been set to music by composer Robert Paterson in Summer Songs. Also containing poems by May Sarton, Anne Sexton, Sara Teasdale and Sharan Strange, the song cycle premiered at New York's Merkin Concert Hall in May 2016. 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)

Pre-War had a reading at 13th Street Repertory Theatre in New York as part of In Her Name, a festival of new plays by women. Read about it in Broadway World here. (April 2016)

"Moths" was featured on MariaShriver.com in celebration of National Poetry Month (April 2016).

"Susanna and the Elders" (from White) is 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 new poems--“Pear in Storm,” "Lot's Wife," and “The Annunciation"--in Red Truck Review (April 2016)

Charlotte's Letters was selected by The Irish Repertory Theatre for its New Works Reading Series. A staged reading was performed by a stellar cast in January 2016. Read about it in Broadway World here.



...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 jugglingwhat no one really knowsis 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 doif 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