We have a copy of The Color of Noon by Eugene Datta to give away!
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Mason quickly shifts into an influx of embodied imagery and sensuous detail; absorbing love poems, lush and erotic, are further enlivened, countered by a more objective perspective as landscapes of the natural world magnify the intimacy of Mason’s poems. The meditative poetic interchange using briefer lines, airy lineation and informal erasure drew me in through breath and space, encouraging a contemplative atmosphere.
The imagery captures the tender and quasi-ritualistic act of leaving pieces of oneself on another person’s life. The metaphor of clothing as both physical and emotional markers is clever and poignant, conjuring connection, memory and the lingering presence of love and yearning. The rhythm flows naturally with conversational ease while opening up new ways of seeing.
Repetition is one of Najya Williams’ most important lyric strategies. Certain poignant lines are frequently repeated, giving them resonance, enriching and amplifying their meaning. Take “but the memories,” for instance, a poem about heartbreak and resilience. “But the memories have long scabbed over” is repeated five times in this 27-line poem, italicized in the final line. “The scars may never heal — fully at least” is repeated four times.
These poems challenge our preconceived notions and prescribed roles with fascinating imagery and provocative language that introduces Grassl own invented syntax. This unique use of language takes on visually significant forms. The subject matter encompasses dangerous and threatening conditions such as betrayal, life-threatening mental illness, the rigors of treatment, incarceration, and the end of the world.
We have a copy of All This Can Be True by Jen Michalski to give away!
To win, sign up for our Free Newsletter on the right-hand side of the site and enter via the newsletter. Winner will be chosen by the end of February from subscribers who enter via the newsletter. Good luck!
The author of Sleep Tight Satellite talks about her latest book, on writing through quarantine, epiphanies, writing in second person point of view, the book’s narrative arc, compression, and lots more.
Larkin has the uncanny ability to paint each person in Freya’s orbit as if they were living, breathing figures, complete with their own hopes, flaws, and secrets. Through her vivid descriptions and nuanced dialogue, each character feels indispensable to the story, enriching the tapestry of the small town and making Freya’s world achingly authentic and free from judgement.
Poetry offers universality, and the importance of this chapbook lies in how two very different people—in background, ethnicity, gender, perception, and voice—convey this universality. Not just in theme, but in desire.
Walls fall down and characters burst out of the window, singing, dancing, shouting and breaking plates. The answer is clear that these structures, which seem so solid, are fragile indeed and it’s always possible to burst forth. Breaking Plates is utterly relevant and terrific fun, a film to watch repeatedly for the sheer joy of it, and to make our own conversations with the wild women of the past.