If a work of art can be considered a solar system, it’s then governed by a balance between centripetal and centrifugal forces.

Liz Waldner’s masterful new collection of poems, Her Faithfulness, explores the possibilities of a feminist theology, one that embraces both the physical body and the intangible wilds of the imagination.

Gabriel Gudding appeals to humans’ intellectual, artistic, and political selves by braiding fact, lyricism, and manifesto into a force magnetic and powerful as the undercurrent of a river.

Vogelsang strives to reject mystery as a sacred notion; or, at least, that’s his literary and aesthetic feint. No matter how devotedly he focuses on the concrete, however, the presence of the invoked “What” still remains as central to the poem as “Things.”

Nicholson’s writing, which is by turns clever, jokey, and devestatingly ironic, seems to be so because there is no other way. There is no other permission granted us other than irony: the irony of irony.

The poems in Heliopause are nimble, intelligent, playful, and bold; there is wildness and surprise in the journey of each poem.

The poems of Evening Oracle began in ritual, as a taking down of the messages of nightfall. When brought together and combined with the voices of trusted others, they become a book whose reading itself is a ritual creation of space, of a threshold between.

Faizullah goes beyond the self to write about and translate tragedy, as well as explore the right of a poet to speak on tragedy. In this case, the 1971 Bangladesh war as told through the testimonies of women survivors, as well as the poet’s own family history.

Miller’s task is to remove the fixed barrier that has separated public from private and past from present while exploring the topics of debt, violence, and family.