Douglas Cole has published two novels and eight poetry collections, including The Cabin at the End of the World, winner of the Best Book Award in Urban Poetry and the International Impact Book Award. His first novel, The White Field, won the 2021 American Fiction Award, and his screenplay of The White Field won Best Unproduced Screenplay award in the Elegant Film Festival and was a finalist in the Indiefare International Film Festival and a quarterfinalist in both the New York Metropolitan Screenwriting Competition & Film Awards and the San Francisco International Screenwriting Competition & Film Awards.
His work has appeared in journals such as Beloit Poetry, Fiction International, Valpariaso, The Gallway Review and Two Hawks Quarterly; as well anthologies such as Bully Anthology (Hopewell), Coming Off The Line (Main Street Rag Publishing), the Bindweed Anthology, and Work (Unleash Press). He also contributes a column called “Trading Fours” to the magazine, Jerry Jazz Musician. https://www.jerryjazzmusician.com/?s=Trading+Fours
He has been awarded the Leslie Hunt Memorial prize in poetry, the Best of Poetry Award from Clapboard House, First Prize in the “Picture Worth 500 Words” from Tattoo Highway, and the Editors’ Choice Award in fiction by RiverSedge. He has been nominated eight times for a Pushcart and nine times for Best of the Net. He lives and teaches in Seattle, Washington.
Agent representative: Robert Wilson: rw.wilsonmedia@gmail.com
Author Links:
https://www.facebook.com/douglas.cole.372
https://www.awpwriter.org/community_calendar/user_view/42412
https://www.pw.org/content/douglas_cole
https://www.unsolicitedpress.com/shop/p/thecabinattheendoftheworld
https://www.unsolicitedpress.com/shop/p/thegoldtoothinthecrookedmileofgod
Douglas Cole 
Follow this man. Seriously.
Fascinating.
May 26, 2024
Mr Cole;
You were our Guest Reader on May 15th, when I read my tritina on Congestive Heart Failure at the monthly meeting of the Olympia Poetry Network.
Having just finished Bali Poems, which you so kindly signed and gave me, I was strangely comfortable going through these poems set in a strange culture. (A note: pages 21 and 33 lack the title of the poem, which is the first line of the poem. So I also have a copy of a copy editor’s error).
The loveliest poem in the collection is Even Paradise Has Poverty.
Later, I figured out why I felt strangely comfortable with Bali Poems.
From 1979-82 I lived in Rainier Valley, tutoring Hmong, Iu Mien and Laotian children who lived in an apartment complex across the parking lot from my Graham Street apartment.
Learning of the role of the Hmong and Mien in the American war in Vietnam as interpreters and such for the CIA (as in Afghanistan many decades later), I felt duty-bound to help where I could. Sharing meals (explaining that my god would be very angry if I ate pork), and otherwise interacting with the families, I learned the many differences between Hmong and Mien dress, culture, customs and foods – for they arrived in Laos from China at different times several centuries earlier.
In 1982 I quit my job, moved to Lacey, and began my job with DSHS. The apartment complex, run by Panorama City, housed Cambodian, Laotian and Vietnamese refugees. For ten years I worked primarily with the Cambodian children (the boys would rather play football with the Manager), so the girls were my students.
I learned a lot about Theravada Buddhism and used a book I found to teach them about their own history – the glory days of the Khmer Empire; of the temple complex of Angkor Wat; its function as a massive irrigation system; the battles with Thailand and Vietnam – and many other things.
Despite the difference between mainland SE Asia and Bali, I felt a kinship with Bali.
Thank you
Bob Godwin.