About

Laura Madeline Wiseman is the author of several collections of poetry, including Velocipede, a Foreword INDIES Book of the Year Award Finalist published by Stephen F. Austin State University Press. Other books of poetry include Journey to Nowhere, What a Bicycle Can Carry, Through a Certain Forest, An Apparently Impossible Adventure, Wake, Some Fatal Effects of Curiosity and Disobedience, Sprung, American Galactic, and Queen of the Platform. Her newest chapbook of poetry is Diversions from Dancing Girl Press. Great River Legs is her most recent book published by Zea Books. It blends prose poetry, creative nonfiction, and found poetry. Her newest book, 6 Back-to-Back Centuries on Route 66, is forthcoming from Finishing Line Press.

Madeline has collaborated on books with writers, artists, designers, and illustrators, including Intimates and Fools and Leaves of Absence, both with Sally Deskins. Other collaborative books include People Like Cats and The Hunger of the Cheeky Sisters, and the chapbook is Every Girl Becomes the Wolf.

Madeline is also the author of prose. Her collection of creative nonfiction is A Bicycle's Echo, published by Red Dashboard. Her newest book of creative nonfiction is Safety Measures, published by Zea Books.

She is the editor of The Chapbook Interview. She edited two poetry anthologies, Bared: Contemporary Poetry and Art on Bras and Breasts and Women Write Resistance: Poets Resist Gender Violence.

Her poetry, fiction, nonfiction, and reviews have appeared in Margie, Mid-American Review, Poet Lore, Blackbird, Arts & Letters, Prairie Schooner, Feminist Studies, The Iowa Review, Ploughshares, and Calyx.

She earned a B.S. in Women’s Studies and English Literature from Iowa State University, an M.A. in Women’s Studies from the University of Arizona, a second M.A. in Integrated Media Communications, and a Ph.D. in English, both from the University of Nebraska-Lincoln.

She has received an Academy of American Poets Award, a Louise Van Sickle Fellowship, a Hitchcock Fellowship, the Helene Wurlitzer Foundation Fellowship, and grants from the Kimmel Harding Nelson Center for the Arts and the Center for the Great Plains Studies.