Abayomi Animashaun, quoted in an article by Annalia about Animashaun’s anthology Others Will Enter the Gates, at the Brazos Bookstore site:


“No single mold can fully speak to the immigrant experience. Multiple voices and perspectives have to be brought into conversation with each other.”




Denise Low, in Rain Taxi, on Michelle Boisseau’s Among the Gorgons (Univ. of Tampa Press, 2016):


“The poet’s metaphors reset reality.”




Marwa Helal, in Entropy, on Philip Metres’s Sand Opera:


“… a country can be at war with another country whose name it can’t even pronounce correctly…”




Philip Brady, editor of Etruscan Press and author of To Banquet with the Ethiopians, interviewed by Nin Andrews at The Best American Poetry:


“A poet composes and is composed; an editor, dissembling, disassembles.”




Ray McDaniel, in The Constant Critic, on Valerie Martínez’s Each and Her (Univ. of Arizona Press, 2010):


“The abnormal is easy to understand, because it refers to the normal, it presumes a normal exists and can be known. The difficulties occur when the abnormal displaces the normal. How do you think about things so wrong that all standard registers of meaning lose traction?”




Rebecca Foster, in [PANK], on Jane Hilberry’s Still the Animals Enter (Red Hen Press, 2016):


“We are all connected—to the children we once were, to lovers and family members lost and found, and to the animals we watch in wonder.”




Renée Ashley, interviewed by Heather Lang, in diode, on Ashley’s The View from the Body (Black Lawrence Press, 2016):


“When I say compression, I’m not talking about distorting the language to use fewer words …, but about keeping the language rushing forward, … about creating a tight net of meaning, sound, and movement, and, perhaps, about hospitable ambiguities. About airlessness.”



Contrary Longing

Amy Pence, in Harpur Palate, on Kate Northrop’s Clean (Persea, 2011):


“The yawning existence of things and the simultaneous and sudden expiration of the human evoke a contrary longing for stasis and the acknowledgement of decay’s supreme beauty.”



Models of Consciousness

Paul Hoover, interviewed by Jane Joritz-Nakagawa in Jacket, about Hoover’s Sonnet 56 (Les Figues Press, 2009):


“Poems are neither organic nor inorganic; they are constructions built of desire, language, pre-existing conditions of the genre, models of consciousness available to you, and the present occasion of writing, with its red leaf falling past the window.”



Age of Turmoil

Andreas Weiland, in Rain Taxi, on Wang Ping’s Ten Thousand Waves (Wings Press, 2014):


“… all of us are thrown into an age of turmoil, wars, and fierce competition, where the necessary answer seems to be a clear-minded analysis of the impasses we face.”