Thinking Like a Mountain: On the Centennial of Marianne Moore’s “An Octopus”Â
An essay by Dave Seter
A selection of recent special features, essays, interviews and reviews
An essay by Dave Seter
We are delighted to feature our 2024 James Welch Prize winners and finalists in our online folio. This PDF matches the layout and formatting as our print edition. 2024 JAMES WELCH PRIZE WINNERS KATERI MENOMINEE from a salt(less) sea to you: return KARA BRIGGS Acknowledgment Two FINALISTS MAX EARLY The Stone Shaped by Song MARY LEAUNA CHRISTENSEN Ama/Agua KINSALE DRAKE First Date MICHAEL WASSON Murals Depicting a Lynching in a Courthouse to House the Idaho Legislature CASANDRA LĂ“PEZ I Try to Write About the Sea but Instead Write Another Dead Brother Poem CHRIS HOSHNIC Something is rotten in the state of Trust MALIA MAXWELL PĹŤ IBE LIEBENBERG quiet wolf
Gabriela Halas reckons with the language we use to describe both blood and chosen families as she carries a new child into the world in this stunning lyric essay.
Lucien Darjeun Meadows reviews dg nanouk okpik’s Blood Snow
Asa Drake reviews Xiao Yue Shan’s then telling be the antidote
A discussion with contributors to the new anthology from Fonograf Editions
“It is possible for language to be purely a textural landscape.” —Jennifer S. Cheng
Han VanderHart reviews Diane Seuss
“o, yes, there are gaps in all archives, both private and public. The question is what is our responsibility toward those gaps? Sometimes we have an impulse to “fill them in,” but that can perform a double erasure—erasing the erasure, hiding the violence. So can those gaps become sites for the imagination, sites of possibility and play?”—Elizabeth Hoover
“I do believe the poet is the perceptual instrument of a poem. Not exactly an empty vessel, but a vessel that has been prepared to receive the poem.”—Sarah Mangold