Matthea Harvey

Worried and fabulous. Funny and weary. Matthea Harvey’s damaged mermaids would rather not but will. These poems don’t drag, they drift.

I’ve been thinking about Kara Walker’s work for a long time. Two years ago, a bleeding barn from one of her watercolors appeared in one of my poems. 

Francis R. Jones has delicately translated poems of the Dutch poet and psychologist Hans Faverey. His work combines salient imagery and complex wordplay.

Like that of the magnified moth on the cover of its third issue, The Ganzfeld‘s wingspan is wider and stranger than its modest self-description as “an annual book of pictures and prose.”

Penberthy’s collection of the poetry of Lorine Niedecker draws reviewer Matthea Harvey’s attention to the discourses these poems establish with poetic movements, such as the Objectivists, and particular historical figures, such as Emaneul Swedenborg.

The short stories and eponymous novella in Diane Williams’s collection Romancer Erectorwork through defamiliarization, engaging by alienating the reader from everything from spinach to narrative structure.

Chris Ware develops a unique vision in his tragic comic book Jimmy Corrigan: The Smartest Kid on Earth through wide-ranging style and perspective.

Matthea Harvey reviews the recently translated works of the Greek poet Cavafy, considering the themes of history and impressionism.