Tell us the story of your Accents Publishing book, GOODBYE, BABY.
The genesis of the poems is as transparent at it seems: the frail and painful final weeks of my beloved dog Lucy and the months of grieving that followed her death.
What do you like most about it?
“Like” perhaps isn’t the word to use in the context of this book, but writing it provided an outlet that I apparently needed during those sad, angry, helpless, terrifying days.
What did you have to overcome in order to finish and publish the book?
I was writing compulsively over the course of those months, and at some point it occurred to me that the poems might constitute a book. That was a by-product, not an initial goal. One element unique to this collection is that I’d never before written a book dictated by form. All of the poems are twelve lines and untitled. The latter seemed a self-evident decision. These were intimate, compressed poems, on-going and in conversation with one another, and individual titles seemed too much of a … what, pronouncement? Too sharp a demarcation from piece to piece. The more arbitrary choice—and I don’t recall how or why the idea came to me—was the restriction of the twelve-line structure, which ultimately served several purposes. For one, each poem was a puzzle for me to solve, to expand or more often contract to a contained, companionable size. I was desperate for both distraction and for some semblance of control in a world we’d lost control of.
What do you hope people learn/receive/experience from reading your book?
I’m suspicious of wanting anyone to “learn” anything from a sequence of poems, but these are obviously close to the heart, so I’m gratified that folks seem moved by them. Every poem in the book, by the way, however seemingly far-ranging in tone or subject, is actually about Lucy and losing her. Stating the obvious, perhaps. Trust me.
What was your favorite interaction with a reader and/or a fan?
In the context of GOODBYE, BABY? Well, the book’s only recently published, but it’s been more pleasant than I expected to get emails from friends—friends from different periods of my life and vastly different contexts—whom I haven’t been in touch with for years or even decades. I’ve been living an increasingly withdrawn and private life, so a few knocks on the door from the outside world, some friendly overtures from the past, are okay.
What are you working on now? Catch us up one significant event in your life since the publication of GOODBYE, BABY.
Another book of poems, Negotiable Gods, is coming out later in 2026, of this book’s heels. It contains pieces written during the three-four years before the intense period that generated Goodbye, Baby. So, the books are appearing out of order, which disconcerts me a bit, although I suppose no one will notice or care. Aside from writing, I’m looking forward, if I ever have the chutzpah to retire, to getting back to drawing, painting, working with clay.
A significant event?
I just put down a sizeable deposit on a trip a year from now, swimming with humpback whales for a week in the Dominican Republic. We’ll see if I have the nerve, or the body, to go through with it. Not a bad way to die, though—slapped unconscious by an errant flipper and returned to the dark, cold depths whence I came! I hereby leave all my posthumous poems to Accents.
Tell us the story of your Accents Publishing book, UDDER UPROAR.
I love to write and do so almost every day since my first head injury back in 2000. In fact, my brain started to think in rhyme (not unusual for concussives, that is if they remember to think). When I decided to attempt to compile a collection and try to get it published, I knew I wanted it to appeal to the masses, poems people would actually read and enjoy. Since I seem to have a propensity to add irony, humor and sarcasm to my thoughts and writings, I decided to make a book filled with poems that filled this bill, although I’m slightly sad Udder Uproar is more of a chick magnet than a book that appeals to all sexes. But my mentors say, write what you know. Udder Uproar, my first and so far, only collection of poetry, is filled with waves of inane, love, loss and whatever else tides in my brain. All original poems by me without the help of AI (except for possible research answers), are ideas and observations written in my unique unstylish style, free form and untraditional. In 2022/2023 I attended Katerina Stoykova’s Poetry Boot Camp, 6 months of writing, revision and education. At the end we were supposed to do a manuscript exchange. Fortunate for me there was an uneven number of us to exchange with so Katerina decided she would read my collection. Katerina got back almost immediately with her desire to publish it. First, she said it was a full-length collection, but after many cuts, Udder Uproar was birthed as an in between chapbook and a tome of poems.
What do you like most about it?
The poems in Udder Uproar reflect my thoughts and observations, full of alliteration, assonance, nonsense, humor and rhyme. These poems are just snippets of the buds blooming daily inside my world. The cherry on top (cliché) is that Katerina Stoykova, Accents Publishing owner and founder, published it, meaning what I love the most about this collection is Katerina. Her bravery to go where few dare, publishing non-traditional people (or whatever you want to call people who don’t follow “the rules”), and subject matter shows me her generosity and open-mindedness.
What did you have to overcome in order to finish and publish a book?
Me. I am my own worst enemy. In the world of horses, I never doubted my ability to perform my duties at the highest level possible, within the industry’s confines. But, as a human around humans, I am filled with self-doubt, distrust of others, and the fear I am not good enough. When in the barn or a stall or on a horse’s back these concerns were non-existent. If I couldn’t fix a horse, I knew who to call to help me find the answers. If I couldn’t gallop one, I knew how to compromise with the animal, to work our differences out, or find a better suited rider. I have been unable to control my life with humans this way. I don’t know how to ask for help, who to trust, don’t understand why humans lie to humans. I am afraid of humanity.
What do you hope people learn/receive/experience from reading your book?
I hope when people read my poems they will laugh, smile, say, Me too, and discover I am the kind of writer who even though I try to hide loving emotions I am filled with love, gratitude and yes, even anger at some of the shit life throws my way. I hope my readers will see how it is possible to change the way we see things, so instead of stress, anxiety, depression, they know there is light shining somewhere, even if that somewhere is inside the cranium.
What was your favorite interaction with a reader and/or a fan?
I had one reader order 10 copies. They sent me a list of every person they were going to gift it to and asked me to write a limerick or a little ditty for each person. They put zero restrictions on language or content. It is an amazing feeling to think one is being accepted for who they are and to be trusted to be that person.
What are you working on now? Catch us up one significant event in your life since the publication of UDDER UPROAR.
Since the publication of Udder Uproar, 01/2024, I’ve been working on healing (I keep falling and breaking bones in my left leg), rebuilding strength, getting back to work, of which I am very passionate about because work allows me breathe freely (cliché) and lets me shove my fears to the back burner and wallow in mowing grass and being out in the open. When I write it is always from the inside looking out. I spent the winter of 2024 trying to compile another collection, but I kept running away from the stress, the extreme anxiety from reading poems I felt were less than anything anyone would want to read. I got bogged down in the constant revision after revision. I took longer and longer naps. I meditated more and more, until I was able to spend an entire day avoiding working on a book. Once again, I am working on my 2nd publication. I have many serious poems I would love to share with the world, but the competition is fierce, and since I love humor and words and ridiculous words, big words, words most people don’t even know exist or how to pronounce (me included) and then use those words in poems, I decided the alphabet and words might make a good book. These poems are the closest I’ve come to writing in a theme, and that is the next, boring (Lord, I hope not) collection I working on. I also write limericks, and like to write political limericks, too (and dirty ones) and maybe one day I’ll have enough for a collection.
Is there anything you want to get off your chest about writing or publishing?
You ask if there’s anything I want to get off my chest about writing and publishing and the first thing I think of is how hard writing for publication is, especially if someone writes for their own enjoyment, are relatively unknown in the publishing world, or are reclusive (as many writers are). It is hard to break through, to open doors to the unknown, to sell oneself (pitch and market) and to follow all sorts of protocol, and rules, and then to submit. Relying on talent and good work is not enough to sell well, to be noticed, to be read and read again. And now, when few people read actual books there’s the challenge of trying to be a virtual/viral sensation, meaning for poems to be read I believe a poet must be able to sell them by reading them to whoever and doing it on social media. And that means investing in quality sound recording equipment or going somewhere to record and then figure out where to place and sell them to the quick fix generation.
Publishing appears to be an expensive folly, almost Sisyphean, meaning the time and energy it takes to create, submit, rationalize putting yourself out there for rejection, dealing with rejection, marketing and selling books with the greatest gratification coming from getting it done.
I’ve been a fan and admirer of Brother Paul Quenon’s poetry, memoir and photography. I had the rare opportunity to interview him for the Accents podcast on WUKY and ask him questions! I hope you listen!
Tell us the story of your Accents Publishing book, WOE & AWE.
Katerina’s Poetry Bootcamps made me do it! I don’t know if it’s possible to develop writing skills without the constructive criticism and support of community; without Katerina’s mentorship, I’d still be looking up the meaning of fancy poetry terms like “enjambment” and “caesura” and “quatrain.” This is the story of Woe & Awe‘s unfolding—it’s voice and physical body in the world are a result of slow writing-muscle growth.
What do you like most about it?
I love how art, whatever its form, allows the-something-greater-of-life to be expressed through human beingness and is so often a balm for the ailing human spirit. When I’m struggling, making art for its own sake and spending time in nature, brings me home to myself. Woe & Awe is a raw and honest poetry memoir about hardship and healing. I really like that the work helps others to see their own stories of perseverance and the unrelenting green of hope. Yes, shit happens, but it’s not all that happens. And anyway, everyone knows that shit is fertilizer.
What did you have to overcome in order to finish and publish a book?
I overcame the inner critic, some poetry craft learning curves, and then several vulnerability hangovers after it was published.
What do you hope people learn/receive/experience from reading your book?
Here’s my sincere-corny-effective response to this question: I hope readers are encouraged to look at their own stories as interesting chapters so far—whatever the details—and realize that what comes next is yet to be written. Write it.
What was your favorite interaction with a reader and/or a fan?
I find the microphone intimidating and have felt supported throughout Kentucky, promoting the book. I had my first drunk-heckler last year and he yelled things like: “Yah! You tell it like it is, girl!” and “That’s what I’m talkin’ ’bout!”, and I hope this will happen to me at least once a year from now on.
What are you working on now? Catch us up one significant event in your life since the publication of WOE & AWE.
It was both the Accents Poetry Bootcamp 2023, and the Appalachian Writer’s Workshop 2023, that made me realize I want to formally learn what I don’t know that I don’t know about poetry, so I applied to the MFA program at Spalding in Louisville, and graduated in November 2025. My first book is full of Bootcamp and first semester work; my graduating thesis is a second poetry collection (still evolving). Through a grant from the Kentucky Foundation for Women, I facilitate art-making and poetry-writing in under-resourced communities of women in Kentucky; I‘mcertain that Woe & Awe and my MFA credential have helped open that door.
Author Abigail Keam and Accents Publishing founder Katerina Stoykova had great time talking about Abigail’s books, her love of history and of course, bees! We hope you listen to this episode of the Accents podcast on WUKY!
Tell us the story of your Accents Publishing book, SWAN SONGS.
Swan Songs was originally a braided manuscript, weaving poetry and stories. I submitted it to Katerina, who liked the stories to stand alone. She and I worked to edit and polish the stories for publication. In the meanwhile, I submitted the poems to Rabbit House Press, who published them in a collection called Dancing on the Page. I feel very fortunate both publishers trusted my work and did such a wonderful job with the books.
What do you like most about it?
Swan Songs is a feminist collection. The stories detail women’s relationships with themselves and others and are political in nature. Each story is framed by a musical artist. The stories are not about the artists, they work as a framing structure and extended metaphor. It was such a delight to research the music to write the stories.
What did you have to overcome in order to finish and publish a book?
Managing time and committing to a manuscript takes dedication. My books evolve over years. Some were written within months, but the editing process takes years, careful consideration, and excellent editors like Katerina Stoykova to be ready to land in readers’ hands.
What do you hope people learn/receive/experience from reading your book?
I hope that women readers experience that nod of recognition in the authenticity of the stories. I hope that music fans enjoy the way I weave music within the text. And I expect that Phish fans find the Easter Eggs in the collection.
What was your favorite interaction with a reader and/or a fan?
I always feel honored when readers send/post reader pictures. What a delight to see my books in the world.
What are you working on now? Catch us up one significant event in your life since the publication of SWAN SONGS.
I am working on a collection of essays about cooking. I’m in the research phase, offering a writing workshop at the Carnegie Center this spring called: Culinary Love Letter to inspire me to shape my essays with recipes. I’m not sure where it is going, but I’m enjoying the process. I’m still engaged in Ekphrastic Writing and am excited to offer Ekphrastic workshops in January through Accents Publishing and the Carnegie Center as well as workshops offered through the Kentucky Humanities Speakers Bureau.
Is there anything you want to get off your chest about writing or publishing?
The publishing world can be demoralizing so connecting with a writing community is very important. I’m so proud of my monthly poetry series, Poetry at the Table at Kenwick Table. 2026 marks the third year of this series and the community that has developed is incredibly valuable to me. I am proud to report that I have all the features booked for 2026 and can’t wait to meet each month for the inspiration the series provides.
Actor/Diriector/Narrator/Writer Peter Coyote and Katerina Stoykova had a chance to record a conversation for the Accents podcast on WUKY.
In this interview you will hear Peter read a few poems from his upcoming book, talk about becoming a Buddhist priest, living the life of a curious person, and more.
Tell us the story of your Accents Publishing book, Sirens and Rain.
Sirens and Rain is a book of haiku and senryu (haiku-like poems focusing on human nature) about life in and around Philadelphia. People, animals, trees, fountains, statues, trains, life in all forms as it reveals itself in quintessential moments. With its unique variety of human and (other) natural phenomena, I have found this city to be an ideal place to write these “sketches from life.” The poems in this book came to me over a number of years—as I walked to work, taught my classes, rode my bicycle around the Schuylkill River, and otherwise encountered city life. (Note: the word “haiku” is both singular and plural; the same is true for “senryu.”)
What do you like most about it?
I like how the book is a history, in poetry, of what life was like for my wife, my cats, and me during the years we lived near the corner of 20th and Chestnut Streets. This is the intersection shown in the photograph I took for the cover. A few of the poems were written after we moved from there to another place just around the corner.
What did you have to overcome in order to finish and publish a book?
By the time I began working on the manuscript that became Sirens and Rain, I had plenty of haiku and senryu that could have conceivably been included. So the challenge was to select and arrange the best poems, or the best combination of poems, for the effect I wanted. Organizing by seasons helped; that way I could break the poems into five separate sequences (the four seasons plus a fifth chapter for late summer through early fall). In arranging the poems, I tried to juxtapose nature poems and people poems that played off one another in interesting ways. This entailed many rounds of revisions. You might say that the actual composing of the book was a matter of moving 3 X 5 cards around over and over again.
What do you hope people learn/receive/experience from reading your book?
As with haiku and senryu generally, I hope the poems in this book make readers more keenly, and in most cases more pleasurably, aware of what they encounter moment by moment in life. One of the best effects poems like these can have is to evoke for the reader a thought-feeling like, “Oh, I’ve had that experience—or seen that sight—a hundred times, but before never noticed it in all its beauty and wonder.” Or humor and charm, as the case might be.
What was your favorite interaction with a reader and/or a fan?
Because haiku and senryu can appeal so readily not only to poets and poetry enthusiasts but to folks who don’t often read poetry, I am always gratified when I learn that my brother-in-law, neighbor, landlord’s son, or high school Facebook friend “gets” and likes my poems. As for a specific interaction, I had an especially fulfilling one last fall when I visited a class that was reading Sirens and Rain as an assigned text for their Community College of Philadelphia literature course. Owing probably in no small part to how well their professor had guided their week-long study of my book, I found the students extremely engaged in and curious about writing haiku. They asked incisive questions. Then, in a kind of workshop format, I went around the room helping them with the short collections they were assigned to write. Almost to a person, perhaps TO a person, they were writing original haiku about subjects that mattered to them. As I left the classroom, literally, I felt a chill go down my spine. We had given a lot to one another.
What are you working on now? Catch us up one significant event in your life since the publication of Sirens and Rain.
The most significant recent event in my writing life is that I just finished the manuscript that is the successor to Sirens and Rain. Entitled “Unofficial Portraits,” it consists of haiku and senryu that portray people by focusing on a moment or detail that is especially revealing about each person’s character. As with Sirens and Rain, the subjects span a range of settings, including work, education, neighbors, law and politics, sports, and family.
Optional bonus question: Is there anything you want to get off your chest about writing or publishing?
Why aren’t haiku about sports (other than baseball) more widely appreciated? Not a particularly pressing question but a pet peeve of mine.
Tell us the story of your Accents Publishing trilogy, WOMAN, TAINTED, and GIRL.
Girl found me when I was attending the Carnegie Center’s Author Academy. She followed me on my walks, told me her story and I wrote it down! It has changed my life in so many positive ways. Katerina challenged me to continue to listen to Girl to see if she had more to say, so Tainted and Woman arrived!
What do you like most about it? Girl’s story is really about resilience! Which I think is so important in life. I think that’s why many people find her story to be hearbreaking and inspiring at the same time.
What did you have to overcome in order to finish and publish a book?
Self doubt. The struggle is real. Once I realized that all I had to do was listen to Girl, it became easier.
What do you hope people learn/receive/experience from reading your book?
I hope that people see themselves in Girl. Her story is universal even though the specifics may be a bit different. She is us, we are her. We can all be resilient, courageous, faithful and positive.
What was your favorite interaction with a reader and/or a fan?
I have been blessed with many positive interactions with those who have read Girl’s story. It has been such a humbling, impactful experience. I have met so many wonderful people through the entire experience. It has also reconnected me with family and friends of long ago!
What are you working on now? Catch us up one significant event in your life since the publications of WOMAN, TAINTED, and GIRL.
I am doing my best to continue to write new stories, poems and whatever pops into my head, although I must admit, Girl is still in my ear. She walks my dog with me daily. So I guess I’ve made a life long connection with her. Who knows where she will take me next. I am looking forward to the adventure.
Optional bonus question: Is there anything you want to get off your chest about writing or publishing?
I can only speak for myself, but I’ve found it very liberating to write and put my words out into the world, and own them. Everyone’s voice deserves to be heard. Oh what a choir we become when we all speak up!
Katerina Stoykova had a conversation with poet Bill Verble about his debut poetry collection, Absence Descending, out from Broadstone Books! Listen to this episode of the Accents podcast on WUKY.
