I have five poems in the most recent (42.2, Winter 2017) issue of the Spoon River Poetry Review.
Check out one of my poems, “The Weeknight Showing,” up now at Blackbird!
Check out one of my poems, “Commute #2,” live now at The Southampton Review!
Erasure and material poetry artist Jenni Baker (please read our wonderful conversation, and have a look at her incredible erasures) invited me early this year to make a rolodex poem. It was a fantastic experience that had me, each morning, really studying a letter, a through z. The result was an austere project, but one of which I am incredibly proud–especially as it takes place with extraordinary projects by M. NourbeSe Philip, Lillian-Yvonne Bertram, Micheal Leong, Evan Kleekamp, James W. Moore, Barbara Balfour, and Collier Nogues. I would love if you have a look at the project and a few of my thoughts about it here.
Or you can just watch my weirdo promotional video, in which I sing the alphabet:
I’ve been working on a long poem, which I very much view as an entrance into a new modality, titled “Season / Dogma / Ghost.” I’ve been very judicious about what to do with it, and in fact have only sent it to one place, Anomalous Press (the re-up of Drunken Boat). I am so thrilled that it has been accepted as a finalist! See it tucked here with an incredible roster of finalists. No matter what, some great things are about to be published.
I was so thrilled to join my old friend Kathleen Glasgow (author of Girl in Pieces) and my new friend Andria Williams (author of The Longest Night) for a first books reading at our alma mater, The University of Minnesota. Poojah Shah conducted a stimulating interview with each of the three of us–for a little wiff of light on our books, have a read of it.
To undertake a cycle of poems on the life of Helen Keller is to throw oneself at an interesting poetic problem: how to capture the perspective of one who lived in a wholly different perceptual world than most other people. To be sure, there are plenty of fine collections on the experiences of disability—Nick Flynn’s startlingly original Blind Huber comes to mind—but Helen Keller is a singular historical figure who, in our cultural imagination, bears a particular burden as the standout radical subject who, as if through magic, was able to speak from beyond an impassable veil.
It is with an acute sense for Keller’s abilities that Jeanie Thompson works in her book, The Myth of Water. . .
Read the review at NewPages.