I’m excited to have my poem “The View” up with the Iowa Review, who include it in a poem-a-day feature they are doing for National Poetry Month. Read the poem here!
It’s difficult not to grin, smirk, purse your lips, or generally screw up your face when reading Peter Mishler’s poems in his debut book, Fludde. It isn’t just the peculiarity of these pieces but the command with which Mishler executes it, taking readers in something like a swift punt along strange but otherwise unassuming canals. Dean Young chose the book for the Kathryn A. Morton Prize from Sarabande, and the choice from this judge makes sense: these are, like so many of Young’s poems, lucidly surreal, achieved through sharp sentence-making, precise vocabulary, and the acute, almost blown-up detail such techniques afford. . .
Read the review at The Kenyon Review.
I was privileged to talk with Katie Klocksin and Michael Slosek about my poem “The Present.” We had an hour-long conversation that Klocksin expertly edited down to four minutes, making a nice package of the poem and a few of my thoughts about its origin and the ways we think about time and history. Check it out here: https://www.poetryfoundation.org/podcasts/147422/the-present
I have dreams, and when I do, I don’t really recognize myself in them. Or rather, I don’t recognize selfness. The self, I think, is abstracted in dream. The dream is the self exercised simply as a kind of form, a kind of play. I want to pose this to you directly. I’ll tell you that I am trapped in a building and the only way out is composition, my composing the world until it matches a verisimilitude, the sorts of things we remember reading and watching and walking around in. Familiarity is a kind of mastery, and it is at this point we must raise the question of being free.
Freedom is a small point distant but otherwise distinctly in sight in Diana Hamilton’s The Awful Truth, an odd, if you will, text by an exacting poet and writer and published in a handsome, unassuming volume from Golias Books. In it the beginning of freedom is dream. The very, very beginning. . . .
Read the review at Michigan Quarterly Review
The opening poems of Alan Felsenthal’s Lowly suggest a collection that will fall squarely within a familiar subgenre of contemporary poetry: newly crafted myths, fables, and parables. Taking up classic modes of speech and story-telling, many poems of this subgenre operate according to a fairly defined mechanic, developing tight, logical sequences that utilize inversion, tautology, and other structural maneuvers to arrive at illuminating surprises—often with a bit of jesting. . . . But as we progress we begin to see quickly that Felsenthal is interested in something more complex than the mere crafting of postmodern parables. By the fifth poem, “If You Need a Ride,” it’s clear that we are in a much broader project. . .
Read the review at Newpages.
Hong Kong poet Wawa writes from an extraordinary intersection. Her poems in Pei Pei the Monkey King, a book set within a city where enormous shopping malls and historic temples stand one next to the other, where pet birds sing from cages in city parks while Umbrella activists protest for universal suffrage, capture an urgent and tumultuous sense of change in a place hurtling toward its future—specifically, 2047, when Hong Kong will be fully absorbed into mainland China. And yet, these poems also serve as an astonishing preservation of childhood imagination, delivering raw fables alive with animal immortals and magical forces, in which caterpillars enter our bodies through our navels and flying trees whisk us away on starry evenings. . .
Read the interview at Michigan Quarterly Review
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.
There is an abiding anguish that swells like a tidal water through Kathryn Nuernberger’s new book, The End of Pink. It’s an emotional force that takes a little while to establish, not yet fully evident while reading through the table of contents or perusing the first few poems, which seem at first like relatively straightforward engagements with historic books of science and pseudoscience, poems that are the result of the purposeful taking of a subject of study.
Read the review at NewPages.
Oh, the energy of autumnal days! Summer has its blisses, winter its purities; spring lays out romance and adventure, but these short weeks, the light falling like a voice into the distance — they grip me like nothing else. These are the days of the private pleasures of the mind opened into conversation, days in which I thrill at blank pages, new music, appointments fulfilled in the noise of crowds, and my breathe materialized in the cooling air. It’s a time of study and practice. It’s a time of education.
I don’t teach anymore, but I’ve always loved it, especially because I’ve had the fortune of driving at least a small variety of workshops, with a variety of different kinds of students at different levels of familiarity with the traditions that basically define the craft of writing. There are many ways to bend one into the doorway of this craft, and perhaps I’m emboldened by my distance from the profession, but I thought I could share some of my favorite exercises, ones I’ve either led, participated in, or simply heard about.
As is typical of my posts, I’m largely concerned with the writing of poems, but there should be plenty here for prose writers as well. I’ve divided these into the most straightforward categories imaginable — Beginning, Intermediate, and Advanced — and while I have some definite reasoning for that, of course don’t feel like you need to adhere to any structure whatsoever. I’m always curious about new exercises and prompts, and I hope some of these stir some thinking for you, either as a teacher or a writer, or maybe both. The bell rings. Let’s begin. . . .
Read the feature at Michigan Quarterly Review
These are deeply personal, domestic poems, caught up in household activities, the nuances of partnership and parenthood, changing weather, and the day-to-day turbulences that make up the real terrain of our emotional lives: frustration with loved ones, appreciation for our children, fond but sometimes ambivalent remembrances of the past, and bitterness toward the entrenched injustices of our larger society.
Nguyen does not approach these subjects directly, however. Her poems seem to communicate outward from a subconscious that is organized by quantum probabilitiesof resonance and reference. They are messy, haphazard, and playful. They accrue obsessions—sonic and thematic tics—that come together with livewire resonance like the hum of an electric fence. . .
Read the review at The Boston Review