A Poem of Force

September 8, 2014

Contributor’s Marginalia: Catherine Staples on “Young Achilles” by Brian Brodeur There is so much to admire in Brodeur’s “Young Achilles”: the emotional realism of imagery and gesture, trueness to Homer, and the economy of his narrative moves. Initially, what drew me was his deft storytelling and the grounded rhythm of his opening lines with their Anglo-Saxon alliterative […]

Read the full article →

Prose Feature: “THEE OWW OHH MY: An Essay Review of Michael McClure’s Ghost Tantras (City Lights Books, 2013)” by Maggie Millner

September 5, 2014

I was in the bathtub when I first opened Michael McClure’s Ghost Tantras. The book’s cover features a photo of the poet under a few layers of synthetic fur, looking like a Cro-Magnon facing down a boar, teeth bared and eyes fixed maniacally ahead. I was trying to decide which character from Werewolf he most […]

Read the full article →

Prose Feature: “Against a Bad Hammer: An Interview with Chad Davidson” by Emilia Phillips

August 22, 2014

Chad Davidson is the author of From the Fire Hills (2014), The Last Predicta (2008), and Consolation Miracle (2003), all three from Southern Illinois UP, as well as co-author with Gregory Fraser of Analyze Anything: a Guide to Critical Reading and Writing (Continuum 2012) and Writing Poetry: Creative and Critical Approaches (Palgrave Macmillan 2009). His […]

Read the full article →

A Landscape Adequate to Loss

August 18, 2014

Contributor’s Marginalia: Nancy Reddy on “Keynote” by Christian Wiman Christian Wiman’s stunning, sonically precise “Keynote” conjures a landscape that passes from our vision as quickly as we glimpse it. The poem begins with Wiman’s speaker addressing an audience of “Elks,/ antlerless but arousable all the same” in a dreamlike proclamation of “the paradoxical intoxicating joy” of the Void […]

Read the full article →

Intrigue at an Impasse

August 11, 2014

Contributor’s Marginalia: Callie Siskel on “Magnolia” by Alessandra Lynch What first drew me to Alessandra Lynch’s “Magnolia” was its stunning premise and first line: “A wedding broke out in the magnolia—” Often, first lines seem too desperate, begging us to suspend our disbelief. Lynch’s first line doesn’t give us the chance to protest. Her language is figurative but […]

Read the full article →