This collection represents an engagement with American history, technology, and cultures. Murphy’s poetry ranges from fairly straightforward narrations of events to experimental pieces using a variety of American-speaking subjects and several angles of vision on cultural creations—Elvis Presley, Holly Golightly, and Elmore James, to name just a few. Formal choices include the interlocking movements of the sestina and the rondau, the ebb and flow of loose blank verse, and the syncopated variety of free verse.

“What continues to affect me in Robert Miltner’s Against the Simple is the silence that haunts the edges of experience and meaning. Like the lonely streetscapes of Giorgia De Chirico, Miltner’s poems, often cast in brief sentences surrounded by an eerie quiet, haunt us with the unseen and the unheard which seem to lurk just around the corners of language and consciousness. Often his images ‘tease us out of thought.’ In poems like ‘Eating Alone’ the uncanny strangeness is almost hallucinatory. ‘How true is the algebra of emptiness?’ House Noises at Night asks. These dreamingly attentive, watching and listening poems are kind of answer.” –Richard Hague

“After reading Primer for Non-Native Speakers, I feel like I’ve just come back from a trip to Russia. Philip Metres’s brilliantly compressed lyrical narratives capture the grandeur and the bleakness of an almost mythological country, where a bronze statue of the great poet Pushkin now gazes out on the golden arches, and the swear of a slammed door is more expressive than a mouthful of words. These are subtle, accomplished, shimmering poems that explore the nuances of being an outsider in a language.”—Maura Stanton

“There is a sadness to McBride’s poetry that only a deep thinker can recreate, someone who has been inside the beautiful dark hollows of disappointment. It is encouraging to read the powerfully rendered thoughts of a vulnerable mind in a cynical time—here is a poet unafraid to be hurt; here is a poet bleeding in his own glass crop. Encouraging? Yes, because McBride understands that defensive poetry has no value.” — Larissa Szporluk

Drawing upon his experiences and knowledge as a professional anthropologist, Kent Maynard takes readers on a sensory journey through the cultures and landscapes of a fascinating and foreign world.

“These precise, plain-spoken poems are limned by a subtle music, not to mention a lyric grace that is never overplayed. For in a world as harsh as this one, a world delimited by war, beauty is as appalling as it is necessary. Hugh Martin’s great achievement is to remind us of this necessity, and to assert the power of poetry as witness and as solace.” —James Harms

“The publication of The Secret Turning of the Earth announces the arrival of an American poet who moves through space and time—the Venice of 1740, Paris in 1900 , 1948 Boston, present day Columbus—exercising a singular vision. These strong, ambitious poems are mapped out by means of what Anthony Libby calls ‘the geometries of seeing’; they pay that fierce and unwavering attention we expect only from the boldest, most perceptive travelers.”—David Citino

“Under and out from under the shadow of death Joanne Lehman writes ‘in the emptiness between one breath and the next.’ Her rural Ohio land-scape is animated with rough and mild weather, red wing blackbirds, hayfields, woodlands, and the sweet and sometimes too-tight lips and rhythms of sectarian life. These poems speak simply, and their mourning, memory, and healing are a balm for times when a little bit of quiet would do us all a world of good. This is a fine first book—as meditative, wise, and joyful as it is bound to local life on our turning earth.”—Julia Kasdorf

“Tornado is a book of ravishing and precise beauty. Death, said Wallace Stevens, is the mother of beauty, and so it is here; around the loss of a beloved sister in childhood, Ted Lardner has spun a radiant web of language by which he reveals what does not and cannot die, in the scale of nature above and underground, in the movements of time, and in the ongoing reach of human tenderness that ‘glides through our skins like a wave, lighting it up from inside.’” —Alicia Ostriker

“The movement at the center of so many of these poems is that of air, fire, water, nigh—of what cannot be seen, even as the speaker moves ever inward to face her own dreams, her demons and her desires. The strong central poem, ‘After the Rape,’ defines the moment from which the poet must measure the world. That she finds in the memory of a dolphin rising into air is the magic of Nancy Kuhl’s collection.” –Judith Kitchen