Within western poetry, women writers of color—and their lived experiences—are not nearly as recognized nor represented as their white peers.
Annotations isn’t a book you read for the plot. It’s more of a “Notes toward...” that remains just that: always towards, never quite arriving.
“There is nothing supreme about being white.”
The revelrous, rebellious writing of Hejinian—arguably our foremost poet-critic—works against our sense of psychological and political isolation.
To work as a translator is to encounter a text with an active desire in mind, a desire that both constitutes and modifies the way that text is experienced.
The dead, the disappeared, and the forgotten—these Iberian poems make clear—can never be safely put away.
Caesuras do things to stories—and to readers, even readers too young to know the term.
These poems undo the cultural invisibility of America’s Native Nations. They also, with unique abundance, secure the value of poetry itself.
For poet Honorée Fanonne Jeffers, as for the Black Romantics, history is the repetition of anti-Black violence that has yet to be abolished.
What happens when we dismantle the monumental status of a figure like Shakespeare in the canon? What other voices rise to describe the world?
A recent flourishing of Palestinian literature reckons with complications in historical memory caused by settler colonialism.
I am tired of catalogues and catalogue poems, and of surveys and surveillance—though I appreciate a bird’s-eye view of the terrain as well as anyone.
Three recent poetry collections have cemented the rise of what we might call the “metalyrical”: poetry that interrogates the conditions of its own expression.
By making familiar objects strange, two new books of poetry reveal the limits of overly simple critique.
Paper was never simply a writing surface, but a complicated substance that folded itself into the fabric of culture and consciousness.
Does viewing Emily Dickinson as unusual actually help us understand the poet or her work better?
How do black feminist artists negotiate their own work in the wake of commercial success beyond contemporary poetry’s wildest dreams?
"Writing about lupus is like writing about ghosts. What do you say about something featureless?"
I’m just wary of the tendency to glorify revolutionary violence and masculinity.
It hardly seems necessary to offer a spoiler alert for news that is well over two millennia old. But some news is so surprising, so contrary to everything we thought we knew, that time can do little ...