The Broadkill River Press

A Small Press Dedicated to Big Thoughts

Featured This Fall

Clear, lively, and often stunning in their language, the poems in H.A. Maxson’s LEMON LIGHT  surprise us with images like this: “I have held the ankles of the voracious upside-down man as he chewed through rock and root for the last time.” That’s a brand new look at a post-hole digger, and whether the subject is muskrats, King Croesus, or  Assateague ponies, Maxson’s particulars are exact and gratifying. He is that rare poet who lifts the world out of the commonplace for the reader’s astonishment.

— Brendan Galvin

H.A. Maxson's Lemon Light is a resounding addition to an already fine body of work. There is many-angled and moving clarity here, a plain-spokenness shot through with illuminating nuance. Any one of these poems can have the reader saying, "Yes, this is it exactly."

— Thomas Reiter



Grant Clauser knows where the bodies are buried (or not buried). At times startling and unflinching, his poetry confronts the worst in us and along the way discovers language freshly marked by compassion. “Twitter loves a failure,” he writes with characteristic directness and wit. He finds sources of renewal in images of streams, rivers, and the “gossiping” of springs—and speaks up boldly, memorably, and disarmingly for the guilty and the innocent alike.

—Lee Upton, author of Swallowing the Sea: On Writing & Ambition, Boredom, Purity & Secrecy

In "Necessary Myths" Grant Clauser focuses on little things that together gather energy to create a strong sense of place and drama. In his short poem, "Yin Garden," this: "And somewhere out in the yard/the dandelions wound their tails/around their neighbors’ throats/killing off the wild sage/then launching their feathery/seeds into the wind." This is what we experience in poem after poem, this energy, this changing, this launching. It is a well-wrought collection, and I am pleased to recommend it.

—Harry Humes, author of Butterfly Effect and Underground Singing

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Dutiful Heart

A new collection of poetry 


Joy Gaines-Friedler

A beautiful collection of clear, grounded, surprising and moving poems about creating friendships and letting go loved ones, taking in whatever good there is to be had, and cutting out the damaged parts, and letting them go. Never over-poetic, simply graceful, smart, and necessary.

                             –Heather Sellers

Like the bird that ‘curves its tiny bones around the twigs of wobbly branches,’ these poems adapt to and ride the most fierce and fragile of circumstances. Whether from the nursing home or the broken relationship — and with humor and forgiveness — the poems in Dutiful Heart bloom where they are planted. Joy Gaines-Friedler’s tender work reminds us to stay tethered, to keep refilling the feeder and always bring ‘something sweet for the table.’

–Terry Blackhawk

So fine to have Ms. Gaines-Friedler’s poems in the world — recording as they do with grace and proper gravitas the shift between generations, seasons, those watershed moments that move one day irretrievably into another.

–Thomas Lynch

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Rick Peabody's latest collection of poetry is a testament to the many facets of his career. Though Peabody is a writer, poet, publisher, editor and long-time literary maven who has dedicated a large part of his own life to promoting other writers, especially young and/or emerging writers, this one-time wunderkind of American letters’ own style has matured and his work has taken on a depth and complexity, and the richness of a fine vintage.

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Constructing Fiction is a gift to the young or would-be writers of short stories and novels. In plain, no-nonsense prose, Jamie Brown takes the reader for a walk through the world of fiction writing—avoiding the alleys and dead-end streets that so often lure new writers with promises of shortcuts. Here is advice that all writers—those young in the work, and old hands—can actually use.                     — H. A. Maxson

Constructing Fiction is a must for green writers looking to cut their teeth with short fiction, especially for those who over-think their prose, their process. From notes on character names to telling the author to trust the subconscious and “to get out of the way,” Brown, like Frank O'Hara, dares the writer to go “on your nerve.”

                          — Scott Whitaker (NBCC)


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The Year of the Dog Throwers

a collection of poetry by

Sid Gold

Sid Gold is a teacher of writing, and a poet as well.  That Sid Gold should come to poetry is a remarkably apt occurrence, for few people are quite so excited by words and their meanings as is the Harlem-born, Bronx and Manhattan-raised Gold.  Words, words, words, words.  Sid talks, and there is a danger in talking for most poets – the danger that they will have given as deep a consideration for the verbal as they do to their written language.  In this, Gold is a sort of amphibian, able to breathe in two mediums…But where he may be, on the one hand, conversationally-speaking, broad-ranging and effusive, to say nothing of excitable and plangent, his poetry is finely-tuned, striking exactly the chord he seeks to strike with a minimum of effort.  It is as if all of the words that bubble out of him are part of the creative fermentation process, so much excess verbiage, and somehow, what is left (on the page) is high-octane language. Merrill Leffler (Dryad Press) calls him “an urban storyteller whose poems….ride the back of a rhythmic jazz-like line.  What may seem conversational is deceptively lyrical, nearly every poem a deliberate — and deliberative — riff in an assured, distinctive voice…”

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Poetry by 

Kelley Jean White

Chapbook Number Two in The Key Poetry Series

Kelley Jean White’s poetry crackles with electricity. There is science here, math, the bones of the dead, Bach, and the music of despair which is a radio filling a boxcar. White’s poems are tense, strong, full of big, jaunty, precise language that evoke the range of human loss, spiritual, emotional, sexual. Whether she writes about the loss of childhood memories or our mundane world of gasoline prices and nap-weary adults, White brings energy, immediacy and power.

    — S. Scott Whitaker

         (National Book Critics Circle)

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