Poetry Collections
The poet on his new collection, language as resistance, research as a starting point, and how the intimate suggests the epic.
The poet on his new collection, language as resistance, research as a starting point, and how the intimate suggests the epic.
The poet on her new collection and writing poems about the system in an embodied, intuitive way.
On writing music to the poems of Nick Flynn, Marie Howe, Natalie Diaz, and others.
All loves—and all selves—are fictions. Though that doesn’t mean they aren’t true.
On his new collection of poetry, I Will Destroy You, the book that emerged from choosing not to write.
Long neglected poet Stephen Jonas created a complex web of self-mythologized identities to escape any form of categorization …
The poets on their latest collections, the texture of language, and work that pulls the rug from under us.
The poet on the virtues of improv, the cost of solitude, and having deep conversations with other texts.
I planned to write a book about / the color blue. Now I’m suddenly surrounded / by green, green gagging me / pleasurably, green holding onto my hips / from behind, digging into / the cleft, the cleft // that can be made.
After The Velvet Underground, a poetic underworld.
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.
