The Absolute Letter
Sep, 19 2017 | no responses
…reading through Joron’s volume is, à la Tanning’s painting, to confront one’s fundamental notions, linguistic and otherwise. From its first poem to its last, The Absolute Letter endeavors to sonically and euphonically elasticize the scope of the poetic form.
Sep, 15 2017 | no responses
Overyellow describes itself as “a work about place —about the attempt to construct, through writing, the possibility of place in the external world . . . Pesquès’s interrogation of the mountain that dominates his landscape becomes an interrogation of language, of how it brings us the world and how it simultaneously denies us access to it.”
Sep, 12 2017 | no responses
Meadow Slasher begins as a book about a vagrant with questionable motives and turns into a meditative book about an artist questioning his responsibility to edit. “Slasher” in Joshua Marie Wilkinson’s title refers both to “editor” and “criminal,” maybe the most violent among us.
Objects from a Borrowed Confession
Sep, 08 2017 | no responses
As do lyric poems, the letters framing the book do double duty as the expressions of narrowly construed personae and as invitations to the reader:
A Passion According to Green
Sep, 05 2017 | no responses
Irwin’s book is full of fables—a talking cat who meets an ancient and growing mouse, three-inch-tall people who can only speak after eating grass—and they work wonderfully.
Meet Me Here at Dawn
Sep, 01 2017 | no responses
It is a connection both chilling and intimate, when the speaker of these poems acknowledges being watched—as if to say, “I know you’re still here.”