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In her new book, Rachel Zucker questions if her family is a distraction from her poetry, or if her poetry is a distraction from her family.
Carmen Giménez Smith’s newest collection records the monolith, deconstructs it, and reassembles it as a world that looks a little more like one we can bear.
The crystalized, perfectly-clear articulations of grief that begin the collection ring through it, making it impossible to read even the simplest lyric as light.
These roles that men and women play are a mutilation. So, too, are the neocolonial systems that ask people to inhabit them.
Paisley Rekdal’s sixth poetry collection explores the ways desire, pain, fear, and trauma transform us, often without our permission, and often into something unexpected.
Ross Gay’s new essay collection restores pleasure as a site of serious thought and, even more, as a mode in inquiry in itself, while his wholesome (but never saccharine) voice convinces us that a mode of inquiry, a way of thinking, too, can be pleasure itself.
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