Siphon, Harbor by Brooklyn Copeland Reviewed by Poetry Northwest Associate Editor Brandon Krieg Few young poets have their eye trained so intently and convincingly on the human relationship to the other-than-human as Brooklyn Copeland in Siphon, Harbor (Shearsman, 2012). Eschewing naïve sublimity or dread; the mere atmospheric arrangement of scientific or naturalistic jargon; or hyperreal animal fetishism, Copeland gives us striking perception of the “natural” other, and of how we must construct it in language in our attempt to relate to it and be changed by it. The poems in Siphon, Harbor alternately absorb us into their precisely rendered landscapes and remind us of their construction as text. Most are longer poems made up of short sections, which, in themselves, often evoke intense experiences of being-through-language. The coordination of these sections into the longer poems accretes to something like the sense of a particular place or time intensified by memory’s careful selection. In the following section of the poem “Marina,” Copeland transforms an experience of the presence of natural objects into an experience of language prickling with …