Benediction

Christian Detisch, in Blackbird, reviewing Roger Reeves’s book King Me (Copper Canyon, 2013):

 

“Even as a benediction, a blessing, our relationship to our body and the bodies of others is still complicated and deeply fraught.”

 

 

Frictions

Jaime Shearn Coan, author of Lost and Found (Danspace Project, 2017), interviewed by Mariana Valencia in Movement Research:

 

“This is why working with archives is so crucial (and I am by no means the first to say so!). They are these time capsules that show us not just traces of individual lives but also the circulations and frictions between and among lives which constitute collective history.”

 

 

Source

Hayden Bergman, writing in The Literary Review about Martin Ott’s Lessons in Camouflage (C&R Press, 2018):

 

“… all books are wells to dip into for a drink, or maybe for a bucketful. Ultimately, however, they’re not the source of the good that’s to be got here. That comes from other people…”

 

 

Process

Diego Báez, in The Rumpus, reviewing Laurie Ann Guerrero’s A Crown for Gumecindo (Aztlan Libre Press, 2015):

 

“… it’s one thing to grieve for a lost love. It’s another to do so publicly. And it’s another endeavor entirely to process loss and love through art for an audience.”

 

 

Organic

Clara B. Jones, in i am not a silent poet, reviewing Arisa White’s You’re the Most Beautiful Thing That Happened (Augury Books, 2016):

 

“Contrary to most male writers, most female writers, especially feminist authors, have boldly chosen to address comfort; personal narratives and personal relationships; egalitarian associations rather than ones based on power differentials; emotions and feelings; language as authentic communication rather than abstraction and symbolism; and, a holistic and an organic view of the world.”

 

 

Mindspace

Trevor Payne, writing in The Literary Review about Rita Bullwinkel’s Belly Up (A Strange Object, 2018):

 

“…nothing replaces the energy transfer that occurs when one body touches another. Otherwise we risk getting trapped in our mindspace, where things can get rather strange in a hurry.”

 

Kaleidoscope

Cynthia Cruz, author of How the End Begins (Four Way Books, 2016), interviewed on the Poetry Society of America website:

 

“America is a kaleidoscope of cultures, influences, voices, etc. We are a hybrid nation so when I think about what is American about American poetry, I think of this.”

 

 

Uncertainty

Charlotte Matthews, interviewed by Nin Andrews in Best American Poetry, about Matthews’ book Whistle What Can’t Be Said (Unicorn Press, 2017):

 

“I feel as if living in a state of pretty much constant uncertainty is, in a way, dwelling among the mysteries of the earth.”

 

 

Mishearing

Eduardo C. Corral, interviewed by Yezmin Villareal in BOMB, about Corral’s book Slow Lightning (Yale Univ. Press, 2012):

 

“As poets, we wrestle with language on the page but we also play with it. I’m always mishearing things in conversations on the subway and it always makes me smile. It always comes when I’m drafting something humorous or tenuous. Black humor is never really like chuckle laughter—it’s a wetted down kind of humor.”

 

 

Posing

Maureen N. McLane, in the Chicago Tribune, writing about Loren Goodman’s book Famous Americans (Yale Univ. Press, 2003):

 

“Most contemporary lyrics look like other contemporary lyrics, 50 or so well-shaped lines that take us through something posing as ‘experience.’”