The poet of Dan Chiasson’s poems is a father and a son, often both at the same time. The poet of Dan Chiasson’s poems, since his first collection was published in 2002, reveals more about himself, his being a father and a son, through the way his poems are
In the hyperbole of “apocalypse,” in the rhetorical design that anticipates a time predicted forever, a poem that meditates on the end of the world situates itself somewhere between prophecy and historical memory. An end has been ongoing—and changing—since the first mention of the end.
A. R. Ammons's 1993 book-length poem, a meditation on excess and waste as the defining trait of our species, anticipated the worst conversations one wishes were avoidable: climate change and a non-hyperbolic global destruction.
Craig Morgan Teicher’s newest collection is preoccupied with the anxiety of being understood, and the way that desperation pulses underneath what is explicitly spoken.
“Truth in poetry” depends not on the record of information but on experience: a life represented in metaphor, the patterns of language that make a time-signature through which we listen.
Noah Warren’s new poetry collection opens with “Preface to the Second Edition.” What’s been excluded from this edition—words that may have been included in the imagined first edition—and what’s been included to shape a different experience of encountering these words in this specific order: it’s all impossible knowledge.
Poetry is the process of happening, its reanimating force something experienced each time a poem is read in our heads, aloud, privately, or to others. The best poems—Rachel Mennies’s and Sumita Chakraborty’s poems—are made with such specificity, such unmistakable architecture, that hearing them is this experience, this happening.
After almost fifty years of his poetry, Muldoon has prepared his readers for a journey not through our own predictable circles—these syntactical maps rule out one’s own choice between right or left—but to arrive somewhere comfortably unexpected.