"...relentless formal experimentation." Adam Boretz, on Brain Fever
Thursday, October 10, 2019
Tuesday, July 2, 2019
There is so much unbridled joy and pained tenderness in Ananda Lima’s Translation. Inspired by the poet Nathaniel Mackey and the musician Caetano Veloso, her verse streams effortlessly down the page, plaiting English with Portuguese, as Lima sings of the thrills and terrors of her new life in America, the pleasures of motherhood, and what she inherited from her family. Her voice is singular and wise and fresh. I love the poems in this chapbook.
—Cathy Park Hong
Ananda Lima's Translation is as much a mother's grappling with how to raise her son amid the danger and violence of today's America as it is an investigation of a daughter's inherited, migrant Brazilian past. Lima's poetry has the rare power to let us feel and "know the terror" of the present moment, while reflecting on and ancestry and passing on familial legacy to the next generation. Her poems aren't afraid to "shout 'I’m an American citizen' " across borders and languages, while shattering the security of presumed identity and recognizing both the precarity and privilege of citizenship. Piercing and poignant, Lima's voice and music stay with you, "undisturbed / by wind or water, there will always remain/ a footprint" guiding your way home.
—Julia Kolchinsky Dasbach
Lá na Bahia or on the 7 train, Ananda Lima’s poems house a stillness that moves gracefully on the page. Translation is altruistic in its soft haunt, its fleshly reminder that our daily self-discoveries are just the bones of ancestors waking for attention. The collection is a sun of moments gathered to greet us when and, wherever we may land after a long day of feeling like “other.”
Thursday, June 20, 2019
"Moving with deft concision from location to location, this collection of eight pieces of brief prose feels like wandering through a city and stumbling upon treasure: a geocache of place and its associated feeling--not just where things happen, but how and why they matter. The stories leave the reader with a soft illumination, the way 'lightning bugs emerge from a blanket of black sky.' "—Kathleen Rooney, author of Lillian Boxfish Takes a Walk
"In What City Meredith Boe’s prose inhabits neighborhoods of circumstance and memory. These essays delicately navigate love, loss, and moments of being, tracking terrains both intimate and urban. What city? Her city."—Barrie Jean Borich, author of Apocalypse, Darling and Body Geographic
Thursday, May 16, 2019
Robin Littell holds an MFA in Creative Writing from Miami University. Her stories can be found in Tin House, Two Hawks Quarterly, Literary Mama, Mud Season Review, Found Polaroids, Adanna, and others. More work is forthcoming in Fiction Southeast. Robin lives and writes in Yellow Springs, Ohio.
Sunday, April 21, 2019
"These colorful swaths of memory and lost language have their own smart beauty, forced open like an amaryllis in winter to enrich and warm the heart. Andres Rojas' poems feel like rare birds migrating through a drizzled landscape, surprising and subtle and transformational all at once. What a remarkable pleasure it is to read each one."
— D.A. Powell
“Reading Looking For What Isn’t There, I remember the feeling of encountering Andres Rojas’s poems for the first time; I’m right back in that electric headspace. This poet is not walking a worn path, not echoing anyone else’s voice. Each metaphor,each line—“the radio waves/ lobster-boiled in the censored air”; “a boulevard/ of moonlight on water”—feels both brand-new and full of deep, hard-won wisdom. What a balancing act! I know I’ll return to these poems again and again.”
“The poems of Andres Rojas are succinct, pared down to the essentials: crystalline phrasing, striking imagery. His language, though concise, reveals and complicates longing and exile: ‘What we can’t miss /makes us whole.’ Among the sorrow, the necessity of insight urgently blooms. Empathy allows us to see ‘[a] skeletal Ford. [i]ts vaguely human form.’”
— Eduardo C. Corral
Monday, March 18, 2019
"How can we say what was once unsayable and then learn to see beyond it? And beyond that seeing, can we dare to move beyond it—and live on our own terms? Rage Hezekiah’s Unslakable takes up this challenge with fierce compassion and a vital, human grace born of having lived and witnessed—and then gone farther. In that way, we can read the title, Unslakable, at once as description, challenge, and difficult desire. “First/you teach the child/what it is to drown/so she’ll know/to save herself” writes Hezekiah. These poems embody the process of walking with the strange weight of history – both personal and cultural – but these poems also carry us through the process of opening ourselves to self-love. Hezekiah’s courageous and thoughtful voice invites us all to rethink those big yet intimate issues: family legacy, sexuality, identity, and power. More than just response, reaction, or counterpoise, Unslakable claims and creates new space for the strength of one woman of color’s body – and vision – and spirit – in our world."
-Aaron Coleman, author of St. Trigger, and Threat Come Close
"Startling and brutal in its clarity, Unslakable takes on multiple violences lived in an individual body – the trauma of a childhood with an alcoholic parent, the intergenerational inheritance of slavery and racism, the echo of every heartbreak. This is a collection brimming with quiet, the kind of raucous quiet full of unspoken things. Hezekiah's poems don't look away from painful memories, instead facing them head-on with unremitting tenderness. No detail is spared, these concise poems shake with emotion, insisting on naming the past and thereby carving a future, “punishing the silence of no one to blame.” In her poems, sharp-angled pain and hard-won human wisdom are held alongside the barbed beauty of the natural world: gardens of memory, birth and decay, the ocean as ever-present witness of a life lived by the water. In these poems are friendship, lovers, science, anatomy, longing, resilience, and “history's/ detritus.” And, above all, desire, the unslakable, liberatory desire of a poet laying claim to the agony and beauty of a life, and telling us “I want it all for as long as it will last."
-Mónica Gomery, author of Of Darkness and Tumbling and Here is the Night and the Night on the Road
Rage Hezekiah is a New England based poet and educator, who earned her MFA from Emerson College. She has received fellowships from Cave Canem, The MacDowell Colony, and The Ragdale Foundation, and is a recipient of the Saint Botolph Foundation's Emerging Artists Award. Her debut full-length collection, Stray Harbor (Finishing Line Press) is forthcoming in 2019.
Tuesday, July 3, 2018
"Anderson possesses a sniper’s eye for detail, filling his poems with taut, after-the-shot tension, which is not a feeling one expects in the parade of neighborhood tales through which he explores the ubiquitous political nature of families or the constantly morphing lessons of loss. Which is not to say this is a collection of haunting dread. There is a joy that moors the reader throughout, making Humming Dirges a collection of art that sorely wants to pick up the pieces it breaks off of you. In Anderson’s world the challenge isn’t simply that nothing is as it at appears, but that there is a lesson in every inch of each tale, even the puzzles missing pieces. Each of the poems presented in Humming Dirges bends to Anderson’s effortless strength at making any seemingly innocent moment turn on a dramatic, sometimes horrible dime. Simply put, Anderson possesses one of the surest, most steady hands I’ve seen commit an act of modern poetry."
- Scott Woods, author of Urban Contemporary History Month and We Over Here Now
"Geoff Anderson makes perfect poems. Emotionally-complicated and precisely-wrought, with images so sharp they might cut you open with their textures, the poems in Anderson’s Humming Dirges gift readers with an inside view of a family as it functions with the outside world and within itself. That is to say, Anderson uses the complexities of family to create a sometimes-uncomfortably accurate portrait of the society in which that family exists. And he’ll draw you in and make you one of his own for as long as the book lasts."
- Louise Robertson, author of The Naming Of and Teaching My Daughter My Language
"These poems view the world with a keen reflective eye. They challenge us to rethink what we've assumed about ethnicity, about loss, about history--the histories we're taught and the histories we live. With artful subtlety, Geoff leaves something distinctly other in the reader's view: Other than common, other than black, than white, than pretense. Frank and delicious."
- Rose M. Smith, Senior Editor, Pudding Magazine