On documentary poetics and the interconnectedness of crises.
What about this? Across Syrian sands the wham of Nebuchadnezzar’s / canonical trumpets presaged an unlikely partner
The poet, translator, and Action Books publisher on his collection of essays about US literary culture, foreign influence, and the illusion of mastery.
On a visit to the New Mexico Museum of Art, two poets grapple with questions of performed authenticity and settler poetics, while analyzing depictions of the American West.
On resisting parasitic invasions—from the poisons in our soil, to toxic masculinity in the psyche.
The poetics of the microdose.
Paying homage to poet Charles Olson’s “special view” of the Yucatán.
“The book can draw in different audiences without catering to them. There’s a kind of rigorous hospitality, an aperture for dialogue.”
Syntactical adventure and rolling ruminations in Clark Coolidge: Selected Poems 1962–1985
Wordplay as dissent in Layli Long Soldier’s Whereas
War, worship, and capital in Danniel Schoonebeek’s Trébuchet
How might one delineate “damage” given the wider effects of war on society and its citizenry? Solmaz Sharif’s debut book of poems inquires through a powerful collection of verse that integrates the Defense Dictionary lexicon.
The newly published journals match and exceed all preexisting Wieners publications.
On John Cage’s Diary: How to Improve the World (You Will Only Make Matters Worse)
Notley’s body of work consists of over thirty-five collections of poetry and prose. To consider her oeuvre, in her interlocutor’s words, is to court “cerebral and sensory overload.”
Foster and Keene discuss the strategies for black resistance in their respective new books—the poetry volume A Swarm of Bees in High Court and Counternarratives, a collection of short fictions.
One of my favorite books of short fiction from the last few years is Sam Lipsyte’s The Fun Parts. I often assign stories from it in my workshops and have been waiting for an opportunity to teach the whole collection.
CAMBRIDGE M’ASS, originally published by Lyn Hejinian’s Tuumba Press in 1979, marked Robert Grenier’s shift to visual poetry. Celebrating its recent reprint, Paul Stephens talks with him about the oversize poster-poem, where poetry is both map and maze.