Vijay Prashad, in conversation with Mark Nowak, in the Boston Review:


“The women protesting [in the accompanying photo of tea plantation workers on strike in northern West Bengal in 2017] should not be taken for victims of a ruthless state. They are not mere spectators to history, they are the ones pushing history forward.”




Aminah Abutayeb, writing in The Literary Review about Adam Giannelli’s Tremulous Hinge (Univ. of Iowa Press, 2017):


“Shadow speaks to the surface of the earth but only presents itself when and where it is asked to; it has to maneuver swiftly and silently without being heard.”




Eliot Schrefer, interviewed by Tamara Ellis Smith in Kissing the Earth, about Schrefer’s book Threatened (Scholastic, 2015):


“… it’s a danger when writing to think of setting as a static tapestry before which characters act, when the best sorts of settings are the ones adapting to the characters within, both directing—and suffering the consequences of—human interaction.”




Sasha Stein Prevost, in Meridian, on Carolina Ebeid’s You Ask Me to Talk About the Interior (Noemi Press, 2016):


“As allegories for the soul, art and language are not sterile, transcendent things, but visceral, messy, even bloody.”




Peter Boyle, writing in Plumwood Mountain about Martin Harrison, author of Wild Bees (Shearsman, 2008):


“… what matters for poetry is surely the quality of the engagement with that unknown thing called life, not the rhetorical posturing that goes into nationalisms or romanticisings of whatever kind.”




Jeffery Renard Allen, interviewed by Jessie Vail Aufiery in The Literary Review, about Allen’s novel Song of the Shank (Graywolf Press, 2014):


“… if you’re difficult because you’re crazy or difficult because you’re a savant or difficult because you’re blind or difficult because you’re whatever, that is a form of agency and a form of resistance.”




Nathanaël, interviewed by Geneviève Robichaud in Lemonhound, about Nathanaël’s book Sisyphyus, Outdone (Nightboat Books, 2012):


“In translation, I have come to understand that what is most ignored, in conversations about translation, is the moment at which the texts come to pieces; the boundary, amplified, is extenuated, it ceases to exist.”




Robert Stewart, author of Working Class (Stephen F. Austin Univ. Press, 2017), interviewed by Joyce J. Townsend in New Letters:


“Cynicism seems trendy, sometimes. I want art that transforms us, if only by drawing the reader into a world of alternating truths, conflicting facts, and refusing to let us readers remain complacent.”




Arthur Mortensen, in Expansive Poetry Online, writing about Suzanne Noguere’s Whirling Round the Sun (Midmarch Arts Press, 1996):


“… the truly modern eye is open, not thickly lensed with ideology, prejudice or sloppy sentiment.”




Keguro, at Gukira, on Seismosis, by John Keene and Christopher Stackhouse (1913 Press, 2006):


“An echo is, of course, a distorted re-hearing, a throwing back of sound and language, a becoming strange to oneself.”