Kate Northrop’s Back Through Interruption is a deeply moving and thought-provoking collection of poetry. It takes the reader through a world that is at once beautiful and tragic, sacrosanct and profane.
“Edward Micus won’t write the kind of poem whose language leads only to charming confusions, whose music is machine-pressed, a tin ornament. His poems instead speak directly, and their quiet, searing imagery burns down the fence between visible and invisible world. That music you hear—it’s the rhythm of affection, for places, lovers, friends. It’s the rhythm of the blood ‘taking in what it can, making its laps, / leading us on.’” —Richard Robbins
Djelloul Marbrook started writing poems in Manhattan when he was fourteen. In his thirties he abandoned poetry after publishing a few poems in small journals, but he never stopped reading and studying poetry. Then at age sixty-seven, appalled by the 9/11 terrorist attacks, the poet within awakened. Stuffing sky-blue notebooks in his pockets, Marbrook began walking around Manhattan determined to affirm his beloved home in the wake of the nihilistic attacks. Far from Algiers emerged from hundreds of poems he has composed in the years since.
“Found in these pages is simple profundity, desire unmitigated, the things we wish for each other, the science of absolutes so easy to understand, and so devastating: these poems put complex moments in such a straightforward context that we grasp not simply the words but the full feeling as something we have felt in some kind of similar vocabulary.” —Alberto Ríos, Judge
In Beyond the Velvet Curtain, Karen Kovacik illustrates Czeslaw Miloxz’s dictum that “the purpose of poetry is to remind us how difficult it is to remain just one person.” Peopled with such diverse characters as Richard Nixon, Nikita Khruschev, Kafka’s father, Dorothea Lange, William Carlos Williams, Lawrence Welk, Robespierre, and a feisty Catholic saint, this original collection of poems takes us on an amusement-park ride through world history and art. Kovacik’s poetry places us in the strange drama of cataclysmic events and ordinary life.
“The image evoked by Intaglio, this first collection by Ariana-Sophia Kartsonis, rests on a paradox, one perhaps central to the poetic impulse itself: that design can be shaped by what is cut away, by the loss that surrounds it, so that what is missing creates the negative space which raises the figure in relief, presents it to sight, and touch. Relief: a word whose two meanings—one artistic and material, the other emotional and intangible, together suggest how art engraves meaning.” —Eleanor Wilner, Judge
“Honoree Jeffers is an exciting and original new poet, and the Gospel of Barbecue is her aptly titled debut work. These poems are sweet and sassy, hot and biting, flavored in an exciting blend of precise language and sharp and surprising imagery that delights. They leave a taste in your mouth, these poems; they are true to themselves and to the world. They are gospel, indeed, and this young poet will be heard more and more spreading the true word. Good news!” —Lucille Cliffton
Displaying a range of voices and subjects—from dramatic monologues in the voices of Judas Iscariot and John the Baptist to harrowing personal lyrics of family, time, memory, and loss—Creech’s poems examine the difficulties of belief and the transcendent possibilities of common experience, pushing beyond mere surfaces to explore the “kingdom of desire.” Paper Cathedrals confronts the tensions between the here and hereafter, gravity and grace, and religious faith and an allegiance to the passing, sensual world.
“Imagine a love of small towns ringed by mountains, a shrewd ear for lonely folks’ dialogue, and a music that seems to pour out of your own life as you read these poems. Likely is a book brimming with surprises and beauty; it left me breathless.” —Alicia Suskin Ostriker
“Rare in any age is work which incorporates a passion for experience, a commitment to truth, an ability to plumb the irrational, and a fluency in poetic language and music which can work through all these tangled thickets, but Eve Alexandra does just that. . . . This is true poetry; it immediately takes its place as a participant in the vast historical voice which composes poetry, a voice which contains ten-thousand tones, but which takes nothing unto itself which doesn’t resonate, as do the poems of The Drowned Girl, with authenticity and fervor.”—C. K. Williams, Judge
