Colorado State University Center for Literary Publishing

Poetry

Late in the Empire of Men

Oct, 13 2017 | no responses

“Before I was a man I was a man / made of pixels,” Christopher Kempf writes in “Oregon Trail,” a poem early in his prize-winning debut. Like many in the collection, Kempf’s ode to the titular computer game is about coming of age in the Information Age, where writing entails virtual violence. . . .”

Cyclorama

Oct, 13 2017 | no responses

In her stunning new collection Cyclorama, Daneen Wardrop applies the unique artistic resources of poetry to the task of social history. Structured as an extended sequence of linked persona pieces, the work in this finely crafted volume eschews the great figures of the American Civil War to give voice to individuals who may otherwise have remained voiceless: wives, children, and the invisible labor that sustained an entire nation.

In the Language of My Captor

Sep, 29 2017 | no responses

The shifting meaning, line by line and poem by poem, attests to McCrae’s excellent care of race and language. Through its poetics, perhaps McCrae’s book has something to teach us about nuance of thought in the face of divisive moments.

Watchful

Sep, 22 2017 | no responses

Bendall’s aesthetic of incompletion asserts that conventions of language make us incapable of seeing the world as anything other than extensions of ourselves, feelingly pointing to limits of that perspective. Dazzling and intuitive poetry may not save us, but many who face coming loss turn to language’s transformational illusion.

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.

Overyellow

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.”

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