Featuring selections by Justin Taylor, Shelly Oria, Mary Walling Blackburn, Kevin Killian, Barry Schwabsky, John Freeman, and more.
The Danish poet on corporeal poetics, pregnancy, and the influence of classical music.
Syntactical adventure and rolling ruminations in Clark Coolidge: Selected Poems 1962–1985
Palimpsests and invocation in Marjorie Welish’s So What So That
Douglas Kearney’s buck studies recasts worn out notions of black masculinity.
War, worship, and capital in Danniel Schoonebeek’s Trébuchet
Selections by Domenick Ammirati, Sebastian Black, Gabriele Beveridge, Amina Cain, Will Chancellor, Keith Connolly, Nicholas Elliott, Wendy Ewald, Joe Fyfe, Lindsay Hunter, Ellie Krakow, Evan Lavender-Smith, Jonathan Lethem, Rebekah Weikel, and Jack Whitten.
The decades-spanning volume makes it clear that for Jones the job of the poet is to “preside” as Aimé Césaire writes, over the “experience as a whole.”
White space speaks volumes in Hoa Nguyen’s Violet Energy Ingots.
I saw C.D. Wright at a party once. I wasn’t her friend or her student. She was beautiful and graceful; something girlish about her face under the white hair.
“I don’t accept the idea of my history as tragic.”
Selections by Chris Kraus, Alan Licht, and Kelly Copper.
Selections by Ben Lerner, Jen Rosenblit, and Stanley Whitney.
Dedicated to poet, journalist, and activist Brad Will, a friend killed while filming a street battle in Mexico in 2006, Brenda Coultas’s The Tatters summons powers too seldom called upon these days.
Eric Dean Wilson on the rushing river of language in Dara Wier’s You Good Thing.
Eduardo C. Corral on the soundtrack to his poetry and his book, Slow Lightning.
Twenty chapters of poetry compose Clark Coolidge’s Gesamtkunstwerk, the division between each a shoddy dam allowing themes to spill back and forth—geology, Zukofsky, Dalí.
The revolutionary strategies of It’s No Good by poet Kirill Medvedev and the 2012 documentary Winter, Go Away
Domestic Uncertainties is not apprehensive about its message. At the forefront is the fictionalized trajectory of Umansky’s real-life divorce, but what arises is how a writer (in the most ubiquitous sense) can integrate the autobiographical and make herself better for it.