Maya Pindyck, interviewed by Abby MacGregor in The Massachusetts Review, about Pindyck’s book Emoticoncert (Four Way Books, 2016):


“… a history of this country … [is] a history of the quiet actions of bystanders, of complicity through passivity, of the illusion that the person who simply hears and nods is not responsible for someone else’s pain, of the surround-sound of silence.”



Mark Irwin, interviewed by Andrew Wessels in Bookslut, about Irwin’s book Tall If (New Issues, 2008):


“I like to smear things toward clarity….”




Sueyeun Juliette Lee, in The Constant Critic, on Tonya M. Foster’s A Swarm of Bees in High Court (Belladonna, 2015):


“Lived sites are not static certainties, but buzzy propositions that whorl into view as inhabited instantiations.”




Jonathan Weinert, interviewed by Andy Fitch in Rain Taxi, about Weinert’s book In the Mode of Disappearance (Nightboat Books, 2008):


“Even cohesion and appearance are predicated in some way on a loss of unity, because if there’s no difference between who I am and what I see, what I am and what other things are, then there can be no metaphor, there can be no language, there can be no relationship, there can be no literature.”




Stephanie McCarley Dugger, interviewed by Cass Hayes on The Sundress Blog, about Dugger’s book Either Way, You’re Done (Sundress Publications, 2017):


“Often, the necessary ends up being more space on the page than words. That white space gives me (and maybe the reader) a place to breathe.”




Ed Pavlić, interviewed by Joe Milazzo, at Entropy, about Pavlić’s book Let’s Let That Are Not Yet: INFERNO (Fence Books, 2015):


“Maybe ‘time’ itself is the always re-creative product of the constantly shifting shape of millions of lives (all of them in some way grieving / remembering the no-longer alive) washing together into political and experiential terrains.”




Emily LaBarge, in the Los Angeles Review of Books, on Fleur Jaeggy’s These Possible Lives, transl. by Minna Zallman Proctor (New Directions, 2017):


“The act of writing or telling a life is itself a form of translation — not only in terms of finding the right words, but also of bridging divides and of bringing one substance into another.”




Barbara Berman, in The Rumpus, on Dean Rader’s Self-Portrait as Wikipedia Entry (Copper Canyon Press, 2017):


“We come to poetry to take pleasure, and to ingest and face profundities in shapes our ears and eyes prefer to prose.”




Diane Glancy, author of It Was Then (Mammoth Press, 2012), interviewed by Russell Bogue in The Adroit Journal:


“Native heritage is an awareness of the past, of the closeness of the ancestors, and whatever is spirit.”



Across Differences

Neil Shepard, interviewed by Tony Reczek in Delphi Quarterly, about Shepard’s book Vermont Exit Ramps (Big Table Publishing, 2012):


“The local offers, at best, a place small enough so that we might begin to talk across the borders of our differences. At the local level, we must look at the folks with whom we disagree, rather than send missiles raining down upon them from afar.”