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    Directed by Lilly Obscure by Dana Curtis

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    This book is full of visionary poetics, of poems which stare into various sorts of suns and films and pseudo-biographies; it is full of lenses, like scattered raindrops on windshields. But essentially it is a mad dance with imagination and fear and eros and error. —Bin Ramke,
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    Disapparitions by Joseph Harrington

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    Joseph Harrington is a maestro of hybrid form. His latest book, Disapparitions, collages politically urgent poetry and prose with an array of sampled and remixed voices that speak from the ghost-margins of our historical moment. —Tony Trigilio
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    Disappearing Address by Simone Muench and Philip Jenks

    here’s wit here — “Dear Nothing” begins “why’d you have to cut out & make everything come back,” “Dear Obtuse” begins “Be straight with me” — but the best of the poems revel in novel images and a diction for which the only possible term is “hothouse gorgeous.” —Robert Archambeau

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    Disparate Magnets by Nico Vassilakis

    Disparate Magnets presents the scintillating variables of time and its complex philosophical relationship with experiential space. Your guide is the inimitable Nico Vassilakis who cajoles, beckons and posits. The coordinates are pulsations of music, staccato intensities—syntax is unraveled in each set. Morton Feldman floats through this work as the simultaneities build. I feel the glee of ontological recognition reading his book. —Brenda Iijima
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    Distance by Tom Clark

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    "One of the reasons why language is so sick right now and cliché-ridden and lame and boring and laid-out, and about to go to sleep, is because there aren't a thousand Tom Clarks. If I were writing a prescription right now, you know, if I had my shiny thing here, a stethoscope around my neck, that's the prescription I'd write. Take one thousand Tom Clarks before going to bed.” —Edward Dorn
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    DISTANTS by Gordon Hadfield

    Before a star signified a brilliant point in infinite expanse, it marked the boundary; it marked the cosmic wall. Galileo knocked that wall over with his eye. But as Gordon Hadfield acutely shows, the bricks from one wall knocked over are recollected, and put to use again, keeping out what isn't allowed in, and keeping in what isn't allowed out. The human world repeats the cosmic one. But no boundary fully holds. —Dan Beachy-Quick
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    Doggerel for the Masses: A Post-Scandal BlazeVOX Booke by Kent Johnson

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    Helen Vendler recently referred (letting off not a little pent-up steam) to the “Mickey-Mouse-Ears avant-gardism of U.S. Conceptual Poetry.” Well, here’s a riposte to that, Dame Helen: Because Craig Dworkin’s Doggerel for the Masses (“by” Kent Johnson!) wears the golden helmet of Achilles, whose antennae listening-mechanisms shoot into the heavens beyond Pluto. Hold onto your Hats, Boys and Girls; it’s going to be a wild ride! —Kenneth Goldsmith
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    Dolphin Aria/Limited Hours: A Love Song by Luke McMullan

    Luke McMullan is prising the nails out of the lyric and holding it ethically accountable for any passivity that might lurk in its corridors. This is a call to occupy, to resist the feasting and destruction. As 'we all dance the liberty frogmarch', he reprocesses the responsibilities of speculating and creating the spectacle of consumer lives. What stuns in this sequence is the performative quality of the work as it negotiates subtle moments of utterance and gesture. — John Kinsella
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    Domestic Uncertainties by Leah Umansky

    The language slips, shifts, recalibrates and the world, shaken, is quietly remade, again and again before our eyes in this lovely, sorrowing and finally transformative book. Leah Umansky is to be congratulated for her sensitive, nuanced, consoling and deeply honest sojourn on the page. —Carole Maso
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    Dominus by Tiffany Troy

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    Dominus is as insistent on justice as it is baffled by its own hope, and its indomitable, distinctive voice has a power unlike that of any debut collection I’ve ever read, or of any book in recent memory. — TIMOTHY DONNELLY
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    Down Stranger Roads by Roger Craik

    No one sounds like Roger Craik. His voice, a beguilingly cosmopolitan mix of British purebred and American mutt, is the well-stamped passport he shows at border crossings from Ashtabula to Auschwitz, from Kent State to Krakow, from Amsterdam to the far-flung outposts of the human heart. This poet is most at home when far from home, prowling the shrapneled boondocks and scrap yards of Cold War history. —George B. Bilger
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    Drink by Laura Madeline Wiseman

    I am reminded how poetry can save us, how, in the hands of such a talented writer as Wiseman, it can raise us from the depths to a cove of still water where, perhaps, who knows, the mermaids are. —Alice Friman
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