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Khadijah Queen, Adèle Barclay, Feliz Lucia Molina & Wendy S. Walters

Khadijah Queen is the author of Conduit (Akashic Books 2008), Black Peculiar (Noemi Press 2011), and Fearful Beloved (Argos Books 2015). Her short chapbooks are No Isla Encanta (2007) and bloodroot (2015), both from dancing girl press; Exercises in Painting, due out from Bloof Books in 2016; and the digital chapbook I'm So Fine: A List of Famous Men & What I Had On (Sibling Rivalry 2013), the full length version of which will be published in 2017 by YesYes Books. Litmus Press published her verse play Non-Sequitur, with a full production staged at Theaterlab in NYC from December 10 - 20, 2015 by The Relationship. Reviews of her work can be found in BOMB Magazine, SCOUT, Publishers Weekly, Los Angeles Review, Spoon River Review, Open Letters Monthly, Mosaic, The Volta, Kenyon Review and other publications. Individual poems and prose appear or are forthcoming in Fence, Tin House, Poor Claudia, RHINO, jubilat, Tupelo Quarterly, Memoir, CURA, Best American Nonrequired Reading, Rattle, The Volta Book of Poets, LitHub, The Force of What's Possible and widely elsewhere. She has performed at the Bowery Poetry Club, Sarah Lawrence College, The New School, Georgia Institute of Technology, Center for Book Arts (NYC) and other venues nationally. She has joined the new Mile-High MFA in creative writing at Regis University as core faculty in poetry and playwriting. Learn more and apply here.

Feliz Lucia Molina was born and raised in crisis heterotopias in Los Angeles, CA. Her books include Undercastle (Magic Helicopter Press), The Wes Letters (with Ben Segal & Brett Zehner, Outpost19), and Roulette forthcoming from Make Now Books. Her chapbook Crystal Marys was recently released by Scary Topiary Press. Based in Chicago and the high desert in Southern California, she can be found at

Adèle Barclay is a writer and critic currently based in Vancouver, Canada. Her poems and criticism have appeared inThe Pinch, The Fiddlehead, The Puritan, PRISM international, The Literary Review of Canada, and elsewhere. She is the recipient of the 2016 Lit POP Award for Poetry and has been shortlisted for the 2016 Walrus Poetry Prize. Her debut poetry collection, If I Were in a Cage I’d Reach Out for You, was shortlisted for the 2015 Robert Kroetsch Award for Innovative Poetry and was recently published by Nightwood Editions. She is the Interviews Editor at The Rusty Toque, a poetry ambassador for Vancouver’s Poet Laureate Rachel Rose, and the 2017 Critic-in-Residence for Canadian Women in Literary Arts.

Wendy S. Walters is the author of Multiply/Divide (Sarabande Books, 2015) Troy, Michigan (Futurepoem Books, 2014), Longer I Wait, More You Love Me (2009) and a chapbook, Birds of Los Angeles (2005), both published by Palm Press (Long Beach, CA). Forthcoming projects include a book of essays to be released by Sarabande Books in 2015. Walters was a 2011 New York Foundation for the Arts Fellow in Poetry, and her work has appeared in The Iowa Review, Bookforum, FENCE, Harper’s Magazine, and elsewhere. She has won a Ford Foundation Fellowship, a research fellowship from the Smithsonian Institution, a scholarship from Bread Loaf, and multiple fellowships from The MacDowell Colony and Yaddo. She is a founder of The First Person Plural Reading Series in Harlem, a Contributing Editor at The Iowa Review, and Associate Professor of creative writing and literature at the Eugene Lang College of The New School University in the city of New York. Walters’s lyrical work with composer Derek Bermel has been performed widely, including Carnegie Hall, Joe’s Pub, the Louisiana Museum for Moderne Kunst in Denmark, and The Institute for Advanced Study. With Bermel she was commissioned by the Pittsburgh Symphony and Mendelssohn Choir to write the libretto for “The Good Life,” an oratorio celebrating the first 250 years of Pittsburgh’s history. Walters and Bermel were also artists-in-residence with the Pittsburgh Symphony, teaching advanced students from the University of Pittsburgh and Carnegie Mellon University in lyrical techniques. In addition to works for large ensembles and orchestras, they have written dozens of art songs. They are completing a musical called Golden Motors, which was commissioned by the Mary Flagler Cary Charitable Trust.