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.”




Allison Joseph, interviewed by Kiandra Jimenez, in Lunch Ticket, about Joseph’s book My Father’s Kites (Steel Toe Books, 2010):


“Part of elegy is confrontation—not just with the idea of death, but with the person who has died.”



Jeffrey Pethybridge, interviewed by Brian S, Rebecca, and Gaby at The Rumpus, about Pethybridge’s book Striven, The Bright Treatise (Noemi Press, 2013):


“That’s one of the very things music and poetry are for me, that experience which is also a premonition or call to further experiences.”



Laurie Saurborn Young, interviewed by Deborah Kalb, at Kalb’s blog, about Young’s Industry of Brief Distraction (Saturnalia Books, 2015):


“Written or oral, history gives time texture. It gives people something to hold on to. And it exists through the act of recording: poems, stories, articles, books, blogs. The list goes on.”




Adrian Miles, interviewed by Mark Amerika in Electronic Book Review:


“It should always be about fragments, parts, remixing. Scale is now relative to connection, not monumentality.”




Philip Metres, on his blog Behind the Lines, writing about Susan M. Schultz’s book Dementia Blog (Singing Horse Press, 2008):


“… avant-garde procedures can be as homely and unheimlich as the process of grieving a mother’s decline, set against the backdrop of a nation’s decline.”