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Johnny Payne
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32 pieces-
Still in the Holler
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Fieldnotes: Annie Christain’s “The Vanguards of Holography” and Caroline Harper New’s “A History of Half-Birds”
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Strawberry Fields Forever: Amie Whittemore’s “Nest of Matches”
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Cosmic Comic Kvetching in Anthony Immergluck’s “The Worried Well”
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Midwestern Mice in Silk Kimonos: Yuki Tanaka’s “Chronicle of Drifting”
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Language for Throat and Tongue: Elise Paschen’s “Blood Wolf Moon”
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The Speech of Herbs: Melissa Kwasny’s “The Cloud Path”
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The Buster’s Hand: Sunni Brown Wilkinson’s “Rodeo”
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God’s in the Weeds: Daneen Bergland’s “The Goodbye Kit”
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Sand, Ash, or Mud: Valerie Witte’s “A Rupture in the Interiors”
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Little Engines of Self: Joy Manesiotis’ “Revoke”
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Notes on Kitsch: Janice Harrington’s “Yard Show”
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How to Read Poetry
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The Dead Are Difficult: Jenny George’s “After Image”
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Wrackable as Arguments: Anne-Marie Turza’s “Fugue with Bedbug”
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“No One Is Ever Really Just One Thing”: Laurel Nakanishi’s “Ashore”
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Scribe in Disguise: Amy Beeder’s “And So Wax Was Made and Also Honey”
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Fierce Lyric in Karla Kelsey’s “Blood Feather”
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Ekphrasis and Eugene Datta’s “Water and Wave”
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How To Write Lyric Poetry
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A Different Kind of Knowledge: Matthew Zapruder’s “I Love Hearing Your Dreams”
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Poems Without a Passport: Solmaz Sharif’s “Customs”
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Syllabic Fits of Speech: Cedar Sigos’ “All This Time”
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Lynn Xu’s Cantilevered Vase of Moonlight
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Kink or Worship or Both: Megan Fernandes’ “I Do Everything I’m Told”
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“The Rhapsodic Fallacy” and Maurice Manning’s “Snakedoctor”
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For Whom the Nobel Tolls: Tomas Tranströmer’s “The Blue House”
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The Creases Between Utterances: Jenny Xie’s “The Rupture Tense”
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Edgar Kunz’s “Tap Out” and “Fixer”
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On Arthur Sze’s “The Silk Dragon II”
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Bianca Stone, What Is Otherwise Infinite
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Lisa Olstein’s Dream Apartment