Under the Hours is a new-century work, a voicing of Cully's tidal sense of the temporal, her premonitory stillness, written by desert and sea-light, inscribing the endurance of loss, the necessity of vigilance. Her images are beautiful and precise, her sensibility profound. ―Carolyn Forché.
Barbara Cully's meditations range widely in subject and temperament: from ambushed troops in Afghanistan to the shorelines of her California youth, from Kristallnacht to our present ecological degradations. Driven by an unstable, seeking impulse...the poems remain in flux, animated by a constant reckoning of self in history, in landscape, and especially among others. ―Boyer Rickel
The poem of the natural world, like nature itself, is threatened by harsh forces: sentimentality, obviousness, easy identification. The difficulty in writing about nature only makes the achievement of Trapline that much more remarkable and provoking. Goodwin sees nature and ourselves as we are in all our manifestations, intertwined and inseparable. ―Keith Ekiss
Undersea is Seaton's free-wheeling series of love notes to her transplanted sea-struck self and her salty sidekick--poems that celebrate her signature wit and joy in that wild state of mind called Florida. Caridad Moro-Gronlier writes of Undersea: Told with her singular wit and wisdom honed by salt and sun and brine, the poems are besotted with Florida-its superhero pelicans, the rum-macerated retirees baking in the sun, the soundtrack of air-conditioning, and a lover's night terrors playing in an oceanside efficiency. The speaker in these poems is love-laden but clear-eyed, sure that "there is no line between water and sky," the perfect "stark raving" guide for the reader eager to "...proceed until the edge of the cave / or run out of air, whichever comes first."
The world is never too much with us in Maureen Seaton’s poems. True to its name, Genetics is a collection of origin narratives, each poem keenly attuned to the biological, intellectual, and spiritual DNA codes that simmer under the surface of everyday life. Seaton’s exuberant poems unfold in conversational language and in pitch-perfect, sometimes zany, revisions of poetic forms such as the sonnet crown, the sestina, and the prose poem, and in the remixed lyric verse of found language and collage...In this way, she defied the odds, being herself and brave beside the dying and the dead.
Exquisite and precise, Caroline Goodwin’s newest poetry collection, Old Snow, White Sun, begins like “a catkin [making] its way through the cracks… A coolness over the throat.” It traverses various terrains with grace and a commitment to astonishment. Here, Goodwin brilliantly gathers mothlight, herbal lore, psychedelia, heavy metal, and old charm to capture a world that is bountiful, magnificent, and impermanent....Ferocity and decaying bodies populate these poems, but also tenderness and rhythmic hope. Find in these poems a heron, a river, a hurricane, a floodgate, a levee, a story. “The one where the girl is strong enough. The one where she survives.” Where she dwells and how she rises. —Aileen Cassinetto, author of The Pink House of Purple Yam Preserves & Other Poems, Academy of American Poets Laureate Fellow
Available October 15th!
Daring and brilliant, Neil de la Flor's latest book, The Ars Magna for the Manifold Dimensions of z, is a big kick in the rear to absurdist theater. It stars a very tough Meta, a member of the Danish underground. "If my head had been cut off," says Meta, "you would've been next." The book explores "parallel worlds that are unaware of the other, but are layered atop of each other like minks or foxes wearing stoles and fur coats." Characters pursue each other through five acts, a series of emails, and an epilogue invoking Minkowskian Spacetime – I won't go there, but wow! de la Flor dives deep into meta-Meta-mind. ―Terese Svoboda
Like Brecht, she uses music, text, broad characters, very few props. Her people are curious and smart and very funny. They are always out on a limb, divulging something terribly embarrassing. In Magnus' stories, characters have unexplained encounters that are so lively and absurd that it takes a moment to realize they are in pain. There's just no rest for the lazy in these scripts. Here is the work of an artist as courageous as you'll ever experience. Here is the work of an artist, timeless and true. Relish it.
There is a journey between the source image and the target image in the glitch. From the surface to the bottom. From what is rationally structured to what is its original code. In Rank, Kristine Snodgrass places side-by-side visual works and poetic writings that share the same root: a subversive intention with respect to the abused and crystallized languages of everyday communication and power, in search of what is subterranean, corporeal, germinal. "Syllables of mortal flesh," she writes. A gesture - in images and words - almost physical and performative, which demystifies the apparent and reveals the substantial. ―Cinzia Farina
New Edition Coming Soon!
The poems in this collection wrestle with social habituation and its strident demands on the mind and body, often relaying this struggle through the viewpoint and voice of a robot. Snodgrass, through the use of repetitive language, exploits the electricity of the chant, and the power of the glitch, to shift meaning and its implications….These poems create disruption in the complacent mind and ask the reader to look askew, to look slant, for the truth of how we live. They are a powerful commentary on our modern world. —Karla Van Vliet
In The Opposite of Work, this very lovely book of poems, Hugh Behm-Steinberg dares to address the themes of divinity in the world, explore everyday and abstract mysticism, and celebrate the body in poems that wash over the reader like healing waterfalls of grace. These pieces have a numinous quality reminiscent of Gerard Manley Hopkins. Indeed, in Hopkin’s memorable image of God in the world, they release the potent charge of Spirit “like shine from shook foil.”
—Charles Kruger, The Rumpus
There's such a balmy (and bawdy) vaudevillian tenor in these poems, but without so much politeness, like classic Kinks-the tirade is lyrical, given to everyone with a heart, mind, and soul. Whatever street we walk, apartment we occupy, or flood we wade into, we have seen nearly zero of anything, and the performance bill keeps changing, enough to stop poetry in its gentrifying tracks. Because we are frantic. Because we are lovely and wasted. Because we are scientific and in need. —Joel Craig
These poems are fearless in their attempt to salvage and connect the moments when communication lapses into a secret language. Even faced with the possibility of being unable to create a cohesive sense of understanding, the language pushes forward as it accepts any and all outcomes. Spanning considerations of family, gender, and the complexities of travel, this debut collection is shockingly human, and firmly establishesMeagan Lehr as a new, young poet to watch. —Drew Krewer
"When I Am Yes," explores the complexities of love, sexuality, friendship and parenthood with a disarming honesty and intimacy. As with her first book, "A Soft Place to Land," salach often creates overt tension in her poems between the sensate/concrete and the idea/abstract, forcing readers to consider how they align, and what the juxtaposition means…..Perhaps due to her mastery of rhythm and pacing with the spoken word, salach has a knack for using the language on the page to re-present itself — to become the physical embodiment of the idea she is exploring.
—Tom Montgomery Fate, Chicago Tribune
Storming the genders of Americanismo with crossed fingers and sans rules, these poems contradict the text by adding values and filling out applications. Two voices and three voices are threaded to one and the resulting operatic tool digs up the shades of birds, mathematics, riots, and catastrophe. Experience a disturbing disintegration of authorial identity. Experience that identity reshape and reassemble as an intelligent chimera that stares you in the face with as many faces as you can imagine.
—Natalija Grgorinic & Ognjen Raden
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