The Final Take

In The Final Take, Susko seeks to record something that puts to rest the aftereffects of having survived, making out of poetry a kind of prolepsis that fills the void of an apocalyptic delay. And so the poems trudge toward a horizon that rips across the skyline like a mass grave as the attempts at memorializing, at making things appear by keeping time, ultimately falter: “Then you disappeared, that is / what happens in wars.” Finally, it is disappearance itself that appears in the wake of these vanishings.

A Penance

Evans’s A Penance, though not perfect, challenges readers in a way that requires them to continuously re-read the text in order to plunge the depths that he has constructed. This collection should be required reading for anybody interested in contemporary poetry, especially if a reader has become disillusioned by the overbearing “I” or the gilded forms of surface experimentalisms that grow dull after one reading.

Four Chapbooks

In that layering of story and persona, these writers engage with the suppleness of female experience in ways that are not only formally and aesthetically engaging, but have an ethical potency that permits the agent of the poem to be many things at once: simultaneous.


At turns beautiful and disconcerting, Grammar presents us with a thought-provoking portrayal of language as it is transfigured by our usage, offering readers a graceful matching of form and content all the while.