Jenny McPhee, in Bookslut, writing about Alicia Gaspar de Alba’s book [Un]Framing the “Bad Woman” (Univ. of Texas Press, 2014):


“In a new paradigm Gaspar de Alba calls ‘Malinchismo,’ la Malinche becomes a heroine who resisted her literal enslavement to patriarchy by using her mind, tongue, and body to ‘cultivate her intellectual skills for her own survival and empowerment.’”




Warren Heiti, author of Hydrologos (Pedlar Press, 2011), interviewed at the Pedlar Press blog:


“A sincere and disciplined poem — no less than a carefully made loaf of bread — is a sacred act. It has no exchange-value.”




Carmen Giménez Smith, author of Milk and Filth (Univ. of Arizona Press, 2013), interviewed by Julian Gewirtz in Los Angeles Review of Books:


“… we talk a lot about jazz as being an American art but we don’t talk about spoken word as being an American art that was invented in the United States by an immigrant population, a diasporic population, as it were, the way that jazz was.”




David Lee Garrison, in VPR, about the poetry of Jared Carter, author of Darkened Rooms of Summer (Univ. of Nebraska Press, 2014):


“Though human beings are finite, they can do something or at least gain an awareness of something that is lasting.”




Blas Falconer, interviewed by Sebastian H. Paramo in the Letras Latinas Blog, about Falconer’s book The Foundling Wheel (Four Way Books, 2012):


“We can communicate with each other, perhaps more immediately and more powerfully, with a few particular details and gestures…”




Joyelle McSweeney, in Jacket2, on Chelsey Minnis’ book Poemland (Wave Books, 2009):


“Through perverse excess, Art trashes conventional value, reassigning it to odd and ill-made receptacles which inevitably can’t hold; the chandelier is cut-down; asphyxiation has a baby; Art leaks and spills Art.”




Javier O. Huerta, interviewed by Lauro Vazquez in Letras Latinas Blog, about Huerta’s book American Copia: An Immigrant Epic (Arte Público Press, 2012):


“Octavio Paz says that prose is like a march whereas poetry is like a dance, but I feel that my most poetic experience was being part of an immigrant rights march down International, a march that feels much like a dance.  … [T]he march seems to be a living organism composed of diverse and immediate rhythms.”



Jennifer Atkinson, interviewed at The Cloudy House about her book Canticle of the Night Path (Parlor Press, 2012):


“Poetry asks of us both industry and idleness, drift and direction.”




Michael Langan, in Polar! Magazine, writing about Cherry Smyth’s book Test, Orange (Pindrop Press, 2012):


“It’s surely no coincidence that, at times of heightened feeling – funerals, weddings, christenings – many people who would never consider reading poetry turn to it for comfort or celebration, and as a way to articulate complex emotions.”




Sheryl Luna, interviewed by Daniel Olivas in La Bloga, about Luna’s book Seven (3: A Taos Press, 2013):


“I think the historical is always related to the present. Human nature has not changed much over the centuries. We are still torn by our complex instincts and emotional responses.”