Featured Selection

  • 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

        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
  • David Baker and Page Hill Starzinger: Concentric Circles

          Concentric Circles:  Page Hill Starzinger David Baker:  You are a poet and you are a business woman.  You’ve been living since 1980 in the East Village of Manhattan, but before we explore the present, I wonder if you could say a little bit about your origins—your father and mother, your family, your schooling, your beginnings.  We are

    Issue #33 March 2014
  • Martha Collins: Up North

        Introduction for Up North Martha Collins   In the fall of 2004, I finished a book-length poem I’d been working on for some years.  During that time I wrote almost nothing else; now, on the other side of obsession, I had no idea how to even think about writing a free-standing lyric poem. I don’t quite remember how

    Issue #32 February 2014
  • Lisa Rose Bradford: Approaching Juan Gelman’s Today

    A Note From Lisa Rose Bradford: Sadly, Juan Gelman has left us, dying yesterday, January 14th, just one day after I received an email thanking me, in his typically extraordinary way, for my joy and beauty. Though his death is crushing, his poetry will live on, proffering joy and beauty to his readers for generations to come. And as he

    Issue #31 January 2014
  • Rachel Zucker: The Pedestrians

      Introduction, by Rachel Zucker I am frequently asked, “What does your husband think about these poems?” When students ask versions of this question their teachers seem embarrassed or upset, as if such a question inappropriately assumes that my work is autobiographical and that this assumption is unsophisticated. I’m not always sure how to answer the question, but I identify

    Issue #30 December 2013
  • D. Nurkse: Early Anthropocene

    Plume: The closing line of the poem “Anthropocene”– published by the Virginia Quarterly Review in 2007- asks the question: Is there shelter in the blank page? Similarly, one could ask if humankind takes shelter in the start of its own “blank page,” in the continuous restart which is always the awareness of there being a new day, a next day,

    Issue #29 November 2013
  • Molly Lou Freeman: New Poems and Reflections from Shelter

    By way of introduction to this month’s collaborative “Featured Selection,” per usual first a brief introductory essay by the poet, followed by the work itself, and some biographical material.     Inner Geography on landscape, poetics and horsemanship A river is a useful image and metaphor—through line that it is—just as thought and one’s expression of thinking in writing is

    Issue #28 October 2013