Jenny Sadre-Orafai is the author of Paper, Cotton, Leather and five chapbooks. Her poetry has appeared in Cream City Review, Ninth Letter, The Cortland Review, Hotel Amerika, The Pinch, and other journals. Her prose has appeared in Los Angeles Review, The Rumpus, South Loop Review, Fourteen Hills, The Collagist, and other journals. She is co-founding editor of Josephine Quarterly and an Associate Professor of English at Kennesaw State University.

Other poems by Jenny Sadre-Orafai in Verse Daily:
November 1, 2014:   "We Can Be Anything We Couldn't Be" "Here is the sunset every painter has painted..."

Books by Jenny Sadre-Orafai:

Other poems on the web by Jenny Sadre-Orafai:
"We Can Be Anything We Couldn't Be"
"Queen of Cups"
"Karaj"
Two poems
Two poems
"Blank Nature"
"Full Circle"
Three poems

Jenny Sadre-Orafai's Website.

Jenny Sadre-Orafai on Twitter.

About Malak:

"Jenny Sadre-Orafai's Malak is a splendidly written book that considers where metaphysical themes and elliptical lyric intersect. At its core, this collection inquires about spiritual inheritance and relationships through the skillful deployment of images that wrap the reader in their clutch. Sadre-Orafai's poems, rooted in memory, mourning and honor, are hauntingly surreal yet solidly material."
—Airea D. Matthews

"In Malak, Jenny Sadre-Orafai takes your hand and walks you through magnificent worlds, where futures appear in coffee grounds and become a 'language of residue,' into the habitats of snakes, foxes, and girls, and in which a dream can appear nine times. Familial cycles and cultural identities are rendered in enchanting images and lines. Sadre-Orafai makes the tales of bloodlines fresh and the wild earth new."
—Wendy C. Ortiz

"Invoking talisman, totem, fortune, and spell, Jenny Sadre-Orafai's Malak abides in the rich world of lineage and divination. Listening back to the potent augury of the poet's grandmother and forward to the intuition of her daughter, these are poems that move in circular time enacting 'how our whole gold life is happening.' These poems make an elliptical music of nested selves and layered voices, of locks and keys and teeth in the dark, polishing to an ontological shine what we know and what can be retrieved from the future."
—Jennifer K. Sweeney