In the collaborative poetry collection Ghost/Landscape (Blazevox, 2016) by Kristina Marie Darling and John Gallaher there is no beginning or end. The first poem is “Chapter Two.” So begins traversing a time loop of poems where the reader can really “begin” anywhere. What is a beginning and what is
Sandra Marchetti is the author of Confluence, a collection of poetry from Sundress Publications (2015). She’s also written four chapbooks of poetry and lyric essays, and she is a lecturer in interdisciplinary studies at Aurora University near Chicago. I interviewed her about her latest chapbook, Sight Lines.
Like any literary form or rule, the poetry reading raises questions regarding subjectivity and context: whose conventions are these, what do they enable, and how do they suit the projects at hand?
I found Aracelis Girmay's the black maria in a month filled with keen grief, the kind that follows a tragedy like Orlando or the loss of a loved one so paramount to your life that afterward people just going about their lives seem like a perverse mystery.
It might be considered anathema to our neighbors south of the Rio Grande but Phoneme Media is having a veritable publishing celebration of indigenous Mexican poetry. This small, indie publisher with one of the coolest catalogues of world lit understands what Anthony Seidman wrote recently in World Literature Today.
In these three queries, Jefferson attempts to distill the complex meteorological, demographic, and military features of Virginia into a series of data points. His prose—supplemented by graphical tables tracking everything from rainfall to carriage wheels—draws a fine grid over the natural and human activities of the Commonwealth.
Nikki Wallschlaeger is the author of the collection Houses and the graphic chapbook I Hate Telling You How I Really Feel, two arrangements that undercut artifice and underline activation energies. This month, I dove into one of her new poems from the most recent incarnation of The Journal Petra.
Workshopping individual poems is one thing; working on a full chapbook or book manuscript is quite another. For the reader or writer who wants to put away the notion of poems as discrete, and to look for a demonstration of poems as part of a fuller structure or a
Kerrin McCadden’s poems illuminate life’s sharp-edged particulars, making the touchstones of this physical world resonate with the meditative music of our everyday existence. She’s the author of Landscape with Plywood Silhouettes, winner of the 2015 Vermont Book Award and the 2013 New Issues Poetry Prize, as well as the
It’s a comet, no it’s a planet, no it’s not a planet, yes it is. What is it about Pluto that so draws us to it? Is it that Pluto is so far away? Or is it just that we always pull for the underdog? Over the past few