Reviews
Mathew Abbott | Of fear in abstraction A review of Fiona Hile's 'Novelties' |
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Emily Abendroth | On our own recognizance Miranda Mellis's survivable devastation |
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Gilbert Adair | ‘The stone with the music’ On Michael Golston’s ‘The Science Fiction of Poetics’ |
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Jeff Alessandrelli | 'The problem with being numerous is a problem of memory' A review of Joshua Ware's 'Homage to Homage to Homage to Creeley' |
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Charles Alexander | Architecture rings true A review of Carol Watts's 'Occasionals' |
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Charles Alexander | Not just to see and note the birds but to say them A review of 'A Reading: Birds' |
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Toby Altman | Eating the book review On Becca Jensen's 'Among the Dead' |
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Toby Altman | Elysian weather A review of Joyelle McSweeney's 'The Necropastoral: Poetry, Media, Occults' |
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Emily Barton Altman | Thus I am inwardly my police A review of Daniel Poppick's 'The Police' |
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Nico Alvarado | How surfaces can be tweaked and spun A review of 'New Depths of Deadpan' |
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Candice Amich | Multilingual Latin American poetries | |
Stan Apps | Throughput A review of 'The Port of Los Angeles' |
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EB | Performing crip/queer survival Leah Lakshmi Piepzna-Samarasinha's 'Bodymap' |
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Jan Baetens | Contradictory equivalents A review of Vincent Broqua’s ‘Recovery’ |
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Kristin George Bagdanov | The beast that therefore I am Eight recent poetry titles on the beast |
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Cristiana Baik | The snapshot poem A review of Frances Chung's 'Crazy Melon’ |
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Isabel Balée | Symptoms and sources A review of Lauren Levin's 'Justice Piece // Transmission' |
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John Wall Barger | 'Sounds heard when the ear is pressed to the walls' A review of Gaspar Orozco's 'Autocinema' |
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Dara Barnat | 'Besieged by grief' A review of Rachel Tzvia Back's 'A Messenger Comes' |
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derek beaulieu | 'An endless, polyglot failure party' A review of Robert Fitterman's 'Now We Are Friends' |
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Art Beck | A language bent to its own unique use A review of 'Between Words: Juan Gelman's Public Letter' |
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Art Beck | The letters of the alphabet and letters to the dead A review of 'Two' |
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Cara Benson | 'another personal narrative burns to a heap of citations' A review of 'Bharat jiva' |
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Steve Benson | A memoir of exchange Michael Gottlieb and the praxis of essay |
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Levi Bentley | Re(con)figuring the moment A review of 'It's Night in San Francisco But It's Sunny in Oakland' |
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Felix Bernstein | Expression Concrète A review of Divya Victor's 'Natural Subjects' |
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Charles Bernstein | The revolution in 'Tender Buttons' | |
Jay Besemer | Becoming-language On TC Tolbert's 'Gephyromania' |
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Joel Bettridge | The imagination's shifts between stability and disorientation A review of Joel Bettridge's 'Reading as Belief' |
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Nikhil Bilwakesh | A literary walking uphill A review of 'Not Blessed' |
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Celia Bland | Learning by doing A review of 'Spellbound: The Art of Teaching Poetry' |
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Julia Bloch | Twenty-two on ‘Tender Buttons’ | |
Luke Bloomfield | A review of 'Lake Antiquity: Poems 1996–2008' | |
Mark Boccard | The through thing Static in Karen Weiser |
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Riccardo Boglione | New South new North A review of 'América Invertida: An Anthology of Emerging Uruguayan Poets' |
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Annie Bolotin | Hers to elegize Aria Aber's 'Hard Damage' |
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Bruce Boone | Paradise now On Evan Kennedy's 'The Sissies' |
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John Bosworth | Secure that delicate passage On Hajar Hussaini’s ‘Disbound’ |
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Joseph Bradshaw | The decidedly American, Whitmanic grain A review of Matthew Henriksen's 'Ordinary Sun' |
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Daniel Bratton | Registers of breath: On origins and concession A review of 'The Concession Stand: Exaptation at the Margins' |
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Jolene Brink | The shape of the vigil Cassandra Cleghorn's 'Four Weathercocks' |
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Kevin Brophy | 'To drown well is art' A review of Anthony Lynch's 'Night Train' |
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Brandon Brown | 'The architecture and ambience of the maze' A review of Marie Buck's 'Amazing Weapons' |
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Erika Jo Brown | Getting to know each other better A review of 'Lovely, Raspberry' |
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Laynie Browne | 'A Long Dress' | |
Gerald Bruns | Anarchic inventions: On making poetry present David Antin and Charles Bernstein |
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Alex Bue | 'A ceiling other than a sky' A review of Ashraf Fayadh's 'Instructions Within' |
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Megan Burns | Creative defense Pafunda's 'Natural History Rape Museum' |
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Louis Bury | A talk review of 'Ten Walks/Two Talks' | |
Louis Bury | The task of onwardness A review of Kristen Case's 'American Pragmatism and Poetic Practice' |
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David Buuck | Infrastructures of feeling Fugitive fugues in the undying present |
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Amina Cain | On 'Both Sides and the Center' 2 A review of the festival, part two |
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Kim Calder | On QED II, part one: The presence of absence | |
Kim Calder | QED II, part three: Not (quite) easily done | |
Kim Calder | QED II, part two: Inchoate affinities | |
Allison Cardon | Potential loss | |
Teresa Carmody | On 'Both Sides and the Center' 2 A review of the festival, part two |
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Angela Carr | After Stein's closet A tender reading from 'Tender Buttons' |
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Laura Carter | Habitation caesurae A review of Heather Christle's 'Heliopause' |
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Laura Carter | Motley attire A review of Anne Boyer's 'Garments Against Women' |
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Laura Carter | The joy at the heart of us Elizabeth Willis's 'Alive: New and Selected Poems' |
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Sarah Case | Songs and sonnets A review of Peter Gizzi's 'Threshold Songs' and K. Silem Mohammad's 'Sonnagrams 1–20' |
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Bonny Cassidy | Infidel poetics A review of John Mateer's 'Unbelievers' |
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Bonny Cassidy | Multicultural sleep A review of 'Fainting with Freedom' by Ouyang Yu |
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Mandana Chaffa | 'I am the hydra of I / and soon I will be the next thing' A review of 'The Malevolent Volume' by Justin Phillip Reed |
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Mandana Chaffa | On Kaveh Akbar's 'Calling a Wolf a Wolf' | |
Alan Chamberlain | Suffering into shape A review of 'Atonement' by Vaughan Rapatahana |
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Ashley Chang | Between the world and the poem On Dorothy Wang's forms and formations |
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Maxine Chernoff | A longer stay A review of Stacy Doris's 'Fledge: A Phenomenology of Spirit' |
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Philip Clark | Against the modular mind Jena Osman's 'Motion Studies' |
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Allison Cobb | 'It has a place for me as living' On Susan Landers's 'Franklinstein' |
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Allison Cobb | Poetry as ecstatic geology On Susan Tichy’s ‘North|Rock|Edge’ |
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Julia Cohen | Release we can invent together A review of Feng Sun Chen's 'Butcher's Tree' |
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Julia Cohen | The poetics of patience and mutiny A review of Carmen Giménez Smith's 'The City She Was' |
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Allison Conner | Poetry in ruins | |
Allison Conner | Unraveling tongues A review of 'She Tries Her Tongue, Her Silence Softly Breaks' |
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CAConrad | (Soma)tic poetry reading enhancement Andrea Rexilius's 'New Organism' |
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CAConrad | Perfect bound suckling (soma)tic reading enhancement Rachel Glaser's 'Moods' |
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Eric Conrad | Scholars to come A review of Matt Miller's 'Collage of Myself' |
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Joshua Corey | The poet's novel A review of 'Leaving the Atocha Station' |
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Cecilia Corrigan | On drowning A review of 'I'll Drown My Book: Conceptual Writing by Women' |
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EC Maxe Crandall | Playing Stein | |
Iris Cushing | Beauty is useless A review of Noel Black's 'Uselysses' |
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Arkava Das | Movements in 'The Unconditional' wasteland An adventure in thinking |
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Chris Davidson | The freedom of restraint A review of Devin Johnston's 'Traveler' |
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Alan Davies | A vacancy one knew Or: shallows of content; or: casuistry |
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Alan Davies | Eloquence On Sally Silvers's 'Actual Size' |
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Alan Davies | Messing with your head A review of 'Insolvency, Insolvency!' by Jeremy Hoevenaar |
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Georgiana de Rham | Excavating intimacies A review of Siwar Masannat’s ‘cue’ |
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Georgiana de Rham | Weathering the storms of history On ‘In Inheritance of Drowning’ by Dorsía Smith Silva |
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Jay Deshpande | Leaving language A review of Maureen Thorson's 'Applies to Oranges' |
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Robert Dewhurst | Dorothea Lasky, it’s unbelievable A review of 'Black Life' and 'Awe' |
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Jennifer K Dick | The urban interior-exterior ideal | |
Jennifer K Dick | Timed instants A review of Cole Swensen's 'Landscapes on a Train' |
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Alexander Dickow | He who sees and listens A review of Mark Weiss, ‘A Suite of Dances’ |
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Alexander Dickow | Partial objects Jennifer K. Dick's 'Lilith: A Novel in Fragments' |
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Drew Dillhunt | A Marxian whelm of a pillowcase A review of Timothy Donnelly's 'The Cloud Corporation' |
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Drew Dillhunt | Whose hearts are a thousand chemicals A review of Calvin Bedient's 'The Multiple' |
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Denise Dooley | Permission to be a poet A review of Eileen Myles's 'Inferno (A Poet's Novel)' |
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Denise Dooley | The new ground still remaining A review of 'A Place in the Sun' |
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Sarah Dowling | Steven G. Yao's flexible methodologies | |
Patrick James Dunagan | 'Between appearance and character' On Vallejo's 'Selected Writings' |
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Patrick James Dunagan | 'Cross Worlds' On 'Transcultural Poetics: An Anthology' |
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Patrick James Dunagan | 'Liberation in time of emergency' On the poetics of Duncan and O'Hara |
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Patrick James Dunagan | 'What would I want to do? Hide myself?' Aaron Shurin's life testament to poetry |
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Patrick James Dunagan | An antagonistic paraphernalium A review of 'Philip Guston: Collected Writings, Lectures, and Conversations' |
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Rachel Blau DuPlessis | In his element A review of 'The Astonishment Tapes' |
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Rachel Blau DuPlessis | Stein's wedding cake | |
Marcella Durand | 'If I lose you in the street' Stacy Szymaszek's 'Hart Island' |
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Marcella Durand | The singularity shows | |
Marcella Durand | There is a war. There is a Neighbor. A review of 'Neighbor' |
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Kristin Dykstra | On equal footing A review of recent works by Urayoán Noel |
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Paul Ebenkamp | Cutting through its own knife On Brandon Downing's 'Mellow Actions' |
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Lynley Edmeades | 'Do it like this' Lisa Robertson's '3 Summers' |
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Lynley Edmeades | 'The woman is here to stay' A review of 'A Doll for Throwing' by Mary Jo Bang |
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yasser elhariry | Snap! Blow! The consensus of thinking | |
Laura Eve Engel | One foot in the real, one wing in the ether A review of Julia Cohen's 'Collateral Light' |
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Dale Enggass | The carceral outside A review of 'The Desert' by Brandon Shimoda |
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Olivia Milroy Evans | Activist documentary poetics On Susan Briante’s ‘Defacing the Monument’ |
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Thomas Evans | Defiant lightness A review of Miles Champion's 'How to Laugh' |
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Michael Farrell | Reading tenderly | |
Michael Farrell | The care and the courage A review of John Mateer's 'The West: Australian Poems 1989–2009' |
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Dan Featherston | 'What kind of poem would you make out of that?' A review of 'Coal Mountain Elementary' |
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Jonathan Fedors | Exiting the sacred wood A review of 'On Mount Vision: Forms of the Sacred in Contemporary American Poetry' |
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Keegan Cook Finberg | Toward an embodied critique A review of Louis Bury's 'Exercises in Criticism' |
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Zack Finch | 'A speck of behavior, a fleck of culture' A review of 'Field Work: Notes, Songs, Poems, 1997–2010' |
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Zack Finch | Through and never through On Peter Cole's 'The Invention of Influence' |
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Thomas Fink | A proliferation of differences A review of 'Troubling the Line' |
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Thomas Fink | A ‘leap of poetic faith’ On Charles Bernstein’s ‘The Kinds of Poetry I Want: Essays & Comedies’ |
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Norman Finkelstein | Divinest sense: On Paul Pines | |
Norman Finkelstein | Lawrence Joseph's credo | |
BK Fischer | 'A non-sequitur is a song of experience' A review of Lyn Hejinian's 'The Unfollowing' |
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Norman Fischer | 'Gradually the World' A review of Burt Kimmelman's new and selected poems |
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BK Fischer | Disambiguating rape culture Lynn Melnick’s nouns |
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Norman Fischer | Necessary companionship A review of Laynie Browne's 'Scorpyn Odes' |
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Norman Fischer | Notes on 'A Mammal of Style' | |
Norman Fischer | Poetry as path, as weapon On Uche Nduka |
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Joe Fletcher | Why can't I touch it On Chris Hosea's 'Double Zero' |
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Arin Alycia Fong | Against erasure The silent citizen remembers in Alejandro Zambra's 'Multiple Choice' |
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Seth J. Forrest | Is it so a noise to be 'Tender Buttons' and noise poetics |
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Katherine Franco | My preferred pedagogy is ‘Pathetic Literature’ | |
Katherine Franco | ‘Meeting this strangeness’ Katherine Agyemaa Agard’s ‘of colour’ |
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Lewis Freedman | This collision of multiplicity and singularity A review of Thomas Fink's 'Yinglish Strophes 1-19' |
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Leora Fridman | Haven't worked out the particulars On instructions, position papers, and finding our way |
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Leora Fridman | Unregulated glamor On Carrie Lorig's 'The Pulp vs. the Throne' |
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Corey Frost | A talk review of 'Ten Walks/Two Talks' | |
Chris Funkhouser | Prefacing a new book on E-Poetry On the tenth anniversary of the Electronic Poetry Festival |
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Matthew Gagnon | A walking proposition On Pam Rehm's 'The Larger Nature' |
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Matthew Gagnon | Laboratories of rhetoric On Rae Armantrout's 'Just Saying' |
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Matthew Gagnon | Migratory vernaculars A review of Mark McMoriss's 'Entrepôt' |
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Kristen Gallagher | Cooking a book with low-level durational energy How to read Tan Lin's 'Seven Controlled Vocabularies' |
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Shamala Gallagher | Razor feminine A review of 'Small Siren' |
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Rachel Galvin | Dear Gertrude | |
Rachel Galvin | Gertrude Stein anew A review of 'Stanzas in Meditation: The Corrected Edition' |
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Edgar Garcia | Apocalypse and/or poiesis A review of '2000 Years of Mayan Literature' |
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John Geraets | A swirling life dance A review of Mark Young, ‘Songs to Come for the Salamander’ |
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John Geraets | Curnow's reach Allen Curnow's 'Collected Poems' and Terry Sturm's 'Simply by Sailing in a New Direction' |
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Michael Gessner | The poetry of re-formation A review of Jefferson Carter's 'Get Serious' |
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Michael Gessner | Transitionary framings, a case A review of Geoffrey Gatza's 'House of Forgetting' |
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Katherine Gibbel | Translating in mirrors | |
Lawrence Giffin | On the undesirability of total bliss A review-essay on Jon Leon |
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Matthew Girolami | A review of 'Attributed to the Harrow Painter' | |
Kiala Givehand | The buried encounter Josie Sigler's living |
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Brian Glaser | Writing the nothing that is A review of 'Visiting Wallace' |
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Loss Pequeño Glazier | Tangible expressions of a present poetic A review of E-Poetry 2013 Festival London |
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Laura Goldstein | A narrative recollection of the week of the Chicago Durutti Skool And beyond |
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Laura Goldstein | On Cara Benson's 'made' {experimental reflection} |
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Susan Gorgioski | Europe's shadows vs. America's dreams A review of Andrew Ervin's 'Extraordinary Renditions' |
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Michael Gottlieb | Honesty is the best policy | |
Declan Gould | 'Spastic messiah / erotic daughter' On Petra Kuppers's 'PearlStitch' |
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Steph Gray | Behind the scenes of the city and the writer Messy and fraught with flashes of beauty |
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Steph Gray | Moving image, moving text, never past, look in mirror (repeat) A review of Lisa Robertson's 'Cinema of the Present' |
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Steph Gray | The hymn of journals, poetic and public | |
Steph Gray | Where we thought the story ends Jennifer Firestone's 'STORY' |
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Steph Gray | Working in and out of labor A review of Jill Magi's 'Labor' |
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Sarah Louise Green | But there is a person there A review of 'The Morning News Is Exciting' |
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C. R. Grimmer | Cripping global queer, antiracist, and decolonial coalitions A review of 'Crip Times' after 'Beauty is a Verb' |
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Jess Grover | They're on now A review of Geoffrey O'Brien's 'Metropole' |
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Francisco "Kokoy" Guevara | The plasticity of our pagelessness | |
Francisco "Kokoy" Guevara | The trial of Elizabeth Willis's 'Address' | |
Len Gutkin | 'Imagined lexicography opens onto imagined anthropology' A review of Ben Marcus's 'The Flame Alphabet' |
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David Hadbawnik | The point of contact they create A review of 'Three Novels' |
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David Hadbawnik | The way we tend to compose, or hear, poetry these days A review of 'The Odicy' |
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Ross Hair | 'But most by numbers judge a poet’s song' A review of Randall Couch's 'Peal' |
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Steve Halle | The poem as a type of activism A review of 'War Rug' |
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Robert Hampson | Lived history and the British Poetry Revival A review of Luke Roberts’ ‘Living in History: Poetry in Britain, 1945–1979’ |
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Luke Harley | Poetry as virtual community A review of 'The Grand Piano: An Experiment in Collective Autobiography' |
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William J. Harris | What is poetry? A review of 'What Is Poetry? (Just Kidding, I Know You Know)' |
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James Hart III | Surprise of another 'impossible' category A Review of 'Portrait and Dream' |
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j/j hastain | These books need to be collaborated with A review of Debrah Morkun's 'The Ida Pingala' and Aimee Herman's 'to go without blinking' |
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Carolyn Hembree | Ways to be A review of 'Kindergarde' |
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Laura Henriksen | 'Power in all its minor forms' Two Takes on Alli Warren's 'I Love it Though' |
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Darren Higgins | [Objects] in motion A review of Frédéric Forte's 'Minute-Operas' |
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Kelly Hoffer | Lyric shard as grief’s material A review of Diana Khoi Nguyen’s ‘Ghost Of’ |
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Eric Hoffman | 'the pleasure of / companionship' A review of 'The Oppens Remembered' |
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Eric Hoffman | A life in books A review of Anthony Rudolf's 'Silent Conversations' |
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Eric Hoffman | A poetry of vision A review of 'This Constellation Is a Name' by Michael Heller |
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Eric Hoffman | ‘the unspeakable, the unutterable’ | |
Chris Hosea | Getting to know nothing A review of Peter Gizzi's 'In Defense of Nothing' |
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Chris Hosea | Ways to dream On Claire DeVoogd’s ‘Via’ |
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Marco Antonio Huerta | From legalese into nothingness A review of Hugo García Manríquez's 'Anti-Humboldt' |
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Aiden Hunt | Mining Black history On two docu-poetry collections |
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Amanda Hurtado | In the presence of absence A review of Annette Gilbert’s ‘Literature’s Elsewheres’ |
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Scott Jackshaw | Mourning worlds A review of Prageeta Sharma's 'Grief Sequence' |
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Paul Jaussen | Shots fired | |
Amber Rose Johnson | 'Reader, we were meant to touch' On Erica Hunt's 'Jump the Clock: New and Selected Poems' |
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Julie Joosten | A sensuous field of attention A review of Mei-mei Berssenbrugge's 'Concordance' |
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Julie Joosten | As the elevator moves skyward, it reveals a widening horizon A review of Rena Rosenwasser's 'Elevators' |
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Kasey Jueds | 'The Emptiness You Seek Also Takes Time' 'Go On' by Ethel Rackin |
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Kasey Jueds | The lives that include us | |
Mary Kasimor | Divine and now A review of Tony Leuzzi's 'Radiant Losses' |
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Adam Katz | The Duncan/Olson dichotomy A review of two volumes |
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erica kaufman | 'Tender Buttons': A pedagogy | |
erica kaufman | Allowing oneself to 'be the city' A review of 'The City Real & Imagined' |
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David Kaufmann | Distances quickly crossed A review of Larry Eigner's 'Calligraphy Typewriters' |
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David Kaufmann | Minds of winter A review of ‘Dead Winter’ by Matvei Yankelevich |
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Michael Kelleher | Dear Aaron Shurin | |
Michael Kelleher | Dear Andrew Levy | |
Michael Kelleher | Dear Danielle Pafunda | |
Michael Kelleher | Dear Diane Wald | |
Michael Kelleher | Dear Garrett Caples | |
Michael Kelleher | Dear Kate Greenstreet | |
Michael Kelleher | Dear Mikhail Epstein | |
Michael Kelleher | Dear Stephen Motika | |
Michael Kelleher | Dear Tyrone Williams | |
Burt Kimmelman | Everything’s in flux On Jeanne Heuving’s ‘Indigo Angel’ |
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Burt Kimmelman | Let 'em eat kitsch A review of Thomas Fink's 'Joyride' |
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Michael Kirby | Caspar's Silence A review of 'Registration Caspar' |
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Paul Klinger | The enlightenment of bushes and grasses A review of 'Ghost Snow Falls Through The Void (Globalization)' |
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Paul Klinger | To transform hearing's ear A review of Charles Alexander's 'Pushing Water' |
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Davy Knittle | 'deer flesh to human flesh' On C. R. Grimmer's 'The Lyme Letters' |
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Davy Knittle | 'Power in all its minor forms' Two Takes on Alli Warren's 'I Love it Though' |
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Davy Knittle | 'Reader, we were meant to touch' On Erica Hunt's 'Jump the Clock: New and Selected Poems' |
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Davy Knittle | A field of the invisible A review of Christina Olivares's 'No Map of the Earth Includes Stars' |
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Davy Knittle | Pretty information A review of Brandon Brown's 'Top 40' |
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Rodney Koeneke | Pieces of Bruce ‘Bruce Boone Dismembered’ |
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Rodney Koeneke | The posthumous now On Hillary Gravendyk's 'The Soluble Hour' |
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Virginia Konchan | 'Let Her Speak' The (not-so) quiet revolution of the reproductive, performative, and civic body |
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Virginia Konchan | Cathy Wagner's 'Nervous Device' From commodity fetish to form |
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Virginia Konchan | Renee Gladman and the New Narrative | |
Christopher Kondrich | Devisable matter and sheer overjoy A review of Peter Richards's 'Helsinki' |
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Christopher Kondrich | Tunneling through the self On Hoa Nguyen's 'As Long as Trees Last' |
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Srishti Krishnamoorthy-Cavell | Reading weed acts A review of Carol Watts's 'Dockfield' |
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Seth Landman | A poem is a sacred attempt at communicating what is impossible to communicate A review of Laura Solomon's 'The Hermit' |
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Seth Landman | A sound in the mind A review of Peter Gizzi's 'Threshold Songs' |
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Steve Langan | Perfecting dissatisfaction A review of 'The Smaller Half' |
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Sara Larsen | There must be pleasure A review of Alli Warren’s ‘Little Hill’ |
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Jessica Lawson | Contagious poetry A review of 'Mommy Must Be a Fountain of Feathers' |
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Nicholas Leaskou | 'The earth angel, sorting time' A review of Carrie Hunter's 'Orphan Machines' |
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Nicholas Leaskou | Nostos — returning home to the self A review of erica lewis's 'daryl hall is my boyfriend' |
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Nicholas Leaskou | Song is remedy for loss A review of Tiff Dressen's 'Songs from the Astral Bestiary' |
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Hannah LeClair | ‘Here at the midpoint of my life’ A review of Kerri Webster’s ‘Lapis’ and Jana Prikryl's ‘Midwood’ |
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Kyoo Lee | CohabitUS: Toward covival A review of/reflection on ‘Help’ by Claudia Rankine |
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Sueyeun Juliette Lee | Stein's spatial poetics Star-light and 'Rooms' |
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Kyoo Lee | Who wouldn’t? CoReflecting OnWith |
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Colin Leemarshall | The poet as symbiont A review of Harry Gilonis's 'Rough Breathing: Selected Poems' |
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Paul Legault | Who is writing is the translator A review of 'Ventrakl' |
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Charles Legere | A sense interfused Refiguring the work of ecopoetics |
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Sophie Lewis | Uncurling A review of ‘Fetal Position’ |
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Eugene Lim | A detour from more traditional paths of composition A review of 'An Attempt at Exhausting a Place in Paris' |
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Colin Lodewick | Continuing a body A review of Bhanu Kapil's 'entre-Ban' |
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Matt Longabucco | The hurts of wanting the impossible A review of 'Supplication: Selected Poems of John Wieners' |
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Matt Longabucco | The thing that doesn't fail On Stephanie Young's 'Ursula or University' |
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pablo lopez | Notes on the discursive A review of Susan Gevirtz's 'Coming Events' |
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pablo lopez | Poetry at the axis of nothing A review of 'u&i' |
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Prathna Lor | 'The lip of a paragraph' On Renee Gladman's 'Calamities' |
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Prathna Lor | Building sex Renee Gladman's 'Prose Architectures' |
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Astrid Lorange | The index of 'Tender Buttons' | |
Mae Losasso | Telltale misadventure A review of Steven Seidenberg’s ‘Anon’ |
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Ed Luker | Poetry in crisis Rob Halpern and Keston Sutherland |
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François Luong | Becoming in transit Sun Yung Shin's 'Unbearable Splendor' |
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Christopher Lura | This is not a book of surfaces A review of 'The Book of Beginnings and Endings' |
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Andrew Madigan | Serious play A review of Yahia Lababidi's 'Trial by Ink' |
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Anthony Madrid | Ongoing 'Planisphere' notebook | |
Jill Magi | Sound matters A review of Deborah Meadows's 'Translation, the bass accompaniment' |
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Aylin Malcolm | Queer treatments A review of 'Each Tree Could Hold a Noose or a House' |
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Jane Malcolm | We peer through various portals A review of Gail Scott's 'The Obituary' |
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Robert Manaster | Standstill moments A review of Piotr Gwiazda's 'Messages' |
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Adam Marston | Punkness and the inescapable self A review of Rod Smith's 'Touché' |
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Lorraine Martinuik | A careful assemblage A review of 'Nox' |
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Andy Martrich | Glimpsing the new normal On Kristen Gallagher’s ‘85% True/Minor Ecologies’ |
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Alexandra Mattraw | Runes in the noise menagerie A review of Claire Marie Stancek's 'Oil Spell' |
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E.J. McAdams | Humanitarian strategies for ecosystem stabilization A review of 're : evolution' |
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Aaron McCollough | A review of Amaranth Borsuk's 'Handiwork' | |
Seth McKelvey | Cry criers Jordan Scott's 'Night & Ox' and Andrew Joron's 'The Absolute Letter' |
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rob mclennan | Quiet demands A review of Sarah Gridley's 'Loom' |
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Erin McNellis | 'It feels like painting a larger picture' A review of 'Try a Little Time Travel' |
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Erin McNellis | A lot of things happened A review of Lisa Rogal's 'Morning Ritual' |
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Erin McNellis | Invisible protest A review of Caryl Pagel's 'Experiments I Should Like Tried at My Own Death' |
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Joyelle McSweeney | Art-trash On Chelsey Minnis and CAConrad |
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Deborah Meadows | A review of 'Memory Wing' | |
Joe Milazzo | The posthuman humane On James Pate's 'Flowers Among the Carrion' |
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Kathleen DelMar Miller | 'The succession of syndromes' A review of erica kaufman's 'INSTANT CLASSIC' |
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David James Miller | The landscape at present A review of Joseph Massey's 'At the Point' |
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Tyler Mills | 'All my lies are honest' A review of Chad Sweeney's 'Wolf's Milk' |
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Joe Milutis | Mud and the poetics of art history Lytle Shaw’s ‘New Grounds for Dutch Landscape’ |
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Stan Mir | 'My mother's mother-of-pearl' A review of Gro Dahle's 'A Hundred Thousand Hours' |
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Stan Mir | Erasing history On Jordan Abel's 'The Place of Scraps' |
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Stan Mir | Outside of any system A review of William Corbett's 'Elegies for Michael Gizzi' |
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Stan Mir | Textures for the mouth and ear A review of Gale Nelson's 'This Is What Happens When Talk Ends' |
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Stan Mir | The quiet influence of patience A review of Linda Norton's 'The Public Gardens' |
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Stan Mir | Without burning up the frame A review of Arkadii Dragomoshchenko's 'Endarkenment' |
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Ben Mirov | Cookies and vortices A review of 'The Madeleine Poems' |
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Jason Mitchell | What I see in Stein's 'Tender Buttons' | |
Jose-Luis Moctezuma | Antonio Gamoneda and the ontology of disappearance A review of 'Description of the Lie' and 'Gravestones' |
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Lukas Moe | 'Perfect losses we can't mourn' On Rob Halpern's 'Music for Porn' |
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Rajiv Mohabir | Imaginative reading A review of Hsia Yü's 'Salsa' |
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Rajiv Mohabir | Labor of we Layers and alliance in Kenji Liu's 'Map of an Onion' |
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Frank Montesonti | Sailor, sleepwalker A review of 'I Was There for Your Somniloquy' |
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Kaitlin Moore | Proximate cosmologies A review of Ada Smailbegović’s ‘Poetics of Liveliness’ |
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Brian Mornar | Coming to terms with absence A review of 'censory impulse' |
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Dee Morris | Gertrude Stein sets a table | |
Tracie Morris | If I reviewed her (excerpt) | |
Seán Morrissey | Love and rage A review of 'We Want it All: An Anthology of Radical Trans Poetics' |
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Andrew Mossin | 'Walking out the right door' A review of Richard Blevins's 'The Art of the Serial Poem' |
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Andrew Mossin | A provisional map of who/what/where we are A review of 'Inciting Poetics: Thinking and Writing Poetry' |
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Erín Moure | Translation's lucky hand A review of 'Fortino Sámano' |
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Robert Mueller | On gossamer wings A review of 'A Field Guide to Lost Things' |
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Robert Mueller | The memoir where it matters A review of Eleni Sikelianos's 'You Animal Machine (The Golden Greek)' |
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Sheila E. Murphy | Trying to keep your voice clear (your voice will break) A review of Joseph Lease's 'Testify' |
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Sawako Nakayasu | A moment in teaching 'Tender Buttons' | |
Taien Ng-Chan | To get you out walking A review of 'Stroll: Psychogeographic Walking Tours of Toronto' |
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Jeff Nguyen | Poet in profile The scar lit district of Jenny Zhang |
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Andrew S. Nicholson | 'mend the world' A review of Joseph Lease's 'The Body Ghost' |
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Aldon Lynn Nielsen | A review of 'Black Case Volume I and II' | |
Jeroen Nieuwland | Ecologies of the margin A review of 'Hidden Agendas: Unreported Poetics' |
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Collier Nogues | 'The protests became a poem' Liu Waitong's 'Wandering Hong Kong with Spirits' |
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Linda Norton | His own shine, her smooth inscrutable A review of Pattie McCarthy's 'Marybones' |
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Mia Nussbaum | When even the good seems violent A review of '100 Notes on Violence' |
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Gabriel Ojeda-Sagué | Giving way to a knot A review of 'Anemal Uter Meck' |
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Gabriel Ojeda-Sagué | Something like flowers A review of Angel Dominguez's 'Black Lavender Milk' |
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John Olson | Elsewhere is here A review of 'The Camel's Pedestal' by Anne Tardos |
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Amy Paeth | 'I'-criticism in postliterary America | |
Amy Paeth | The products of labor A review of 'lo terciario/the tertiary' |
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John Paetsch | Doll/bat/baby face Secession in echolalia |
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John Paetsch | More vans arrive, all of them inert A review of Rosmarie Waldrop's 'Driven to Abstraction' |
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Caryl Pagel | The Sickbed On pain, love, ekphrasis, and Craig Dworkin's 'Dure' |
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Václav Paris | The consolation of poetry A review of two recent books by René Char |
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Julian Francis Park | Mutual-aid amid 'ASoUND' A review of Cheena Marie Lo's 'A Series of Un/Natural/Disasters' |
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Sean Pears | ko ko thett's cannibalistic poetics A review of 'The Burden of Being Burmese' |
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Bob Perelman | Unlikening 'Tender Buttons' | |
Becky Peterson | Literature's nuisance: (Riding) Jackson's memoir A review of 'The Person I Am: The Literary Memoirs of Laura (Riding) Jackson' |
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Robyn Maree Pickens | 'North of the Equator' 'A TransPacific Poetics' |
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Tom Pilcher | A poetics of appropriation A review of William Fuller's 'Hallucination' |
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Samantha Pious | Medievalists and madmen A review of Paul Blackburn’s ‘Proensa’ |
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Deborah Poe | A vital territory 'Idylliad' by Elizabeth Savage |
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Deborah Poe | Sensual infrastructure A review of Jen Currin's 'School' |
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Deborah Poe | The solar vowels in our throats A review of Meredith Stricker's 'Mistake' |
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Yvette Poorter | A website for one shoe A review of 'The Ministry of Walking' |
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Alex Porco | Wonky structures On Alice Burdick's 'Book of Short Sentences' |
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Betsy Porritt | The intimacy of the index Listening notes on ‘Concordance’ |
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Sarah Posman | Breed that | |
Nate Preus | Under the beach, the office On 'The Work of Art in the Age of Deindustrialization' |
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Katie L. Price | A community so well versed in the other possibilities of the computer On the tenth anniversary of the Electronic Poetry Festival |
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David Pritchard | The best of all possible Audens A review of 'Goodnight, Marie, May God Have Mercy on Your Soul' |
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Patrick Pritchett | Against elegy: Michael Palmer's Book of the Dead A review of 'Thread' |
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Patrick Pritchett | Resurrectional poetics A review of Raúl Zurita's 'Dreams for Kurosawa' |
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Andrea Quaid | 'Tender Buttons' at 100 'Is there. That was a question. There was no certainty.' |
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Andrea Quaid | On 'Both Sides and the Center' A review of the festival, part one |
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Andrea Quaid | On 'Both Sides and the Center' 2 A review of the festival, part two |
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Ethel Rackin | (Re)animating the city A review of 'Deep City' by Megan Kaminski |
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Ethel Rackin | A vital territory 'Idylliad' by Elizabeth Savage |
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Ethel Rackin | The lives that include us | |
Dean Rader | Poetry/painting/history/hermeneutics On 'Cy Twombly: Making Past Present' |
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Yosefa Raz | On textual cohabiting Jocelyn Saidenberg's 'Dead Letter' and Brandon Brown's 'Top Forty' |
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Anna Reckin | Existence plus alphabets 'Meaning to Go to the Origin in Some Way' and 'Participant' |
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Matt Reeck | A very serious joke beneath the (relatively soon to be) exploding sun Review of Joseph Harrington's 'Of Some Sky' |
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Matt Reeck | An abecedarian A review of Joseph Harrington's 'Things Come On {an amneoir}' |
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Matt Reeck | Blueprints, or sight-maps A review of 'Meddle English' |
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Matt Reeck | Community as culture A review of 'Poetic Intention' |
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Matt Reeck | The importance of nouns A review of 'N7ostradamus' |
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Marthe Reed | 'A grand collage' A review of 'A Jerome Rothenberg Reader' |
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Jessica Reed | Between the hardly real and the barely there Rae Armantrout's 'Conjure' |
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Matthias Regan | To return the margin to the center A review of 'Elleguas' |
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Jonathan Regier | At the surface of days A review of Rebecca Wolff's 'One Morning—' |
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Jonathan Regier | Denial is political A review of Julie Carr's 'Rag' |
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Jonathan Regier | Everything remembers equally A review of Jennifer K. Dick's 'Circuits' |
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Heidi Reszies | Curiosity and rarity A review of Cynthia Cruz's 'Wunderkammer' |
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Sean Reynolds | Reformulating precision as excess A review of 'Portrait of Colon Dash Parenthesis' |
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Kylan Rice | New sentimentalism A review of Julie Carr's 'Someone Shot My Book' |
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Andrew Rippeon | What lyric itself thinks A review of 'Canto' |
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W. M. Rivera | 'Say what you know' A review of Eleanor Wilner's 'A Tourist in Hell' |
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Kit Robinson | An identity in relation Anne Tardos on absence |
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Kit Robinson | Surrounded by Paris Yuko Otomo’s ‘PINK’ |
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Elizabeth Robinson | The imagination's shifts between stability and disorientation A review of Joel Bettridge's 'Reading as Belief' |
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Jaime Robles | 'To throw doubt in the poet’s mind' A review of Andrew Shelling's 'From The Arapho Songbook' |
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Jaime Robles | A study in how we define the world outside A review of Maxine Chernoff's 'Without' |
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Jaime Robles | The gap in the throat A review of 'The Orphan and Its Relations' |
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Sarah Rosenthal | Errant readings A review of psalmbook by Laura Walker |
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Noah Ross | An archive of feeling A review of 'The Bigness of Things' |
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Bonnie Roy | Ardour, or … Nicole Brossard’s burning word |
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Bonnie Roy | Catalog/cloud Dreams of relation in Amish Trivedi's 'Sound/Chest' |
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Lauren Russell | Bordering on madness A review of Bhanu Kapil's 'Schizophrene' |
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Linda Russo | Reading 'Iovis' in Bolinas A review of Anne Waldman's ‘The Iovis Trilogy’ |
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Linda Russo | The light of this An itinerant essay around a reading of 'The Gorgeous Nothings' |
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Rebekah Rutkoff | We can't do it without the rose A review of the film 'Under Foot & Overstory' |
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Courtney Rydel | Fits of imagination A review of Thomas Meyer's 'Beowulf' |
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Joe Safdie | Politics and time The continued relevance of Edward Dorn's 'Gunslinger' |
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Marcus Salgado | File under: new media poetics, electronic literature, technotext, flarf and so on A review of 'Electro Þerdix' |
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James Sanders | Infrastructure writing A review of David Buuck's 'Site Cite City' |
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James Sanders | Writing between A review of 'Writing Surfaces: Selected Fiction of John Riddell' |
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Stephanie Sandler | 'Already free' A review of 'F Letter: New Russian Feminist Poetry' |
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Janice Sapigao | Navigating the ineffable A review of Prageeta Sharma's 'Undergloom' |
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Janice Sapigao | Poetics of critical cartography A review of Sebastian Agudelo's 'Each Chartered Street' |
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Aram Saroyan | A review of 'Just Kids' | |
Elizabeth Savage | 'silence isn't always a trick' Thomas Devaney's 'Calamity Jane' |
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Elizabeth Savage | 'The government of love' A review of Elizabeth Willis's 'Alive' |
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Elizabeth Savage | 'The heart's vast and cratered purpose' 'In June the Labyrinth' |
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Elizabeth Savage | 'Tide in and tide out' A review of Dean Rader's 'Landscape Portrait Figure Form' |
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Elizabeth Savage | Drenched A review of Ethel Rackin's 'The Forever Notes' |
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Elizabeth Savage | The light of happenstance A review of Colleen Lookingbill's 'a forgetting of' |
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Zach Savich | Between generations A review of Keith Waldrop's 'Selected Poems' |
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Zach Savich | Complex orphaning A review of Jose Perez Beduya's 'Throng' |
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Zach Savich | On returning A review of 'A Book of Unknowing' |
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Adam Sax | Life-in-death: an agonizing in-between A review of 'The Agony of I.B.' by Pierre Joris |
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Lucina Schell | Gelmaning on A review of 'Oxen Rage (Cólera buey)' |
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Lily Scherlis | Beasts of no nation On the poetics of invasion and Marwa Helal |
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Jared Schickling | Ryan Eckes's American poetry A review of Ryan Eckes's 'Old News' |
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Rob Schlegel | Either dissolve a genre or invent one A review of 'Bluets' |
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Simona Schneider | Geoffrey G. O'Brien's subjunctive 'dividuals 'Experience in Groups' |
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Joshua Schuster | '100 years of reading and unreading' | |
Joshua Schuster | On reading Christian Bök's 'The Xenotext: Book 1' ten thousand years later A xenoreview |
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Barry Schwabsky | The gestural lyric and beyond A review of Amy King's 'I Want to Make You Safe' |
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G.E. Schwartz | A point of view where there are no voiceless people A review of John Roche's 'Road Ghosts' |
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Edythe Haendel Schwartz | Method for facing a chaotic and threatening world A review of Chad Sweeney's 'Parable of Hide and Seek' |
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Ryan Scott | Hundred-spired muse A review of 'From a Terrace in Prague: A Prague Poetry Anthology' |
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Gail Scott | The longing, in language, for a connection A review of 'Under the Dome: Walks with Paul Celan' |
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Mark Scroggins | The spectral resistance A review of 'The OBU Manifestos' |
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Neşe Lisa Şenol | A practitioner's commitment to principle in art A review of 'An Art of Limina' |
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Jaime Shearn Coan | Brian Teare's critical ekphrasis A review of 'The Empty Form Goes All the Way to Heaven' |
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Matt Shears | Revisioning history A review of Jill Magi's 'Slot' |
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James Sherry | Humanitarian strategies for ecosystem stabilization A review of 're : evolution' |
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Larissa Shmailo | The author and authority Daniil Kharms and the Russian Absurd |
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Larissa Shmailo | Vagabond imagination A review of Leonard Schwartz's 'If' |
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Robert Eric Shoemaker | Spelling for humanity A review of 'Spells,' edited by Sarah Shin and Rebecca Tamás |
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Jess Shollenberger | The scholar's blush Shame as method in 'Lyric Shame' |
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Sophie Sills | The light contingent on darkness A review of 'Black Life' |
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Anna Smaill | A life lived in pause Lynley Edmeades's 'As the Verb Tenses' |
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Jessica Smith | A child's history of conflict A review of 'Hardly War' by Don Mee Choi |
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Jessica Smith | Against apocalypse A review of Ron Silliman's 'Revelator' |
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Dale Smith | Antenna openings A review of 'Late in the Antenna Fields' |
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Eric Sneathen | 'alchemy's new materials' A review of Jamie Townsend's 'Shade' |
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Leah Souffrant | 'Like a postponed present' Reading reality in Mandelstam's 'Voronezh Notebooks' |
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Leah Souffrant | A fierce intellectual pacifism Riding's 'Contemporaries and Snobs' |
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Leah Souffrant | Notes on a phenomenological poetics A review of Kevin Varrone's g-point almanacs |
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Leah Souffrant | What might be unlocked On Emily Abendroth's ']Exclosures[' |
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Emji Spero | Between time and the topology of flesh A review of '7 Days and Nights in the Desert' |
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Rob Stanton | 'We want to live on it' A review of 'We Used to Be Generals' |
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Rob Stanton | Able and vexed A review of Michael Gottlieb's 'What We Do' |
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Rob Stanton | Attention paid R. F. Langley |
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Rob Stanton | Forever is nothing On Montgomery and Armantrout |
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Rob Stanton | On the outskirts? A review of Stephen Collis's 'On the Material' |
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Rob Stanton | ‘I am the Foundation’ A review of two books by Norman Finkelstein |
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Chris Stroffolino | Unfurling futurity A review of 'Further Problems with Pleasure' |
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Aakash Suchak | Will wonders never cease? Laynie Browne's 'You Envelop Me' |
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Nathan Suhr-Sytsma | A quiver of chapbooks A review of 'New-Generation African Poets' |
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Chad Sweeney | 'As a friend seated beside the poet' A review of Pam Brown's 'True Thoughts' |
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Eileen R. Tabios | Reconsidering the environment A review of 'Kindergarde' |
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Jennifer Tamayo | To experience a broadcast A review of Lisa Samuels's 'Mama Mortality Corridos' |
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Stephen Tapscott | Grief and compensation in Sophie Cabot Black’s 'The Exchange' | |
Zachary Tavlin | Gleam and darkness A review of John Hollander's 'The Substance of Shadow' |
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Charles Theonia | 'Collective poesy' The disruptive pleasures of Caroline Bergvall's 'Alisoun Sings' |
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Charles Theonia | Life in 'ear'th' On S*an D. Henry-Smith’s 'Wild Peach' |
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Sylvie Thode | Writing trauma in silence and stillness A review of 'Written in the Dark: Five Poets in the Siege of Leningrad' |
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David Frederick Thomas | This other thing the kids are doing A review of 'Museum of the Weird' |
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Jay Aquinas Thompson | Living fire and flattered lyre On Erica Mena and Robert Fernandez |
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Jay Aquinas Thompson | On three recent books of poetry Reviews of Tichy, Tadić and Barskova |
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Orchid Tierney | Code as such A review of 'Dragon Logic' |
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Orchid Tierney | Make it reappear A review of 'Reading Writing Interfaces: From the Digital to the Bookbound' |
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Orchid Tierney | Menacing archives A review of Jennifer Scappettone's 'The Republic of Exit 43' |
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Orchid Tierney | Text in the age of inst@bility A review of 'A New Republic of Letters: Memory and Scholarship in the Age of Digital Reproduction' |
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J.C. Todd | 'The Emptiness You Seek Also Takes Time' 'Go On' by Ethel Rackin |
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Steven Toussaint | Fanny Howe's revelation A review of 'Emergence' |
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J. Townsend | A catalogue of poetics as community A review of two Slack Buddha Press chapbooks |
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Robin Tremblay-McGaw | Golden Camille Roy's 'Honey Mine' |
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Nicole Trigg | 'This language materialized' A review of Mary Burger's 'Then Go On' |
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Amish Trivedi | Explorers, anthropologists, and historians A review of 'from unincorporated territory [saina]' |
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Matt Turner | Between the Devil and God Li Zhimin’s 'Zhongalish' |
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Matt Turner | The visions and worlds of Hagiwara Sakutaro | |
Matt Turner | Translating difficulty On Ouyang Jianghe |
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Stan Tymorek | The poetry of a New York hour A thousand singers on a mile-long stage |
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Brian Unger | Inside Philip Whalen | |
Kelsi Vanada | 'playback on the rise' The Señal chapbook series |
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Morgan Võ | Paper cuts, or the costs of legibility A review of Kimberly Alidio's 'why letter ellipses' |
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Karen Volkman | Gertrude Stein's gustatory sonics | |
Mark Wallace | A global regional poetics A review of 'A Community Writing Itself' |
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Adrienne Walser | Living Dada A review of 'Irrational Modernism: A Neurasthenic History of New York Dada' |
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A. E. Watkins | Investigations in absentia On Paige Ackerson-Kiely |
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Jacquilyn Weeks | Taking the concept of meaning-making by storm A review of 'Cyclones in High Northern Latitudes' |
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Norman Weinstein | Healer and hunter A review of Pierre Joris's 'Barzakh' |
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Eric Weinstein | We have a choice A review of 'To See the Earth Before the End of the World' |
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Eric Weiskott | Victoria Chang's negative elegy A review of 'Obit' |
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Andrew Wessels | This is the bodies: On Jena Osman and Rob Fitterman | |
Andrew Wessels | Time's loop A review of 'Möbius Crowns' |
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Bruce Whiteman | Morse Code A review of 'After Jack' |
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Afton Wilky | To be between A review of Ed Steck's 'The Garden' |
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Afton Wilky | Typological inquiries On Lori Anderson Moseman's 'All Steel' |
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Tyrone Williams | Black/women are alive after tomorrow A review of 'Letters to the Future: Black Women/Radical Writing' |
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Tyrone Williams | Climbing earth The spiritual materials of Hank Lazer and giovanni singleton |
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Tyrone Williams | Examples of On Barrett Watten's questions |
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Tyrone Williams | Walking through speech to speaking A review of Jill Magi’s ‘SPEECH’ |
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Elizabeth Williamson | A review in turns of Eleni Stecopoulos's 'Armies of Compassion' | |
Mary Wilson | Architecture’s a verb | |
Aaron Winslow | 'The Liberty of Horrors' On Marie Buck's 'Portrait of Doom' |
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david wolach | A review in turns of Eleni Stecopoulos's 'Armies of Compassion' | |
Tim Wood | All volta A review of Lyn Hejinian's 'The Unfollowing' |
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Tim Wood | Between bibetgekess and 'but …' A review of Lyn Hejinian's 'The Book of a Thousand Eyes' |
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Amy Wright | Woo A review of Jenny Boully's 'not merely because of the unknown that was stalking towards them' |
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Ryo Yamaguchi | Of what use these memorials A review of Henry Wei Leung's 'Goddess of Democracy: An Occupy Lyric' |
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Mia You | Good fucks A review of Dodie Bellamy's 'Cunt Norton' |
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Mia You | Recreate that thing! | |
Andrew Zawacki | Loosening linking An introduction to Jordan Scott |
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Andrew Zawacki | Railroad sense An introduction to C. S. Giscombe |
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Steven Zultanski | On Lawrence Giffin's 'Christian Name' | |
Steven Zultanski | Short statement in five parts on 'Statement of Facts' A review of Vanessa Place's 'Statement of Facts' |
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Magdalena Zurawski | Montreal's was a desiring feminism A review of 'Theory, A Sunday' |