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In this his fourth collection, award-winning poet Kyle Dargan examines the mechanics of the heart and mind as they are weathered by loss. Following a spate of deaths among family and friends, Dargan chooses to present not color-negative elegies but self-portraits that capture what of these departed figures remains within him. Amid this processing of mortality, it becomes clear that he has arrived at a turning point as a writer and a man. As the title suggests, Dargan aspires toward an unflinching honesty. These poems do not purport to possess life s answers or seek to employ language to mask what they do not know. Dargan confesses as a means of reaching out to the nomadic human soul and inviting it to accompany him on a walk toward the unknown."
Winner of the 2019 Academy of American Poets Lenore Marshall Poetry Prize In Anagnorisis: Poems, the award-winning poet Kyle Dargan ignites a reckoning. From the depths of his rapidly changing home of Washington, D.C., the poet is both enthralled and provoked, having witnessed-on a digital loop running in the background of Barack Obama's unlikely presidency—the rampant state-sanctioned murder of fellow African Americans. He is pushed toward the same recognition articulated by James Baldwin decades earlier: that an African American may never be considered an equal in citizenship or humanity. This recognition—the moment at which a tragic hero realizes the true nature of his own character, ...
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Jazz and hip-hop elements inform a collection of poems celebrating the moments of everyday modern living that somehow capture the elemental energy of life, while at the same time mourning the very transient nature of those moments. Winner of the Cave Canem Poetry Prize. Original.
"Both hip and academic, serious and laid back, [Dargan] seems never to exist on the page without the strength of both of his eyes doing different things in the name of all of his senses."---Thomas Sayers Ellis, Author of Skin, Inc. --Book Jacket.
Bringing the Shovel Down maps the long and arduous process of being inculcated with the mythologies of state and power, the ramifications of that inculcation (largely, the loss of our humanity in the service of maintaining those mythologies), and finally, what it might mean, what it might provide us, if we were to transform those myths. The book, finally, has one underlying question: How might we better love one another?
Poetry. SONS OF ACHILLES questions what it means to be in and of a linage of violence. In this collection, Nabila Lovelace attempts to examine the liminal space between violence and intimacy. From the mythical characters that depict and pass down a progeny of violence through their canonization, to the witnessing of violence, Lovelace interrogates the ways violence enters and inhabits a life.
" A] reminder that contemporary poetry is not only alive and well but continuing to grow."-- Publishers Weekly "This collection stands out among the crowd claiming to represent emergent poets. Much of the editing and preliminary reading was done by emerging poets themselves, which results in an anthology that's fresh and eclectic, and may actually represent a significant portion of the best new poetry being written by the next generation."-- Virginia Quarterly Review Entering its fourteenth year, Best New Poets has established itself as a crucial venue for rising poets and a valuable resource for poetry lovers. The only publication of its kind, this annual anthology is made up exclusively of work by writers who have not yet published a full-length book. The poems included in this eclectic sampling represent the best from the many that have been nominated by the country's top literary magazines and writing programs, as well as some two thousand additional poems submitted through an open online competition. The work of the fifty writers represented here provides the best perspective available on the continuing vitality of poetry as it is being practiced today.
A fascinating blend of poetry and science, Ben-Oni’s poems are precisely crafted, like a surgeon sewing a complicated stitch. The speaker of the collection falls ill, and takes comfort in exploring the idea of “Efes” which is “zero” in Modern Hebrew, using that nullification to be a means of transformation.
In her groundbreaking and most politicized collection, Kathleen Ossip takes a hard look at the U.S.A. as it now stands. She meditates on our various responses to our country—whether ironic, infantile, righteous, or defeated. Her diction is both high and low, her tone both elegant and straightforward. The book’s crowning achievement, its anchor, and its centerpiece is the poem “July.” In a generous fifty pages, Ossip recounts a road trip from Bemidji, MN, to Key West, FL, with her daughter riding shotgun. Inspired by images that flick across their car windows and nurtured by intimate conversation and plenty of time to think, the poem has an entertaining cinematic sweep. There are poems based on bumper stickers, the names of churches, little shops. Traveling tests her beliefs, and Ossip fully discloses her doubts and confusions. Ossip is an unconventional, mighty magician with words.