(For last year’s list, click here. With satire, grace, deep lyric reflection—all inside of the persistent strangulation of a rigorous couplet—the radiant poems in LUCY 72 are a working out and a working on this thing we call ‘race.’ In these poems, whiteness is abstracted away from color and made manifest in gesture, a relaxed state, a non-awareness, and certain preferences and unperceived privileges. Amazing poetry happens inside visual innovations where “There is nothing that is not music, the pouring of water from one receptacle into another a coat of bees draped over the sack of sugar caving in on itself.” Poetry is found in the gaps, silences and ruptures of history. In this convalescent atmosphere, an exterior perspective is imagined, and out of her perceived weakness, the speaker manufactures an image of her “cuteness.” —Sam Riviere, The Poetry ReviewSHEEP MACHINE is a textual inscape, a poetically painted nonfictional pasture where mechanical violence and visceral fear coalesce into a kind of science prosody, a post-human panorama whose beauty lies in the ruins of reality it depicts. LUCY 72 is a haunting, gorgeously written, and absolutely necessary book for our times. Anne Waldman looks to the imagination of mercurial possibility, to the spirits of the doorway and of crossroads, and to language that jolts the status quo of how one troubles gender and outwits patriarchy. In “An Empty House Is a Debt” the poet writes: “There is a house in me. This is a collection of very specific memories and moments: a familiar sound playing out of an open car window as it rolls down the street, the smell of something cooking, the laugh of a friend. These poems ask, how do we fill the holes that have been left in us, the holes that have been punched through? Support our mission to make literature more exciting, relevant, and inclusive. Collaborative Review Wilson strips down the symbolic figure, Lucy, exposing her blind and deaf obsession with her own whiteness—’One of my favorite words is alabaster’—and cranks our eyes toward these brutal cultural tropes: there is ‘a black’ and then there is the effortless abstraction of whiteness; blackness is opaque; whiteness is transparent; blackness, hard object, whiteness, effervescence. Collaborative Review Collaborative Review Vi Khi Nao’s SHEEP MACHINE is grace said at the ontological last supper.Inside Song is what Jean Toomer might have written after Cane had he lived long enough to be alive “today,” after, say, 1964, 2009, Michael Brown, after— in brief—impossibility, a cognate—not antonym—of “liberation.” Titled with sass (“ is poem is called Zora Neale Hurston because.”), directed by a historical consciousness nimble enough to glide among the iterations of what Amiri Baraka once called the blues impulse (from jazz to r&b and “after”) and confounding master and slave narratives of evolution or decline, Inside Song orients itself toward the horizon that is black music, that prospect of, and model for, a freedom which beckons and warns: “Study the bee. Smoke. As a non-Spanish reader, I am confronted with my privilege. I love this book! Influenced by Leslie Thornton’s film of sheep feeding in a field as a conveyor belt of cable cars ascend and return from a mountain in the Swiss Alps, Vi Khi Nao takes perception into tumultuous terrains, into a pastoral-celestial void in which temporality is transcended, progress is a bourgeois invention, and god is a liability for our life spent in hunger and grazing.
—Brenda ShaughnessyWhat connects capitalism and everything else? Our mission is to amplify the power of storytelling with digital innovation, and to ensure that literature remains a vibrant presence in popular culture by supporting writers, embracing new technologies, and building community to broaden the audience for literature. Stein uses her gifts for persona and lyric richness to build worlds that are vivid, intricate, tough, sexy, and raw: “over and over // life slapping you in the face / till you’re newly burnished / flat-out gasping and awake.” Breathless with risk and redemption, In a book rich with formal variety and lyric intensity, Carr takes up economic inequality, gendered violence, losses both personal and national, and the crisis of the body within all of these forces. Present everywhere, they are sources for a rebalancing in human relationships and for new forms of grace and healing. Creative Nonfiction / Essay What does it mean to want, to be wanted? But there is an assertion of selfhood here too, and above all else, the truth of a survivor. .
We appreciate your thoughtfulness, all of the new ways you’ve found to express your anger, your joy, your loneliness, your desire. and unorthodox .

A meat psalter: a psalter for where machines, landscapes, and bodies conjunct. A new website featuring literary & non-literary content. As she acknowledges her heritage and claims herself as Taiwanese American, “a radical act” with “profound implications,” her poems explore histories both recognized and erased.


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