“The best way to write myself out of the project was to overwrite my own biography. I mean, who is this ‘I’ anyway?”
In any narrative, facts are present or not. One might assume the more facts, the better the constructed history, since facts are meant to reflect what can’t be computed by storytelling alone, which is said to be subjective and therefore inaccurate.
“I don’t accept the idea of my history as tragic.”
Fable and fact—an editor’s perspective on the poetry and cult of Frank Stanford.
The manager at Data Harbor quit her job to become
a conceptual artist.
Writing a letter these days seems to be a tribute to nostalgia rather than an efficient means of communication. I almost always choose to text or email rather than actually write or type a letter. But I decided to write a long letter to a friend after reading Andrew Naymark’s poem “Letter.” The poem taps into the transitory yet life-altering realm of this often forgotten art and reminds us that “some beauty has failed to be recognized” when we fail to send a letter.
– Katherine Sanders
Matthea Harvey reviews the recently translated works of the Greek poet Cavafy, considering the themes of history and impressionism.
This First Proof contains the poems “See-Saw,” and “Come Back.”
In Flight Among the Tombs, Pulitzer Prize-winner Anthony Hecht assumes the voice of Death—as a society lady, a Mexican revolutionary, a film director, and, of course, a poet. Daniel Anderson and Philip Stephens survey thirty years of Hecht’s poetry.
Elegy for the Harris Theatre
At Forty Second Street before the changing of the light
and bus station at Eighth there was a movie house: a pit
This First Proof contains the poem “Wolf Soup.”
Ruel is crying.
He has decided to fall in love.
Beloved you are not here