Colorado State University Center for Literary Publishing


Age of Glass

May, 23 2019 | no responses

Hong’s literary landscape is the sonnet. All but three poems riff on this form. Hong’s sonnet disrupts this male-dominated box, this literary container, yet retains its echoes—especially via her stanzas corresponding to a given sonnet’s structure, quatrains followed by couplet or by two tercets (a sestet).

Adorable Airport

May, 22 2019 | no responses

Ultimately, we are left with an existence, the poet seems to suggest, that hovers between the present moment and the promise—or disappointment, depending on one’s perspective—of perpetual return, if not quite renewal. We ask but don’t always receive.

The Trailhead

May, 21 2019 | no responses

The body knows, can achieve this knowledge through mythic journeys and discipline, but there’s a kind of inevitable transformation into an unrecognizable world, in part through the narrating of such violence into a mythology to be consumed instead of heeded. Webster navigates such delicate language and tonal work throughout these poems, using figures like Deborah and Tiresias (once transformed into a woman) to navigate the particular ways that female bodies register such sight and violence.


May, 20 2019 | no responses

Instead, lines, and the rhetoric that they contain, shuffle forward and back, make progress and contradict themselves through a series of non-sequiturs, leaps, and half-finished aphorisms. The poems feel deliberately cobbled together, as if crafted by lumping randomly associated thoughts and overheard phrases. At times, the collection’s aesthetic resembles that of John Ashbery, who sweeps together scraps and leftover bits of unrelated language in his poems.

Flung Throne

May, 14 2019 | no responses

For Clevidence, the world is not too much with us; we ourselves are simply too much. The spasmodic leap of life made into the human was all out of proportion—consciousness was just an extended error message.


Apr, 29 2019 | no responses

The move, of course, is a standard one within left-oriented postcolonial poetics, letting oppressed languages and peoples ostensibly speak back to or disrupt official discourse.

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