Jane Satterfield is the author of Daughters of Empire: A Memoir of a Year in Britain and Beyond (Demeter Press, 2009) and three poetry collections: HER FAMILIARS (Elixir Press, 2013), ASSIGNATION AT VANISHING POINT (Elixir Press, 2003), and Shepherdess with an Automatic (Washington Writers' Publishing House, 2000). Among her awards are an NEA Fellowship in poetry and three Maryland Arts Council grants, as well as residencies in poetry or nonfiction from the Virginia Center for the Creative Arts. Satterfield has received the Pirate's Alley Faulkner Society's Gold Medal in the Essay, the Florida Review's Editors' Prize in nonfiction, and the Heekin Foundation's Cuchulain Prize in Rhetoric for the Essay. Her poems appear in the anthologies Sweeping Beauty: Contemporary Women Poets Do Housework (University of Iowa Press, 2005) and White Ink: Poems About Mothers and Mothering (Demeter Press, 2008). Her craft essay "Lucifer Matches" appears in Mentor and Muse: Essays from Poets to Poets (Southern Illinois University Press, 2010). She is literary editor for the Journal of the Motherhood Initiative for Research and Community Involvement and teaches at Loyola University Maryland.

Other poems by Jane Satterfield in Verse Daily:
November 12, 2003:  "Double Exposure" "This maddening thought—lips might meet...."
November 17, 2002:  Improvisation "Ice on the limbs / of the isolate trees..."

Books by Jane Satterfield:

Other poems on the web by Jane Satterfield:
Two poems
"Et in Arcadia Ego"
Two poems
"Letter Never Sent"

Jane Satterfield According to Wikipedia.

About Her Familiars:

"Jane Satterfield brings an astonishing range of subjects to Her Familiars, handling them with keen intelligence, musical intricacy, and tonal dexterity. Here, she tells of a child's encounter of tragedy through a poetry recitation, or the life of an exemplary (and little known) woman ceramic artist, or the collapse of human communities through history (concluding, disconcertingly, with the vanishing of bees today). Jane Satterfield's poems are intimate, graceful, and brilliant, composed around issues of social and political importance. Reading them, I feel I have made a friend whose company I enjoy and whose insight, wit and commitment I greatly admire. These are terrific poems."
—Kevin Prufer

"Ever since I read Shepherdess with an Automatic about a decade ago, I've been a great fan of Jane Satterfield's poetry and prose. Her Familiars (a title glossed from the OED to reach as widely and deeply as possible) is anchored by two superb and ambitious historical sequences - "Collapse," dealing with the American side of Satterfield's background, and "Clarice Cliff Considers Leaving Edwards Street," dealing with the British side. Before and between these poems appear shorter lyrics on a range of subjects, sometimes domestic and sometimes glosses on life's weird curiosities, written both in form and free verse, fully achieved in both cases. Satterfield has a quirky and original angle on the world of her experience. Our shepherdess still carries an automatic."
—John Matthias

"Fascinating and revelatory, Her Familiars explores the culture of war and female experience through a varied and lively mix of forms. Here we find epistles, refrains, litanies, elegies, and even a poem inspired by the iTunes party shuffle function. Though her topics are necessary and her intent sincere, Satterfield's voice is invigorated with humor, a sense of play, and an appreciation for the beauty of this world. Often, historical concerns (17th century witchcraft crusades) and contemporary concerns (high school cliques) intersect and illuminate each other in fascinating ways. This tension runs throughout--even when we are brought to a street in Baghdad to witness the explosion of "two bombs, homemade, hidden / in a bird box," we are also brought a world away to a speaker in a coffee shop where "There's grief in the mute loop of CNN flashing on/ the flat screen TV. Soft chatter, / the barista's contrail of steam. There's grief, there's cupcakes." What a terrible, difficult, contradictory world we're living in. Thank God we have Jane Satterfield's beautifully conceived, beautifully executed book to guide us."
—Beth Ann Fennelly