But soon – she changed her mind because she knew the anthology was not a matter of choice but need, especially during these intense and troubling times. She continued to send out invitations to women poets and writers to submit to the anthology Know Me Here and the rest is history. On July 7, 2017 Word Temple Press published Know Me Here An Anthology of Poetry by Women edited with an Introduction by Katherine Hastings.
Lynne Knight; Danusha Lameris; Kathleen Lynch; Mary Mackey; Colleen McElroy; Jane Mead; Toni Mirosevich; Rusty Morrison; Gwynn O’Gara; Connie Post; Kim Shuck; Hannah Stein; Melissa Stein; Jennifer K Sweeney; Julia Vose; Laura Walker; Gillian Wegener; Arisa White; Toni Wilkes; Leonore Wilson; Kathleen Winter; and Pui Ying Wong.
We as women are confronted with genocide and breast cancer in Devreaux Baker’s poem “We Show Each Other Our Scars;” dying and death in Ellen Bass’s “Taking Off the Front of the House;” gun violence and homicide in Elizabeth Bradfield’s “Dancing From the Summer;” alienation in Janine Canan’s “Acceptance;” resilience in Maxine Chernoff’s “Cuchulain;” forest fires and its devastation in Susan Cohen’s “Golden Hills
of California;” gender equality in Elizabeth J. Coleman’s “Fearless;” Gillian Conoley’s plea for peace in “The House of Secrets;” suicide bombers, police brutality, and filicide in
Lucille Lang Day’s “Wanjina;” grief in Sharon Doubiago’s “In the Lake;” immigration rights and appreciation of all cultures in Camille T. Dungey’s “What I Know I Cannot Say;” nuclear disaster in Iris Jamahl Dunkle’s “On Hearing that the Radiation From Fukushima Has Reached the West Coast;” the importance
of environmentalism in Sandy Eastoak’s “River;” identity in Terry Ehret’s “Half A Woman;” motherhood in Annie Finch’s “Being A Constellation;” mental health in Molly Fisk’s “North of Tomales;” Global Warming in Miriam Bird Greenberg’s “Before the World Went to Hell;” naturalism in Judy Halebsky’s the Japanese Internment Camps ordered by President Roosevelt in Jodi Hottel’s “Unwritten Note;” an elegy dedicated spirituality in Maya Khosla’s “Migration Into Bhutan;” the unity of women in Lynne Knight’s “The Silence of Women;” the fertile and the baron in Danusha Lameris’s “Egg;” our ancestors in Kathleen Lynch’s “Letter to an Unmet break-ups in Mary Mackey’s “L. Tells All;” sisterhood in Colleen McElroy’s “The Alchemists;” water conservationism in Jane Mead’s “Money;” war and peace in Toni Mirosevich’s “Back Up;” limitations in Rusty Morrison’s “Our Aptitude For Perishing;” childbirth in Gwynn O’Gara’s “The Spirits That Lend Strength Are animal rights in Jennifer K Sweeney’s “In the House of Seals;” the importance of oneness with nature in Laura Walker’s “Genesis;” the wonder of pink roses in Julia Vose’s “Out of Center, Look Back In;” the
Katherine Hastings above right in 2009 and left in 2017.
Elizabeth J. Coleman