Knoll’s favorites of her recent online publications. For a complete list…
In time for Halloween — on Rivet — “How A Woman Kisses a Ghost She Knows.”
“Divorce of the Night Sky” in Dark Matter – Women Witnessing, October 2016
“Coloring Postcards” and “Silence,” Peacock Journal, September 2016
“Interview with the Goddess of Silence,” in the July 2016 issue of Verse Virtual.
So pleased to be a western states contest winner in The Persimmon’s Tree 2016 summer issue for Bleached Prayer Flags
“The Elemental LIst of Questions” in the “Reimagining” themed issue of Another Place Journal that came out in June 2016 — an eco-poem a year in the making.
Written River – A Journal of Eco-Poetics is awesomely beautiful — so pleased to have two poems in issue 10.
Tricia Knoll has been writing poetry since the age of 12. She began submitting poetry for publication eight years ago, after retiring. Three poems have been nominated for a Pushcart Prize.
Her first published poem was in 1970. Then for nearly 40 years, she wrote to earn a living. When she retired, she began to submit poetry to journals. More than 100 of her haiku and poems have appeared in online or print journals and poetry anthologies since then. Her poetry chapbook Urban Wild was released from Finishing Line Press in May 2014 and the book Ocean’s Laughter in 2016.
Described in bytes: Mother, wife, feminist, hula hooper, dancer, weight lifter, runner, Master Gardener. She writes eco-poetry, lyric and narrative poetry and haiku. In 2015 Tricia wrote her thoughts on feminism for The Persimmon Tree Journal and in 2016 a contribution to Trish Hopkinson’s blog on why she regrets waiting until after retirement to begin writing seriously.
Eco-poetry? Poetry that highlights connectedness in nature, responsibility to care for the world we’ve been given, help to remember what we have lost – and encourages holding up hope for doing no more harm. Tricia is pleased to have several poems published in Written River – A Journal of Eco-Poetics and other journals focused on eco-poetry.
Currently she is working on several poetry projects — a manuscript called Gathering Marbles which focuses on the process of aging and How I Learned to Be White, a look at the poet’s experience with white privilege and racism. She has also started circulating a manuscript, Tulip Throat, which focuses on communication for a poet with a voice disability. A small manuscript, Broadfork Farm, is in the works about an organic farm in Trout Lake, Washington working toward sustainability and education.