Author: Staff

Adam Tavel: “Let Those Sparks Arise”

Firewood and Ashes: New and Selected Poems Ben Howard Salmon Poetry, 2015 A career-spanning collection, Ben Howard’s Firewood and Ashes: New and Selected Poems displays the poet’s lyrical sonorousness, formal mastery, and spiritual inquisitiveness. His most recent poems occupy the book’s opening section, where aging, memory, the beauty of the natural world, and the uncertainty of human endeavor are the poet’s chief subjects. One of the most compelling among these, the titular elegiac sequence “Firewood and Ashes,” grieves for a lost friend in crisp, tersely-composed lines and conjures the final metaphor in Shakespeare’s Sonnet 73, where the dying body mirrors flame’s self-consumption. We hear echoes of the great bard’s “glowing of such fire / That on the ashes of his youth doth lie” most clearly in Howard’s fifth and final section: Forty years of friendship. One by one they rise, these memories, as if they might resume a story or fashion out of fire a single breathing person. So let those sparks arise, and let that smoke disperse, knowing as we do that even firewood …

Brandon Krieg: The Preserve of Poetry

The Phosphorescence of Thought Peter O’Leary The Cultural Society, 2013       Companion Grasses Brian Teare Omnidawn, 2013         In a 2012 group interview “Imagining Ecopoetics,” Brenda Hillman draws an apt metaphor between endangered species and endangered forms of thought: One of the things ecopoetics tries to do is reconfigure the poem so as to include some of the endangered thought species. Poets keep track of radical and intimate encounters with the nonhuman. These encounters … include the permission to record the unacceptable or dysfunctional perception, the excess of feeling, or the integration of mythic states with other states.

COREY VAN LANDINGHAM Epithalamium

Because I’ve seen the way a body looks preserved, I turned away from you. That’s the most that I could do. Distance, dear, makes the heart grow weary. The scene where I’m your citizen, but am touching myself inside a stranger’s apartment as, in Yemen, an American drone kills 14 at a wedding, mistakenly. Mistakenly, I chose the hydrangea, whose large pink blush has been said to match the size of a sender’s heart. When not pruned properly, the flowers sag, begin to break. Once, you fed me heart on a skewer. After, I read the animal would be inside me forever, idea that made me sick for days. Now, my autoerotic display, while, in Yemen, vehicles still are smoking. Distance makes easy unmanning the hands. I hasten to compare the scene where I’m such a terror in that dress, where the flowers are all a mess, and I’m gussied up. I’m turned on by men I’ve never met. What a wedding photographer, as anyone poses candid for the drone. But, no, I’m only posing …

Andrew Douglas Johnson: “Return Service Requested”

Not Nothing: Selected Writings, 1954-1994 Ray Johnson Siglio Press, 2014 People don’t write letters anymore. People don’t even write emails. Ray Johnson wrote letters, an effusion of them, too many to collect. Siglio Press has made two Ray Johnson books. One is the art book and one is the words book and that distinction is hardly useful but Siglio has done its job well—the physical thing of book-making. The words one is called Not Nothing, edited by Elizabeth Zuba, and because of bad planning and itinerancy and profligacy, I own two copies of it. One copy is coffee stained all on one edge and coffee stained deep into the supple paperiness of the cover. The cover feels excellent and looks excellent: 4 stars. 8 stars because of the two copies. 7.5 stars if we take into account the coffee stains. Not Nothing is an archive, but no one writes an archive. One writes a poem or a novelbook or a thingy. Ray Johnson mostly wrote thingies—epistolary poetry squawks or squawking poetic epistles—that he sent through the …

Rachel Rose: Two Poems

Ars Poetica It is hard won, it is fragile, it does not bring joy. It holds water, it holds air, it is its own reward. It is light as cobweb, it is tough as cobweb, it is barely visible. It is hollow as a victory in the battlefield. It is heavy as a baby’s coffin, great as a dolphin’s eye. It beckons, it whispers, it flickers in the wind. It is impractical, it is laughable, it wrestles. It is free, it is precious, it speaks the sound of water. It is mad, it is alchemy, it is fleeting and enduring. It can be studied but it can’t be learned by heart. It can be followed in the forest but only by its track. It can be followed in the city but only by its blood. It jumps fences, it embroiders, it ferries the dead. It can’t be captured and it has no price. It’s in the screaming alley, the ink-blot pines, the village well. On the threshold of your pain you may find it holding …