A. E. Stallings’ reputation as a poet is already established. She has the distinction of being a McArthur Fellow (2011), that peculiar laurel that bestows “genius” on the recipient.
“Buck’s poems are startling, insightful, and inscrutable. The reader may conjecture what the poems mean but without the comfort of ever knowing. That’s good poetry.”
Katie Ford’s fourth book, If You Have to Go is full of wounded, distrustful, deeply inward yet insistent verse that, from the very first line of the first poem, seems to push readers away—
In the September 26, 2002, issue of The New York Review of Books, in an article rather marvelously entitled “The Queen of Quinkdom,” Margaret Atwood tackled Ursula K. Le Guin.
“littered with genuinely brilliant poems. They could lure disenchanted rationalists back to poetry. They might ignite a new movement in a culture. They are wonderful.”
Whether it’s God or fate or karma or randomness, how should we respond when life skewers us with loss and cruel reshaping of dreams into walking nightmares?
In Rembrandt’s painting, Still Life with Two Dead Peacocks and a Girl, a child leans in the window, smiling, looking at everything the rich world has to offer her, including a bowl of frui
Part backlash, part meditation, Nature Poem by Tommy Pico is an urban hipster’s struggle to write on a subject he feels is “stereotypical, reductive, and boring.” The poem’s power arises f
Even the prose a poet writes is poetry; for sure, that is true about Henri Cole’s latest book, Orphic Paris. The book pretends to be prose, but it is poetry carved in paragraphs.
Linda Pastan’s new collection, A Dog Runs Through It, is about the poet’s ownership and lifetime admiration of dogs, not only as pets but also as friends and teachers.
