Bio/Statement
BIOGRAPHY: AWARDS: In 2003 she won the Mary Roberts Rinehart National Poetry Award for the poem "Grand Tour" and was the runner-up for Wind's Joy Bale Boone Poetry Prize with the poem "Alice Speaks", as well as a finalist for the North American Review's James Hearst Poetry Prize with the poem "An Apology," and her manuscript Sauce Robert was the co-winner of the Pavement Saw chapbook contest. In 2004 her poem "What Matters" was the runner-up for Words + Images' Stephen Dunn Award and "Wall" won the Pauline Ellis Prose Poetry Award. She was also a finalist for both the Violet Reed Haas Book Award and the Winnow Press Open Book Award. In 2005 she received third places in The Writer's New Discovery contest with "Dissolution" and in the Lumina Ultra-Short competition with "The Woods," and won Rosebud's Mary Shelley Imaginative Fiction Award for "Pale Horse." In 2006 her poem "Great Horned" was the runner-up for Hotel Amerika's poetry contest and "It's Perfect" won second place in Asinine Poetry's haiku contest. In 2007 she received an International Publication Prize from the Atlanta Review for "Death Wish" and won Tattoo Highway's Picture Worth 500 Words contest with "Captivity." "Companion to the Guide to the Norton Reader" was nominated for a Pushcart Prize by VOX. In 2008 she won the Science Fiction Poetry Association's Rhysling Award for the Short Poem for "Eating Light." “Whenas in Bed my Freddie …” won first prize in the Asinine Poetry erotic parody contest, and “Scenes from Ben-Hur” was a finalist in Margie: The American Journal of Poetry's Editor's Prize. "Symbiosis" was a finalist for Opium's 7-line contest. "How It Starts" was a finalist for the Mississippi Review Poetry Prize and was nominated for Best New Poets 2009. "Mirror" won second place in the Newport Review flash-fiction contest. In 2009, she was a finalist in the Parsec flash-fiction contest and a finalist in Opium's 250-word bookmark contest. |
F. J. Bergmann may be reached at demiurge@fibitz.com. ARTIST'S
STATEMENT : Equine
images have a specific personal meaning. They serve as empathic, wistful
metaphors for the aftermath of war, victims and survivors of holocaust.
They bear the consequences of biological and cultural destruction,
symbols of loss and restitution. The horse is not a pipe, or a cigar,
but the planet.
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