CHAD DAVIDSON's FROM THE FIRE HILLS (Southern Illinois University Press, 2014)
GEORGE BILGERE'S IMPERIAL (University of Pittsburgh Press, 2014)
by LYNN LEVIN
Even as they engage moments that sometimes sting, Bilgere’s poems convey respect for human vulnerability and, above all, a sense of love. . . .
by Carol Frost
. . . The heartbreak in Griffor’s poetry is deeper than one person’s; she speaks for a country’s grief.
Along a Line of Melody: A Review of Hugh Behm-Steinberg's The Opposite of Work (JackLeg Press, 2013)
By S.Marie Clay
. . . Perhaps what makes it so easy to spring into the text, as if from a fractured winter, is Behm-Steinberg’s humble, transcendental voice; a trinity of light seeping in through a stained- glass cathedral.
by Lawrence Eby
It’s a book for those who want to see beyond the real and into the surreal, or better said, to inhabit the surreal within the real, a core within the deeper subconscious which is—despite its phantasmagorias and hyperconnectivity— well aware of structure both in poetic form and in the physics of reality.
by Natalie Skeith
In fact the three denotative definitions of the title word ‘Aurora’ canvas the multiple modes of living explored in St. John’s work. The first ‘Aurora’ is the Roman goddess of dawn, whom represents the search for spiritual truths and connections in St. John’s work.
by Casey Goodson
When reading Kasischke's phrases there seems to be an intended sense of elation, even alarm, so that watching a mother "disintegrate before a mirror" gives more than it takes away.
George Kalamaras, Marisa Crawford, Chris Santiago, Sarah Howze, Ellen Mcgrath Smith, Christine Mcdermott, Dennis Hinrichsen, Mary Elizabeth Parker, Amanda Tumminaro, David Dodd Lee, Adam Clay, Travis Wayne Denton, Jennifer Elise Foerster, Les Kay, Chelsey Weber-Smith, Marc Tretin, Cal Freeman, Allison Linville, Malcolm Friend, Betsy Martin, Terry Ford, and Stephanie Dugger.
Michelle Dougherty, Vic Sizemore, Melanie J. Cordova, Joshua Alan Dick, Jacqueline Doyle, and Harrison Fletcher.
Mike Stilkey, Amy Maloof, Danielle Rosen, Jacquelyn Schneller, and Holly Day.
Ghost Town is published by the California State University San Bernardino MFA Program in Creative Writing
Sherwin Bitsui: I’ve been fortunate to have traveled to places I’ve never dreamed of visiting when I was growing up in the Navajo reservation. There are moments I revisit walking upon Machu Picchu in deep wonder. Other times . . .
Shondra Rogers: During our conversation, I was impressed with Isabel’s generosity and honesty, and our timing couldn’t have been better, as a few weeks later her new novel, Gabi, A Girl in Pieces, won the Morris Award for best debut Young Adult Novel in America—and just two days after that, her novel won the Tomas Rivera Award for best Young Adult Novel by a Mexican American
Claire Anna Baker: Indeed the boundaries of self constantly transgress, defy, and complicate external categorization. My exploration of all “trans” related experience is really about finding commonalities that may expand, bridge, specify, and complicate all boundaries. Trans awareness is about projecting the self, the senses, the imagination out into the world consciously in order to open, redefine, and intimate the relationship between self and world.
by Mariela Griffor
MG: Okay, let’s talk about Lend Me Your Voice, specifically: why did you have to write this book? Tell me the story behind your book.
Espmark: Sitting on deck, reading an article in the New York Review of Books about Sapho´s poetry, especially about the loss of almost all her poetry in the fire in Alexandria, I was hit by an epiphany. I had a vision of a multitude of voices from past centuries searching for someone to receive them, to listen to them and record them. The chorus of voices demanded to be a collection of – perhaps – one hundred poems.
by K.L. Straight
When I listened to you read from your novella In the Footsteps of the Silver King, and then, when I subsequently read other examples of your work, especially the poetry, I found the voice to be lively and upbeat. How is it that you are able to write such “happy” and optimistic poetry when so many other poets write from deep and dark emotional places?
The “happy” poetry thing is funny to me: I do definitely try to incorporate a celebratory thematic in much of my poetry. Though I hope it is not an unearned happiness, but rather that it is the kind of physical, emotional, and spiritual affirmation that comes from being engaged in the world around you, and from trying to constantly be sensitive to people’s capacity for goodness, and for the natural world’s ability to restore a sense of psychic and religious balance to our lives.