books
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I can’t post this book’s cover because I think it is out of print, which is horrifying. Speaking of innovation and formal experimentation and the “I” voice and cultural subversion and having balls, there’s Jim Elledge’s book, which was the first I’d read by him after one of my classmates told me about his work.
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Margaret Atwood’s Power Politics reads a little bit like a relic of second-wave feminism now, but that doesn’t mean it isn’t still valuable. Picture me, my sixteen-year-old high school self. I had floppy hair and wore oversized t-shirts. In my private imagination I was a poet, although I disliked most poetry we were taught in
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Brian Teare’s first collection was recommended to me by one of my MFA teachers who knew him. There are two overwhelming impulses in the way the poems are crafted: sound and form. Brian is a poet who creates forms anew when he writes. He pushes the boundary of form and calls into question whether form
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D. A. Powell recommended this book when Sarah Vap and I interviewed him a few years ago. I had seen it around, you know, but I hadn’t really known what to make of it. I read it–I remember this so clearly–on a flight to my friend Katie’s wedding in Minneapolis. I read it cover to
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I’m pretty sure this book floated into my life when I first arrived at graduate school, recommended reading for the Magical Realism course I took in my first term. I’m sure I didn’t track it down until some time later, but when I did, I was glad to have remembered the recommendation. Raymond Queneau recounts
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When this anthology came out, it caused quite a stir. People expressed appreciation, anger, anxiety, even confusion–and I think this anthology itself caused a lot of other groups, movements, and publications to develop into succinct efforts. Every anthology is a failure–to someone, for some reason. The job of the editor is a difficult and often
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