I have always found Hoa Nguyen’s poems surprisingly comfortable to inhabit, considering the challenges they can offer, and Tells of the Crackling, a lovely little hand-stitched chapbook from Ugly Duckling Presse, is no different. Spare, elliptical—not exactly breezy, but roomy—these poems are a bit like walking over a brick path gone uneven from the undergrowth, fresh and tentative vegetal shoots sending trajectories of thought this way and that. Indeed, there is a dual “crackling” of both spring and autumn that characterize the poems, a light and almost sickly feel, a mind not quite right, the sound of tea being made in the background. . .
Read the review at NewPages
Kathleen Halme’s My Multiverse opens with a marvelous set-piece, a multi-part cycle (that comprises the entirety of the first section of the six-sectioned book) titled “City of Roses” that begins with that tender invitational, “Dear,” and from there pans its camera over the big and small, visiting with different characters and embracing the ambience of different scenes all within the same city, Halme’s own Portland, Oregon. It’s a gesture in line with the great urban works, likeUlysses, which endeavor to sketch the cultural, emotional, and physical anatomy of a city: “Blocks and blocks of ornate iron-front buildings. / Shanghai traps and tunnels. / Iron horse rings to which someone / has hitched tiny plastic palominos.”. . .
Read the review at NewPages
Dan Rosenberg is a deeply curious poet, experimental, playful, always pushing after new forms and approaches. It’s evident in the books he has published, each of which expresses new talents, from the image-and-voice-driven pieces of The Crushing Organto the tight and angular poems of cadabra to the exuberant sublimity of his latest chapbook, Thigh’s Hollow, which has just come out from Omnidawn. His successes with reinvention give any poet exhausted with “finding one’s voice” a refreshing new outlook: the voice is always right in front of you, part of whatever project you are pursuing.
He is a generous poet and a great conversationalist, and we had a chance for a quick couple of exchanges that got right to it, ranging from Eliot to Wittgenstein, from Nintendo to the Song of Solomon.
Read the interview at Michigan Quarterly Review.
I don’t know if you’ve heard, but there’s this guy running around claiming to be Chinese, and he happens to write poetry, and, right, he’s not Chinese. Also, it worked. This guy, Michael Derrick Hudson, writing under the pseudonym Yi-Fen Chou, now has himself a Best American Poetry badge. He’s an imposter, a charlatan, appropriating ethnicity as a tactic for getting an accolade, or maybe as an activist performance to highlight the injustices of reverse racism. A lot of people have been talking about it, passionately, personally, with anger and frustration, laying out an arsenal of theories and logics to establish or reinforce what we might call the proper ethics of artistic identity, of identity politics and the right to voice.
At this late hour in the news cycle of the Yi-Fen Chou debacle there has been enough conversation to offer a fairly coherent set of coordinates that map the proprieties of ethnic and racial identity in contemporary American poetry, in the immediate, and in American culture more broadly construed. If you want the news, you can read what Jennifer Schuessler has to report at the New York Times. If you want to hear it straight from the editor—Sherman Alexie—who has been wringing his hands over the affair, you can read his extraordinarily thoughtful response at the BAP blog. If you want a roundup of the conversation, the Poetry Foundation has it for you.
What follows here is a rough and succinct guide to the central issues that constitute this story, the ways we think about who we are and whether we can pretend to be someone else. A nota bene—you will no doubt notice my name as an Asian one. I have many personal feelings on this matter, but for the most part my aim is simply to break down the dialogue into the most meaningful and illuminating categories that I can.
So let’s get on with it. . . .
Read the guide at Michigan Quarterly Review
I had a fabulous conversation with Jen Fitzgerald at New Books in Poetry about the Refusal of Suitors. It was so enriching to find myself having this conversation about my work in the context of American letters more largely conceived, to field her fascinating inquiries into form and continuity of voice, to talk about my childhood, the wilderness versus the urban, the virtues of listening to ska in different seasons, and of course, to read large swaths of the collection, which she expertly (and thankfully) curated.
Does form make the poem?
Robert Frost claimed that writing free verse poetry was ‘like playing tennis without a net.’ Ryo Yamaguchi‘s poetry challenges the notion of imposing our will and wonders after the permeability of content. This poet understands the subjectivity of perception and does not insist on form, but instead loosely allows the verse to be contained.
These are the experiences of a wandering poet–one who has known many containers, natural and man-made, who knows how little the natural world tolerates containment; how felled redwoods will sprout new life from up from their horizontal trunks and wisteria will climb and reach with the wide berth of the sun’s rays.
But Yamaguchi does not write rainforests and plains, he writes the internal life, the interactions, the ‘urban sublime’ and gives it the reach the natural world. He finds amazement in all versions of beauty.
Listen to the conversation at New Books In Poetry
I’m so thrilled to have my book reviewed at Publishers Weekly!
“Searching for precision in a poetic landscape, Yamaguchi’s debut collection displays a cerebral poetics steeped in a dualism of the urban (“I jumped your turnstiles// and married myself to your multiple darks”) and the idyllic (“a garden soaked/ in yeses”).The poems alternate between short, taut blocks and spacious, long-lined reflections. Yamaguchi’s principal preoccupation is naming and calculating; the solving of equations serves as an antidote to the shiftlessness that permeates the atmosphere. . . ”
You can read the whole review at Publishers Weekly.
Joseph Massey mentions in the refreshingly spare notes of his fourth collection Illocalitythat he first encountered his title word in the Emily Dickinson poem “A nearness to Tremendousness.” Dickinson is an apt predecessor for a poet of such deliberate cerebralness. Yet, for his fine command of image, so is William Carlos Williams, or any number of Asian short-form poets. Indeed it is the relationship between logic and image, mind and world, that drives these poems so evenly through their inquiries, that most characterizes their productive tensions. “We think / ourselves here,” Massey writes to close the opening poem “Parse.”
Read the review at NewPages