“My poems have appeared in many journals including Gargoyle, Rogue Agent, Book of Matches, LUMINA Literary Journal, Comstock Review, Driftwood Press, Loch Raven Review, and Stoneboat Literary Journal. My prose poem, “Beach at St. Mary’s,” is included in the new book of images and text, Our Provincetown: Intimate Portraits by Barbara E. Cohen (Provincetown Arts Press, 2021). Sleeping in the Dead Girl’s Room is my first poetry collection.
In addition to relishing the time I spend alone writing poems, I also love working with people to build, create, and bring about change. I was active in the student anti-Vietnam War and Sanctuary City movements. I’ve organized around immigrant rights, and struggles for racial, economic, and housing justice. I taught video and photography skills to teens in Somerville, MA while teaching myself how to raise money to keep this work afloat. This led to a career in philanthropy, raising funds for and consulting with arts, social justice, and workers’ rights organizations, among others. For a dozen years, I served on the Board of Directors of Resist, a foundation that supports people’s movements for justice and liberation by redistributing resources back to frontline communities at the forefront of change.
I was managing editor of Pangyrus LitMag for four years before transitioning to associate poetry editor in June of 2021. I love collaborating with other editors, writers, and visual artists to produce and promote work that inspires and sometimes incites.”
Margot is a poet and painter, who does much of her writing in a little cottage by the sea on the south coast of Massachusetts. Her first chapbook, Wild for Life, has just been published by Lily Poetry Review Press. Her poems have appeared in many journals, such as Poetry East, Lumina, Inkwell, Quarterly West, Potomac Review, American Literary Review, and Spillway. She has edited two anthologies: Mercy of Tides: Poems for a Beach House, and Rough Places Plain: Poems of the Mountains. In Don’t Look Them In The Eye: Love, Life, and Jim Crow, she transcribed the oral history of her friend, Emerson Stamps, born in 1923, a grandson of slaves and son of sharecroppers.