Pushcart Nominations

2015, Announcements, Blog

We’re happy to announce our nominations for the Pushcart Prize!!

Read our nominees below and cross out fingers with us as we await the results!


April Michelle Bratten, “Where We Live” – Fall, issue 17, 2015
Anna B. Sutton, “Friday Mass” – Summer, issue 16, 2015
Caitlin Thomson, “Tithe” – Spring, issue 15, 2015
Claire Wahmanholm, “Sirius” – Summer, issue 16, 2015


Monique McIntosh, “Bug” – Fall, issue 17, 2015


Annalise Mabe, “Space Taker” – Fall, issue 17, 2015

Best of the Net Nominations 2015

2015, Announcements, Blog

We’re pleased to announce this year’s nominations for Best of the Net 2015!!


Rachel Eliza Griffiths, “My Dress Hangs There
Jenny Molberg, “Phosphene
Paige Quiñones, “Summer, Or Daughters I Haven’t Met
Greg Solano, “Light in the Mountains
Caitlin Thomson, “Tithe
Claire Wahmanholm, “My Life As A Nightjar


Petrina Crockford, “Birth
Zach VandeZande, “A Necessary Fiction


Heidi Czerwiec, “My Son’s Brother
Lori White, “Zanies

With each year of our existence, we continue to be both astonished and devastated by the talent and work of our authors that we publish. Each year grows to be even more difficult when it comes to choosing our best of. 

In selecting these, we hope you enjoy not only our nominees, but go back and read our archives to find some of our other amazingly talented writers. 



COVER ART: Post By Post By Post by Marysia Schultz


Anuradha Bhowmik

Greg Alan Brownderville

Weston Cutter

Ariel Francisco

Anna Ojascastro Guzon

Julia Heney

Robert Lunday

Katherine Markey

Nick McRae

Rachel Mindell

Emily O’Neill

Caitlin Cowan

Paige Quiñones

Hila Ratzabi

Steven D. Schroeder

Anna B. Sutton

Donna Vorreyer

Claire Wahmanholm


Jared Hegwood

Jamie Lyn Smith

Debbie Vance

The Boiler Flash Essay Contest

Judged by Daniel Nester


Patrick Swaney

Michael Torres


Kayleb Rae Candrilli

Samantha Deal

Tara Deal


Marysia Schultz was a resident artist and fellowship recipient for both the Vermont Studio Center and DNA Gallery (Provincetown, MA), in 2014. She will be returning to Provincetown in 2015 for a second fellowship with DNA Gallery. The artist is a resident with La Mano Pottery in New York, and has shown with Exagere Gallery and Expose:NOLA, in New Orleans, DNA Gallery, the SoHo20 Gallery, and the Hotel Chelsea, in New York. Schultz graduated from Pratt Institute (BFA, 2010), where she was the recipient of the Schuback Endowed Scholarship and a Barrett Scholarship. She currently lives and maintains a studio in Brooklyn, New York. www.marysiaschultz.com

Statement by the Artist: 

Though I am accustomed to the cadence of New York City, I find that my art still draws upon my childhood farming in Montana. Rooted deep within me is an appreciation for the persevering farmer, the labor working class found in every culture that bases its livelihood off the land.

My paintings are an exploration of the “reap what you sow” idiom, an expression and habit learned as a farmer. The life requires a balance between the gentleness to nurture, and the hardiness needed to survive. One must possess a maternal instinct to care for the land, tranquility in working alone yet the sense of helping their community.

Throughout my paintings, I have used the clothesline as a surreal and symbolic crop. It speaks of a simple life, a motherly touch, and yet is subjected to unpredictable elements and the hand of the caretaker. It evokes nostalgia for some, and also hope for next year’s harvest. It has become a “crop” that I can cultivate in urban or rural settings, a way to capture the endurance of the farmer without specifying their location or ethnicity. The farmer is thus an “every man,” found in every culture, ingrained within myself.

Announcing the Winners and Finalists for The Boiler Flash Essay Contest 2015!


We’re pleased to announce the winners of The Boiler Flash Essay Contest 2015 judged by Daniel Nester! Look for the winners and finalists’ work in the upcoming issue of The Boiler! Stay tuned! 


A Wednesday Night At The Maplewood by Patrick Swaney
On Being Remek by Michael Torres


Attempting to Teach in a Desert by Kayla Rae Candrilli
Prescriptions for Pediatric ICU & Post-Survival Success by Samantha Deal
City/Living by Tara Deal

Semi-Finalists:To Cole’s Dad by Linda Davis
I Want More by Thomas Gibbs
Manifesto by Jill Kolongowski
The Origin of Monsters by Erin Leigh

Heart in the Bushes by Lacy Arnett Mayberry

How To Clean A Horse by Coleen Muir
Hangers by Joanne Nelson

Thirty Years Late by Adriana Paramo
Kennedy Meadows, 1968 by Lori White

Thanks to all who submitted, our readers and editors, and Daniel Nester, of course! We received hundred of submissions and many of them were great, but we regret we can only select a few outstanding pieces. 

Spooky Boiler in Jeopardy @ AWP



 April 10, 2015
9PM at Mason’s Restaurant Barre
528 Hennepin Ave, Minneapolis, MN 55403

Jeopardy, Spooky Girlfriend Press, and The Boiler join forces to bring you one night of fabulous readings from Sarah A. Chavez, Alexandra Naughton, Nicole Steinberg, Michelle Y. Burke, Caylin Capra-Thomas, Jenny Molberg, Caitlin Woolley, Ian Denning, Elizabeth Vignali!

About our readers:

Michelle Y. Burke is the author of Animal Purpose (forthcoming from Ohio University Press), winner of the 2015 Hollis Summers Poetry Prize, and Horse Loquela (Red Mountain Review/Alabama School of Fine Arts), winner of the 2007 Red Mountain Review Chapbook Series Award. Her poems have appeared in Poetry, New Orleans Review, American Literary Review, Georgetown Review, and elsewhere. She teaches at Hostos Community College in the Bronx and lives in Brooklyn with her husband and daughter.

Jenny Molberg won the 2014 Berkshire Prize for her debut collection of poems, Marvels of the Invisible (forthcoming, Tupelo Press). Her poems have appeared in North American Review, Copper Nickel, Third Coast, The New Guard, The Rattling Wall, Mississippi Review and other journals. She has been nominated for a 2015 Pushcart Prize, and was featured in Best New Poets 2014. Currently, she teaches at the University of North Texas and serves as Production Editor for American Literary Review.

Caylin Capra-Thomas is the author of a chapbook, The Marilyn Letters, available through dancing girl press. Her poems have appeared or are forthcoming in journals such as Crazyhorse, Bat City Review, Fugue, Sixth Finch, alice blue review, The Boiler, and Yemassee. She lives in Missoula, Montana, where she’s pursuing an MFA and serving as a poetry editor for CutBank.

Lane Falcon



I’ve become the kind of woman
who grunts when she sits
and rubs what she spills
into the wool of her slacks.

Eight hours a day, my lap’s
under a desk, how many stains
have set without my knowing?

Eight spiders a year bite us
while we sleep—maybe once
I woke scratching pink
behind one knee.


A better me would brush him

with the edge of one palm
onto the flat of the other, close him

in that apricot egg of darkness,
elbow up a window,

fling him free.


You stand on your toes, one hand
a shallow clasp on the edge

of the desk, six inches above
your head, the other reaches

for an empty water bottle. You knock it down,

but first, your gaze tips to me,
because what’s defiance without

a witness? And I see an old intent,


Lane Falcon’s poems have been published or are forthcoming in The Cortland Review, Rhino, december, Room, Word Riot and more. In 2012, she received an award from the Rona Jaffe Foundation in conjunction with Vermont Studio Center. She has a daughter and lives in Virginia.


Erin Emily Ann Vance



A pale flag
that emerges from the soil,
stifled with dirt,
and cries,
it’s sweet whiskey
and you,
the ligaments of a chorus, dry,


a china girl sleeps
in a matchbox bed;
her tender bones tumbled smooth 
by flesh-round stumps

Erin Emily Ann Vance’s work has appeared in numerous publications, including Grip Magazine, WAX Poetry and Art Magazine, The Gauntlet, and NoD Magazine. She is currently completing a BA in English literature and creative writing at The University of Calgary. Erin loves to travel and works with children on the autism spectrum.

Jennifer Whitaker



In his dying he was a bird with a jewel
caught in his throat, struggling and soundless.
Alighting on the bedpost, he cocked his head
at the pinched smell of eggs dyeing
somewhere in their small tins.
His razor beak clicked open-close,
open-close, the choke dumbing him,
panicked feathers falling
to the unmade earth below.

Listen to me, little throat-bird:
those are your stunted eggs,
rank and shocked garish with color.
Listen to me: I am that stone.

(click to read)


Jennifer Whitaker‘s first book, The Blue Hour, won the 2015 Brittingham Prize in Poetry and is forthcoming from The University of Wisconsin Press. She has published poems in journals including the New England Review, Beloit Poetry Journal, Four Way Review, and Radar Poetry. Jennifer currently lives in Greensboro, North Carolina, where she teaches writing and is director of the University Writing Center at UNCG.

Review of Apocryphal by Lisa Marie Basile

Blog, Book Reviews


Apocryphal by Lisa Marie Basile; 
Noctuary Press, 2014; 90 pp
Reviewed by Janae Green

I am in my mother’s leopard heels &

we play house this way.

it hurts to speak beneath this bustier
but if I take it off,
it just hurts.
so I speak forever                      using my inside voice

—From Apocryphal by Lisa Marie Basile

Undoubtedly, Lisa Marie Basile’s collection, Apocryphal from Noctuary Press, can only be read as one who savors the crumbs of a last meal. Her poetry evokes hunger for every last vision—to gorge on every narrative snapshot with a runny chin and wagging tongue. Prior to the official release, I was grateful for the chance to e-read Basile’s book in advance. Nearly ten pages in—bless me father, for I have sinned—I got greedy and waited for the print copy. Basile’s collection is an example of why readers still need the print form. We need to turn the pages; there are works like Apocryphal that readers like me just need to exist in our hands.

Apocryphal discusses the body as both an ache and a crave that makes the passage between daughter and lover claustrophobic but dreamlike—and Basile does so with the sultry con of a femme fatale. We see the red-lipped roar of the female body created by the hands of man and her desire to be cradled and formed between his fingers.

The collection’s often emotional and always fearless narrative recollects nature as a woman and buries her hat in the garden, “hair big with curl & eyelid lined.” Often with a cigarette in hand, Basile’s narrator will not spare your trust nor will she apologize for her behavior:

I would learn to devour everything,
     mollusk & man,
become obsessively pregnant with you,
I mean:            become those woman staring,
& abort you.

As revealed here, Basile’s speaker is not only daughter and lover, but she is Mother. She tears the patriarchal order to shreds without smudging her lipstick. Her mythology is a crucial theme throughout the collection, and we forgive her feign as she continually rebuilds her story.

In Apocryphal, Basile generously showcases her ability to reveal humanity to itself, still raw and beating. With observations poignant and startling, “everything is born natural and then is not natural” and imagery that never disappoints, “like a pumping heart inside an egg-white envelope,” Apocryphal proves Basile will never be dust on a shelf, but an immovable poet, a force. Her poetry will be dog-eared and inked with a reader’s love notes for years to come and then, years beyond that.


Janae Green is a writer living in the Pacific Northwest. She keeps a blog of her short prose and projects here.

Review of Mezzanines by Matthew Olzmann

Blog, Book Reviews

Mezzanines by Matthew Olzmann;
Alice James Books, 2013; 80 pp,
Reviewed by Jeffrey W. Peterson

I’d previously heard of Matthew Olzamann’s work through Vievee Francis, the poet he dedicates the book to, but I was only familiar with one poem. Upon completion, I realize Olzamann took me to intimate places, places between worlds where I was already comfortable.

The poems in Mezzanines cover an array of topics, ranging from NASA satellites to horse mouths to unreturned letters. The topics are familiar, using themes of acceptance within society and love, but Olzamann’s platforms and stages are different, unexpected, and often invigorating.

“Spock as a Metaphor for the Construction of Race During My Childhood” and “Mountain Dew Commercial Disguised as a Love Poem” are among a few standout poems because of their turns. The first reminds me of Terrance Hayes and his poem“Talk”, concerning a white and black friendship forever changed after a request to talk a certain way. Matthew chooses to embark this same territory with sci-fi and interstellar references that lead to a plainspoken realization. We are all at once comfortable, intrigued, and dismayed with lines such as “You knew you were like all the other kids, / until your best friend said, No, You’re not. / And he was right.”

During other poems, Matthew chooses to go for the heart in a more overt manner. “Mountain Dew Commercial Disguised as a Love Poem” uses familiar territory, but has its own flair. The poem focuses on a speaker listing the reasons their matrimony may survive. The reader is taken through scenes of sacrifice and quirks and fear, only to arrive at an essence. The lover’s last sacrifice, which brings about deprivation, is an example of how resonating their commitment is. I adore the pattern of the poem, especially when harsh turns like “When the lights / are off, the curtains drawn, and an additional sheet is nailed / over the windows, you still believe someone outside / can see you” delve deeper into the lover’s persona.

Mezzanines is a worthy read and the poetry here is refreshing and satisfying.


Jeffrey W. Peterson was a 2011 fellow in the Bucknell Seminar for Younger Poets. He earned degrees from the University of West Georgia and Sarah Lawrence College. He currently serves as poetry editor for Madcap, a semiannual online journal, teaches English Composition, and mentors English Education students.