in the first photo
the apple is whole
in the first photo
“Intellectual curiosity about one’s own illness is certainly born of a desire for mastery,”: so writes the American poet, novelist, and essayist Siri Hustvedt. So quotes the Chilean-born Québécois poet, novelist, and essayist Nicholas Dawson as he investigates his own illness, pushing through the multiple layered skins of depression, turning it over to examine it in this light and that, as a prism that might allow some strand of light into the complex, ailing self.
“The problem is that I’m a stranger to myself,” Délani Valin writes halfway through her début collection Shapeshifters, in “What are the Ethics of Picking a Stinging Plant?” The third paragraph of this clever, subtle prose poem continues…
Interview by Lauren Turner A contemporary study of the institution, Gravitas boldly explores academia’s tendency to tolerate gendered abuse. Amy Berkowitz lifts the veil on the ordinary violence that female students are subjected to — violence that goes so far as to interrupt their writing practices and distort their relationships to words and literature. Illuminated […]
Jake Byrne interviewed David about his new book, Dream of Me as Water, in late 2022. They spoke for an hour. This is an excerpt of their conversation.
Thus, with the poem “Everything,” begins Gary Barwin’s latest poetry collection, The Most Charming Creatures. Barwin, who has written 26 books, is also a composer (he earned his PhD in music composition) and multidisciplinary artist. Progressing in four sections, The Most Charming Creatures—follow-up to Barwin’s recent 2019 Selected Poems: For It Is a Pleasure and a Surprise to Breathe—takes its title from a science monograph. Explaining the title in an interview with Open Books, Barwin said:
When I heard Harbour Publishing were releasing a posthumous book by Patrick Lane, I knew it would be a must-read collection. Lane became one of the finest writers of his generation or any other by writing poetry at once easily accessible and breathtakingly lyrical.
Trailer Park Shakes is a lot of things, and in being a lot of things contains a lot of things to like. It’s working-class writing, in the classical, economic-theory sense: this is not the writing of a suburban expatriate who just learned the word “kyriarchy” in their MFA. This is not even the explicitly Marxist poetry of writers like Joe Wallace, Avery Lake, or Brendan Joyce—it expresses, in fact, the violent ways capitalism robs the most economically vulnerable of the material requirements for organizing (From “The Slow Creeping Feeling that Everything Will Not be Okay”: “rebellion quelled by the almighty dollar / I’m too busy / I gotta go to work / I got a family to feed”).