Featured Selection

  • Lawrence Matsuda and Tess Gallagher: Wild-Haired-Labyrinth Renga

                                       When Tess Gallagher was in the West of Ireland where she has a retreat cottage and Larry Matsuda was in Seattle during 2013, they exchanged nine interconnected poems during the summer and winter. Larry led off with “Careening Towards Forever-after” and Tess responded with “Dear Cloud, Dear Larry”. As the exchanges progressed, Tess remarked that the

    Issue #45 April 2015
  • Luljeta LLeshanaku: Homelands

        Nancy Mitchell: Hi Ani and Luljeta!  What a great treat to chat with you both about these amazing
 poems. Thank you! Ani Gjika: Thank you and Daniel for the opportunity! NM: I’m wondering, Luljeta, as you write poetry in other languages do you write in English as well?  If so, was there a particular aesthetic objective in having

    Issue #44 February 2015
  • Daniel Bourne and Tadeusz Dziewanowski: Reading Between the Lands

      Reading Between the Lands: An Introduction to a Poetry Road Trip Through Northern Poland   As an “author’s photo,” I offer a description of myself standing on the edge of a sandy road in the little village of Sasek Mały, in the middle of the Mazurian Lake District, a region similar to northern Minnesota or Wisconsin, with a little

    Issue #43 January 2015
  • Five South African Poets

          Introduction This is a vast country with such a mixed and turbulent political and social history – all of which has, necessarily, contributed its own elements to the poetic life of the nation – that it simply cannot be encapsulated in this short space. South Africa boasts eleven official languages, every one with its own rich blend

    Issue #42 December 2014
  • Luis Cernuda: Versions by Michael Smith

    Luis Cernuda (1902-1963), versions by Michael Smith   Luis Cernuda was born in Seville in 1902. His father, Bernardo Cernuda Bousa, was a Puerto Rican settled in Seville, a commander of an Engineering Regiment; his mother, Amparo Bidon y Cuéllar, was a Sevillian of middle-class background. The poet had two sisters, Amparo and Ana. The father was a disciplinarian whose strictness

    Issue #41 November 2014
  • Glenn Mott: Imaginaries of China

          In his first book of poetry, Analects on a Chinese Screen, Glenn Mott claims that the most interesting thing about him is that he is in China. I beg to differ. Mott’s China is not like the China others are “in.” It is not place but the perception of place that offers itself as the real. In

    Issue #40 October 2014
  • Jim Daniels: On Collaboration

            NM  Outside of productions dependent upon it, collaborations are rarely as seamlessly successful as the Special Feature with your poems and Charlee Brodsky’s photos. I know you’ve collaborated with other artists.  What was your first experience? JD I had written a series of poems based on paintings by Francis Bacon for my book Blue Jesus (his

    Issue #39 September 2014
  • André du Bouchet: Openwork

    “Excerpted from Openwork: Poetry and Prose by André du Bouchet, selected, translated, and presented by Paul Auster and Hoyt Rogers. Reprinted with the permission of Yale University Press.”   APPEARING OCTOBER 2014 IN THE MARGELLOS SERIES OF THE YALE UNIVERSITY PRESS       . . .  this irreducible sign―deutungslos― . . .  a word beyond grasping, Cassandra’s word, a word from

    Issue #38 August 2014
  • James Richardson: Vectors

        Over the past weeks I’ve returned to James Richardson’s VECTORS 4.1: A FEW THOUGHTS IN THE DARK and 4.2: ALL OF THE ABOVE, poems from his forthcoming collection, with the same obsessive frequency as when, decades ago, I first encountered Wallace Stevens’ “Thirteen Ways of Looking at a Blackbird.”  To the same degree I was then, I’ve been

    Issue #37 July 2014
  • Brian Swann MODEL- DEPENDENT REALISM

        BIO NOTE: No. 1 After much wandering, I am back here, though I never really left. It is still as vivid as ever though now mostly in variations and gradations of gray. Even though the old farmhouse and out buildings are decaying, I still find things I’d missed before, old implements in a shed, a large barn with entire

    Issue #36 June 2014
  • Amit Majmudar: ABECEDARIAN

      Mitchell: I loved your playfulness in the title ABECEDARIAN; for example, you obviously intend for the title to designate the form the prose/poem inhabits, and perhaps reference its history in ancient literature and sacred texts.  However, as the noun “Abecedarian” means beginner, did you intend the title to introduce Adam/the speaker, Eve/the girl, the snake and even God, as

    Issue #35 May 2014
  • Hank Lazer: “TALK SHOW: A Conversation between Glenn Mott and Hank Lazer”

      The poet with Andrew Raffo Dewar on soprano saxophone, rehearsing at Maxwell Hall, University of Alabama, November 2013 “TALK SHOW: A Conversation between Glenn Mott and Hank Lazer” GM:  For most writers handwriting is a matter of composition, a choice not to use a keyboard. Seeing a writer’s script, one who you’ve read only in type can be a

    Issue #34 April 2014