Complex Transaction

Maggie Milner, in Zyzzyva, writing about Joan Naviyuk Kane’s Hyperboreal (Univ. of Pittsburgh Press, 2013):


“The complex transaction between ecological and emotional dictions … reminds us that, while global warming and globalization may represent distinct threats to arctic biomes and their indigenous human cultures, … both phenomena share the same social and economic origins.”




David Daniel, interviewed Gregory Donovan and David Wojahn in Blackbird, about Daniel’s book Seven-Star Bird (Graywolf Press, 2003):


“[Mystics] are always the freaks. They are the outsiders. They are the Rumis, sort of whirling around … in the very unofficial corners of the religion. … But always… the people in the mainstream are singing the songs, reading the poems, dancing the dances of those outsiders.”




Sreshta Rit Premnath, editor of Shifter, on “Critique as Unlearning,” on e-flux:


“… it would be prudent to take the contingency of one’s position as a given and use the framework of critique to reveal and examine the assumptions that underlie the creation and reception of artwork.”




Jim Daniels, interviewed by Andy Kuhn at Katonah Poetry Series, about Daniels’ book Show and Tell (Univ. of Wisconsin Press, 2003):


“Using figurative language can perhaps seem like a luxury if you’re in the middle of the assembly-line or having a gun pointed at you. There’s a relentless urge to be understood, to be clear.”




Camille Dungy, author of Trophic Cascade, interviewed by Ishah Houston and Taylor Mel, in Punctuate:


“I think the job of the writer is to write the best work that they possibly can as frequently as they are able to do so. Some writers write just one great book. But that one great book takes us further.”




Dan Beachy-Quick, author of Of Silence and Song, interviewed by Rick Barot in New England Review:


“I’ve long been of the awful suspicion that each of us has to create our own epistemology—that we must in the end explain to ourselves how we built our own minds, how we constructed our own hearts, and in this way, each of us is a philosopher.”




Peter Moysaenko, in BOMB, writing about Alyson Hagy’s Ghosts of Wyoming (Graywolf, 2010):


“Subject to nature, to opportunism, we fail by degrees. But if we are to blame for the missteps of blind enthusiasm—not in the name of survival but for the sake of mounting success—then at least the artists among us should seem to court redemption….”




Toi Derricotte, interviewed by Leslie Anne Mcilroy, in HEArt, about Derricotte’s book The Undertaker’s Daughter (Univ. of Pittsburgh Press, 2011):


“There’s no proof, but you make the path, and I believe there is this connection between those who come before and us, and it’s only by making that true in my own self that it becomes real.”



Andrew David King, in Sugar House Review(s), on Aby Kaupang’s Absence Is Such a Transparent House (Tebot Bach, 2011):


“In the face of mortality, is there any possibility of self-preservation via linguistic embodiment? And what about clarity—can we attain it, or are we doomed to the sarcophagus of what we almost successfully said?”




Tyler Sheldon, in Entropy, on Matthew Cooperman’s Spool (Parlor Press, 2016):


“Perhaps we deal with uncertainty in similar ways because eventually we all become one and the same….”