Three Poems by Jonathan Ukah

“Then you arrived like fresh tulips in winter,/the shape of my heart, the color of gold;/you turned the weeds in my garden into roses,/every rock on my farm was a bar of chocolate/waiting to feed our future generations…”

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Lynn Xu’s Cantilevered Vase of Moonlight

“Here reposes the reverie-inducing freedom of Rilke and Proust, where you get to say ‘dreaming’ twice, or a thousand times, and even ‘et cetera’ twice, in case you forgot to fill in the blank with your own lyrical, rapture-adjacent images the first time.”

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Three Poems by Ace Boggess

“I scan rooms with a happiness detector,/which is like a broken Geiger counter/that stays silent while the bombs go off.”

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Off-Road

Denise Gromov

“Age isn’t just a number, as we’d heard/it’s how we get here. I’m twice my daughter’s age/and neither thought we’d haul ourselves this far.”

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Kink or Worship or Both: Megan Fernandes’ “I Do Everything I’m Told”

Bianca Berg

“In invoking (and sometimes tweaking) cherished predecessors, this gently impious collection also helps refurbish form.”

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The Elegant Trogon and Poem for Robert Desnos

“I have/a secret pigeon in my heart./I keep it in a cage composed of object lessons and feed it/moral law.”

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Lost in the Woods

(JP Valery)

“Lost in the Woods is a symptom/of heart’s sudden loss/of direction registered in small/persistent cramps and little gasps.”

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That Wind

(Collab Media)

“Night’s ink congeals on rice, coating peas/like black sea pebbles glistening in the harrowed/moonlight staring through the shattered kitchen window.”

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“Mandarin Duck” and Other Poems

In shallow ripples bathing together in pairs, as may be seen by the deep, clear waters of Xiangjiang.”

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For Whom the Nobel Tolls: Tomas Tranströmer’s “The Blue House”

(Jessica Gow/AFP/Getty Images)

“The lines, like long, rolling ocean waves on a cold Baltic sea, create their own reasons, their own rhythm, their own understanding. Anaphora is used, as Whitman did, to summon us to the great historical pageant of life, of happenings beyond our immediate knowledge.”

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Rossetti’s Notebook (1862-1869)

(La Ghirlandata (detail), 1873, Dante Gabriel Rossetti. Oil on canvas. Guildhall Art Gallery)

“Nonetheless, a worm/had eaten its way through any number/of Gabriel’s lines, some of his best./He had to reconstruct them from memory,/or compose them anew.”

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The Creases Between Utterances: Jenny Xie’s “The Rupture Tense”

(Zoo Monkey)

“Whether [Jenny] Xie’s volume was long in the making or came out in a fiery burst (maybe both, by parts?), it is a work of substance, worthy of its current high reputation.”

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Let It Be Known

“On its dead claws and back, mottled and plain,/from a long beach whose gulls roost on an edge,/Inscrutable.”

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“I ask your forgiveness; I am a mountain tiger”

(“Ginevra de’ Benci” by Leonardo da Vinci (c.1474-1478)

Why does she ask forgiveness?/For what and from whom?/Why does she call herself/a mountain tiger?”

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Edgar Kunz’s “Tap Out” and “Fixer”

“Edgar Kunz, the author of Tap Out and Fixer, does not refer to himself specifically as blue collar, proletarian, or working class. Well-meaning others, such as mentor Edward Hirsch, do so, referring to Tap Out as ‘gutsy, tough-minded, working-class poems of memory and initiation.'”

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