INF Press Launch & Reading with Jenna Martin Opperman & Andrea Eames

When:
March 31, 2017 @ 7:00 pm – 8:00 pm
2017-03-31T19:00:00-05:00
2017-03-31T20:00:00-05:00
Cost:
Free

Join us in celebrating the launch of local poetry press INF Press. Poets Jenna Martin Opperman and Andrea Eames will be reading from their newly released poetry collections, the initial offerings of INF Press.

Jenna Martin Opperman has a BA in English Literature from The University of Texas at Austin and an MFA in Poetry from New England College. Despite being published in a wide variety of poetry journals and magazines, she prefers the thrill and terror of performing before a live audience. She works and plays with the printed word every day as an English teacher, as the owner of Red Planet Audiobooks, and as the co-founder of INF Press. Her poetry comes from a place of ferocity, of playfulness, of emotional urgency, and of hope. She loves whisky, revelation, and naps.

Praise for Shattering is Gradual by Jenna Martin Opperman:

This highly-polished, cerebral collection spans years of writing, and is an achievement both elegant and emotional. Love, heartbreak and self-realization are major themes, described with wry, often funny, always balanced poignancy.


Andrea Eames is a poet and novelist living in Austin after eight years in New Zealand and seventeen in Zimbabwe. She has released two critically acclaimed novels so far, both published by Harvill Secker (an imprint of Penguin Random House UK) and set in Zimbabwe: The Cry of the Go-Away Bird (2011) and The White Shadow (2012). The White Shadow was shortlisted for the 2012 Dylan Thomas Prize. Her first poetry collection, The Making of Stones, was released in March 2016 and her second, New Monsters, was released in February 2017. Andrea aims to be vulnerable, vivid, and honest in her poetry and prose.

Praise for New Monsters by Andrea Eames:

New Monsters is not for the timid. A study in the feminine as much as the poet, Eames’ new collection is fearless, revealing women in our full, unfettered beauty. Within these pages, we are ravenous and angry, raw and polished, simultaneously ourselves and our search for something larger—much like the collection itself.

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