New Books In Poetry

The Houston Chronicle’s review of Sarah Adleman’s The Lampblack Blue of Memory: My Mother Echoes (Tolsun 2019) praises that the book “dissects the feelings that have been a part of her since her mother's death with the precision and brutality of a poet and all the awful beauty of a perfectly performed major surgery...It's one of the most beautiful things you're likely to read.” Adleman’s collection, a gorgeous hybrid of poetry and memoir, is a journey through grief and forgiveness. The author’s debut book uses both the personal and the informative to examine and preserve the loss, grief, and cleansing set in motion by her mother’s death. She honors her mother not only in the crafting of these shared memories, but also in the actual formatting of the text itself. Adleman gives her mother voice by including her own work interwoven throughout the retelling. The author does not shy away from the heaviness of absence, her personal reaction to the events, and especially not the profound changes to her father. She u

The British romantic poet William Wordsworth is best known for his moving evocations of nature, his celebration of childhood, and his quest to find a shared humanity in his poetry. He’s also widely considered the first modern poet because he turns his experiences, memories, and the workings of his mind (earlier "spots of time") into the main subject of his accessible poetry. That hadn’t happened before, and all of us, who today are either committed to rational thought, sober analysis and reflection or are deep in our feelings, are ultimately Wordsworthians. But what Wordsworth may really be about, I discussed with the brilliant poet and critic Maureen McLane, is whether with knowledge truly comes wisdom, and whether we trade in the ecstasies of youthful exuberance and immediate experience for a more measured but diminished way of living life. Is there really "abundant recompense," as Wordsworth wrote, in recalling earlier "fits of passion" that roiled our lives? Are "our minds [...] nourished and invisibly re

In Octavia Cade's brilliant collection of poetry Mary Shelley Makes a Monster (Aqueduct Press, 2019), the famous author of Frankenstein crafts a creature out of ink, mirrors, and the remnants of her own heartbreak and sorrow. Abandoned and alone after Shelley’s death, the monster searches for a mother to fill her place. Its journey carries it across continents and time, visiting other female authors throughout the decades — Katherine Mansfield, Virginia Woolf, Sylvia Plath, Octavia Butler, and others. Pulling from the biographical accounts of these amazing authors, these poems beautifully examine the nature of art and creation, reading and consumption, and how monsters are really reflections of ourselves. The monster has no heart. Mary has two. There is the one she keeps in her bureau— wrapped up in silk and parchment, burnt about the edges and stinking of salt. It is the heart of the man who was her lover and it is less damaged than the heart inside her chest. That is a mangled and un-pretty thing, but she t

Paul Celan's poetry marks the end of European modernism: he is the last poet of the era where the poetic "I" could center a subjective vision of the world through language. Celan bears witness to the Holocaust as the irredeemable rupture in European civilization, but he does so in German, the language of the perpetrators who murdered his parents along with millions of others. How do you bear witness to suffering, murder and loss in the language of the murderers? How can poetry account for the inhumanity of the Holocaust without aestheticizing it? How can language prevail when words fail to express what really happened to millions upon millions at the hands of a people who claimed to be the height of civilization? I spoke with Amir Eshel, a critic and poet who is also Edward Clark Crossett Professor of Humanistic Studies and Professor of German Studies and Comparative Literature at Stanford University. His books include: Poetic Thinking Today (forthcoming with Stanford University Press in 2019); Futurity: Cont

“I am the Real,” is the ecstatic statement often associated with the early Sufi poet Mansur al-Hallaj. In popular narratives about Hallaj this declaration of absolute unity with God is what led to his execution in Abbasid Baghdad. Other accounts attribute it to Hallaj’s directive to build a symbolic Ka’ba in one’s home if they are not able to perform the hajj pilgrimage in Mecca. While Hallaj’s biographical details are often wrapped in myth what is clear is the polarizing position he played within the Islamic tradition. Hallaj wrote prodigiously but it was his poetry that drew particular reservations even among his peers. Carl W. Ernst, Kenan Distinguished Professor of Islamic Studies at the University of North Carolina, makes this poetry available to the contemporary reader in his new volume of translations, Hallaj: Poems of a Sufi Martyr (Northwestern University Press, 2018). Ernst contextualizes Hallaj’s poetry within various intellectual and social contexts and renders them in clear beautiful language. Wh

Eliza Griswold writes in Snow in Rome, "we hate being human,/depleted by absence." In her latest poetry collection, If Men, Then (Farrar, Straus and Giroux, 2020), Griswold grapples with a world that is fracturing at its foundation. In this series of poems, all at once dark. humorous and questioning, the author moves from the familiar to the unjust to hope with a keen eye. She guides readers through a world that at times strips the humanness from our bones with embedded violence and disconnection, but also calls for us to reconnect by reminding us to be a bridge out among the flames. Eliza Griswold is the author of an acclaimed first book of poems, Wideawake Field, as well as The Tenth Parallel: Dispatches from the Fault Line Between Christianity and Islam, which won the 2011 J. Anthony Lukas Book Prize. Her translations of Afghan women’s folk poems, I Am the Beggar of the World, was awarded the 2015 PEN Award for Poetry in Translation. She has held fellowships from the New America Foundation, the Guggenheim

How does the world of book reviews work? In Inside the Critics’ Circle: Book Reviewing in Uncertain Times (Princeton University Press, 2020), Phillipa Chong, assistant professor in sociology at McMaster University, provides a unique sociological analysis of how critics confront the different types of uncertainty associated with their practice. The book explores how reviewers get matched to books, the ethics and etiquette of negative reviews and ‘punching up’, along with professional identities and the future of criticism. The book is packed with interview material, coupled with accessible and easy to follow theoretical interventions, creating a text that will be of interest to social sciences, humanities, and general readers alike. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/poetry

Franny Choi’s book-length collection of poetry, Soft Science (Alice James Books 2019), explores queer, Asian American femininity through the lens of robots, cyborgs, and artificial intelligence. As she notes in this interview, “this book is a study of softness,” exploring feeling, vulnerability, and desire. How can you be tender and still survive in a hard and violent world? What does it mean to have desire when you yourself are made into an object of desire? What does it mean to have a body that bears the weight of history? Choi’s poetry contemplates such questions through the technology of poetic form. “Once, an animal with hands like mine learned to break a seed with two stones – one hard and one soft. Once, a scientist in Britain asked: Can machines think? He built a machine, taught it to read ghosts, and a new kind of ghost was born. At Disneyland, I watched a robot dance the macarena. Everyone clapped, and the clapping, too, was a technology. I once made my mouth a technology of softness. I listened car

Kahlil Gibran’s 1923 The Prophet is book that’s changed people’s lives. It is a deceptively simple book, but it contains a radical insight. “Of what can I speak save of that which is even now moving in your souls?” What can a book teach us that we cannot know ourselves? To detect this thing inside of us we must break through convention: our escape into social habits, religious and political doctrine, the comforting approval of others, and the truisms and clichés we take for wisdom. And even once we realize that something is “moving in our souls,” Gibran warns us, we tend to repress this insight by submitting to outside authorities to give it a name, a label, or a theory. By turning to religion or other people’s teachings, we dodging the challenge of taking charge of our own conditions, and thus of our freedom. I spoke with Glenn Wallis, a renowned scholar of Buddhism, translator and teacher who has published The Dhammapada, Basic Teachings of the Buddha, and a Critique of Western Buddhism, and who runs Incite

Becca Klaver writes in the poem 'Hooliganism Was the Charge,' It offered reassurance which said, “You are not alone; I can hear you.” Her forthcoming collection, Ready for the World (Black Lawrence Press 2020), reminds us that no matter the digital distance between us we are never quite alone. A collection that both casts and dispels the bindings ever present via social media, patriarchy, and our own paths to growth, this collection allows readers to blur the lines between our sometimes carefully curated online lives and the magical beings we truly are. Part spell book and a rumination on technology, Klaver explores womanhood and feminism from a distance and up close. These poems ask for us to find a remembrance and a reconnecting. She asks in the poem Manifesto of the Lyric Selfie, what is burning in our little hearts?, and dares us to tear down what we think we know to find what we feel. Becca Klaver is the author of two books of poetry—LA Liminal (Kore Press, 2010) and Empire Wasted (Bloof Books, 2016)—and

Joyce Ashuntantang talks about her experiences as a traveler and a poet, from her childhood Cameroon to her years studying in Great Britain and the United States. Ashuntantang is a professor of English at Hillyer College, University of Hartford. She is the author of many works of poetry, including A Basket of Flaming Ashes. Ashuntantang is an extraordinary weaver of words who showcases vivid pictures that compete with 3D simulation. Her greatest asset is her use of the beautiful traditional Cameroonian anchor that evokes folk tales with its moonlight romance and glory. You feel, laugh, weep, shiver, wonder, and hail the triumphant spirit of the persona as it navigates African postcolonial and global experiences with the melancholy of an exile who is purposeful, strategic, and a lot of fun. Michael F. Robinson is professor of history at Hillyer College, University of Hartford. He's the author of The Coldest Crucible: Arctic Exploration and American Culture (University of Chicago Press, 2006) and The Lost Whit

Winner of the Walt Whitman Award, Emily Skaja’s Brute (Graywolf Press, 2019) is a stunning collection of poetry that navigates the dark corridors of trauma found at the end of an abusive relationship. “Everyone if we’re going to talk about love please we have to talk about violence,” writes Skaja in the poem “remarkable the litter of birds.” She indeed talks about the intersections of both love and violence, evoking a range of emotional experiences ranging from sorrow and loss to rage, guilt, hope, self discovery, and reinvention. These poems reflect the present moment — ripe with cell phones, social media, and technologies that shift the way humans interact with each other — while maintaining a mythic quality, with the speaker feeling like a character struggling to survive in a surreal fairytale world. Skaja recommends: Spinning Silver by Naomi Novik, My Dark Vanessa by Kate Russel, Long Live the Tribe of Fatherless Girls by T Kira Madden, and Sabrina & Corina: Stories by Kali Fajardo-Anstine. Emily Skaja wa

As you may know, university presses publish a lot of good books. In fact, they publish thousands of them every year. They are different from most trade books in that most of them are what you might called "fundamental research." Their authors--dedicated researchers one and all--provide the scholarly stuff upon which many non-fiction trade books are based. So when you are reading, say, a popular history, you are often reading UP books at one remove. Of course, some UP books are also bestsellers, and they are all well written (and, I should say, thoroughly vetted thanks to the peer review system), but the greatest contribution of UPs is to provide a base of fundamental research to the public. And they do a great job of it. How do they do it? Today I talked to Kathryn Conrad, the president of the Association of University Presses, about the work of UPs, the challenges they face, and some terrific new directions they are going. We also talked about why, if you have a scholarly book in progress, you should talk to

Tamara J. Madison, both on the page and in voice, is magical. In her most recent collection, Threed, This Road Not Damascus (Trio House, 2019), she seamlessly bridges the gap between past and present while remaining grounded in the here and now. Via her use of religion, familial history, and rhythm she is able to give voice to those women who oft times were forced to remain silent in order to survive. It is through her poetry that these women, and those still to come, are allowed to be wholly free. Madison creates a new mythology here. A mythology that begins to lay the groundwork for us to create the worlds in which we want to move. She leaves us with the lingering sense that the makings of the universe are in our hands. All we need to do is mold it and name it. Tamara J. Madison is an internationally traveled author, poet, performer, and editor currently teaching as a professor of English and Creative Writing at Valencia College in Orlando, Florida. Her critical and creative works have been published in var

Drawing on the author’s deep knowledge of classical literature, Deborah L. Davitt’s book of poetry The Gates of Never (Finishing Line Press, 2018) explores the intersections of myth, science, and humanity through her beautifully accessible poems, reflecting a variety of forms and linguistic styles. These poems morph between being moving, irreverent, unsettling, and erotic — offering up a richly textured collection of work.“He writes me upside downand backwards, so thatI hardly know myself yet,but my hundred newly-open mouthswhisper secret meanings,and offer atramentum kisses;he soothes my wounds withcopper vitriol, making the wordsholy and incorruptible,incapable of fading into sepia;yet as he kisses me, our tongues meeting,the words spark white-fireunder my skin, the runes writhinginto new configurations”– from “Testament”Deborah L. Davitt was raised in Nevada, but currently lives in Houston, Texas with her husband and son. She has worked as a technical writer on contracts involving nuclear submarines, NASA,

Inspired by Ntozake Shange’s for colored girls who considered suicide/when the rainbow is enuf Lady Dane Figueroa Edidi has written her own beautiful choreo drama titled For Black Trans Girls Who Gotta Cuss A Mother F*cker Out When Snatching An Edge Ain’t Enough. Lady Dane Figueroa Edidi describes For Black Trans Girls as “a celebration of Trans Women, Goddesshood, a lament for our fallen, a sword for our living and a challenge to white supremacy, structural oppression and any who would dare try to erase us from existence." In this interview Lady Dane shows that she really is a renaissance woman, discusses the connection between racism and transphobia, challenges the idea that science is better religion especially for trans folks of color, and promotes the importance of accountability.You can purchase a copy of For Black Trans Girls here. $2 from each book sold goes to a trans and/or gender non-conforming person of color’s survival fund.Lady Dane Figueroa Edidi is an African, Cuban, Indigenous, American Trans

If the prompt is “respond to a myth of Narcissus using thoughtful, meditative poems,” then jayy dodd gave us a beautiful answer. In The Black Condition Ft. Narcissus (Nightboat Books, 2019),  jayy dodd offers her own brilliant reflections on so many things: the contemporary moment, dystopia, her transition, and more. In this interview, jayy dodd shares poems from this collection, discusses the process of making the book come to light, and talks about her other projects.jayy dodd is a blxk trans womxn from Los Angeles, California who is now based in Portland, Oregon. She is a poet and a performance artist. You can also follow her on Twitter and Instagram at @deyblxk.Adrian King (pronouns: they/them/theirs) is a recently graduate of Brandies University’s Women’s, Gender, and Sexuality Studies MA program and is an incoming graduate student in University of Michigan’s American Culture PhD program.Learn more about your ad choices. Visit megaphone.fm/adchoices

Is classical Japanese poetry something to be enjoyed in private, an object of study for scholars, or an item of public life teeming with hints about how to understand and deal with our past and our future? In Japanese Poetry and its Publics: From Colonial Taiwan to Fukushima (Routledge, 2018), Dean Anthony Brink, Associate Professor at the National Chiao Tung University in Hsinchu, Taiwan, argues that certain forms of Japanese classical poetry (especially tanka and senryū) have remained central to public life in both Japan and its former colony of Taiwan. Brink analyzes poems published in regular newspaper columns and various blogs, examining the way in which they reflect specific historical moments and exploring how they can be used for (and in) politics. Brink’s conclusion is that poetry has an ambivalent function, as it can serve on the one hand to justify and support colonialism and imperialism, and on the other hand to present a medium of resistance and protest.Roman Paşca is Assistant Professor at Kyoto

John Sibley Williams’ As One Fire Consumes Another (Orison Books, 2019) presents a familiar world full of burnings carried out on both the grand and intimate scale. The newspaper-like columns of prose poetry provide a social critique of the violent side of American culture centered within the boundaries of self and family. Although an apocalyptic tension permeates throughout, these poems envision the kind of fires that not only provide destruction but also illuminate a spark of hope.“Dust rises from the road & there istoo much curve to resolve the edgesof embankment & asphalt. Backfirekeeps the pastureland carefully lit.Static keeps us wanting for anotherkind of song.”— from “Story that Begins and Ends with Burning”John Sibley Williams is the author of As One Fire Consumes Another (which won the Orison Poetry Prize in 2019 and which we’ll be talking about today). He is also the author Skin Memory (which won the Backwaters Prize and is forthcoming from University of Nebraska Press also in 2019) as well

In Oculus (Graywolf Press, 2019), Sally Wen Mao explores exile not just as a matter of distance and displacement, but as a migration through time and a reckoning with technology. The title poem follows a girl in Shanghai who uploaded her suicide onto Instagram. Other poems cross into animated worlds, examine robot culture, and haunt a necropolis for electronic waste. A fascinating sequence speaks in the voice of international icon and first Chinese American movie star Anna May Wong, who travels through the history of cinema with a time machine, even past her death and into the future of film, where she finds she has no progeny. With a speculative imagination and a sharpened wit, Mao powerfully confronts the paradoxes of seeing and being seen, the intimacies made possible and ruined by the screen, and the many roles and representations that women of color are made to endure in order to survive a culture that seeks to consume them.“I’ve tried to hard to erase myself.That iconography—my facein Technicolor, the m