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Living Room
Living Room imagines the lived reality of other organisms and kinds of life to explore the permeability of human and nonhuman experience, intelligence, language, and subjectivity, and to consider an experience of self and world that cannot be objectively quantified.
Living Room
Deeply phenomenological and ecological, Laura Bylenok’s poems in Living Room imagine the lived reality of other organisms and kinds of life, including animals, plants, bacteria, buildings, and rocks. They explore the permeability of human and nonhuman experience, intelligence, language, and subjectivity. In particular, the poems consider so-called model organisms—nonhuman species studied to understand specific and often human biological processes, diseases, and phenomena—as well as an experience of self and world that cannot be objectively quantified. The impulse of these poems is to slow down, to see and feel, and to listen closely. Language becomes solid, palpable as fruit. Long line...
The Year of the Femme
“At the edge of a field a thought waits,” writes Cassie Donish, in her collection that explores the conflicting diplomacies of body and thought while stranding us in a field, in a hospital, on a shoreline. These are poems that assess and dwell in a sensual, fantastically queer mode. Here is a voice slowed by an erotics suffused with pain, quickened by discovery. In masterful long poems and refracted lyrics, Donish flips the coin of subjectivity; different and potentially dangerous faces are revealed in turn. With lyricism as generous as it is exact, Donish tunes her writing as much to the colors, textures, and rhythms of daily life as to what violates daily life—what changes it from within and without.
Two Open Doors in a Field
Through sonnets and a long sequence, the poems of Two Open Doors in a Field are constructed with deliberate limitations, restlessly exploring place, desire, and spirituality.
Fourteen Hills
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Dear Wallace
Winner of the Backwaters Prize in Poetry Dear Wallace addresses the poet and insurance executive Wallace Stevens in an attempt to reconsider art, power, and creativity amid the demands of everyday responsibility. Exploring relationships between modernism, motherhood, poetry, and privilege, the speaker of these poems puts her daily routines in dialogue with his. Curious, funny, and wry, Julie Choffel confronts Stevens as an unlikely peer who lived and wrote in the same city and weather as she does now, imagining a present-day conversation about the many ways creative practice is informed by social context. As we struggle to marry creative independence with our communal obligations, the questions in these poems are more urgent than ever. Stevens, a proxy for beauty, inventiveness, and legitimacy, becomes an audience for the ennui, anxiety, and politics of care that characterize another kind of writer’s life today.
Chariton Review 38.2
Chariton Review Fall 2015
Bone Map
Sara Eliza Johnson's stunning, deeply visceral first collection, Bone Map (2013 National Poetry Series Winner), pulls shards of tenderness from a world on the verge of collapse, where violence and terror infuse the body, the landscape, and dreams: a handful of blackberries offered from bloodied arms, bee stings likened to pulses of sunlight, a honeycomb of marrow exposed. “All moments will shine if you cut them open. / Will glisten like entrails in the sun.” With figurative language that makes long, associative leaps, and with metaphors and images that continually resurrect themselves across poems, the collection builds and transforms its world through a locomotive echo—a regenerative force—that comes to parallel the psychic quest for redemption that unfolds in its second half. The result is a deeply affecting composition that will establish the already decorated young author as an important and vital new voice in American poetry.
Let's No One Get Hurt
“An inventive and powerful coming of age story about the search for community and all the ways our ties to one another come undone. Jon Pineda has a poet’s eye for the details of this vivid, haunting landscape, and he brings it blazingly to life.” —Jenny Offill, author of Dept. of Speculation With the cinematic and terrifying beauty of the American South humming behind each line, Jon Pineda’s Let’s No One Get Hurt is a coming-of-age story set equally between real-world issues of race and socioeconomics, and a magical, Huck Finn-esque universe of community and exploration. Fifteen-year-old Pearl is squatting in an abandoned boathouse with her father, a disgraced college professor,...
