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    gnōstos by Irene Koronas (Volume VII, The Grammaton Series)

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    Koronas makes me see words that aren’t there. Her gnōstos is mantic, and her Sophia—the liquid crystal wombed God—inseminates with ink, strumous as an ethotic alley (i.e., a post-bodied diachronic polysemic strangulation). gnōstos is our proleptic apocalypse; “the last Oedipus/licks his gonads.” —Tom Prime
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    GODZENIE by Marcus Slease

    These are not merely some of the most extraordinary lyrics about central European urban realities since the death of the great Polish experimental poet Miron Bialoszewski. They are, simply put, some of the most extraordinary lyrics I have ever read about how to live with disciplined joy in the continual alienation that is urban life. —Gabriel Gudding
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    Going Head To Head by Wade Stevenson

    Going Head to Head is a book-length poem meditating on life through the lens of the head, the senses it captures in the natural world, and the turmoil inside the mind. In this sonorous collection, we have the yoyo head, the shrunken head, the coin head, the disembodied head, and the conjoined head. — Martin Ott
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    Going with the Flow by Peter Siedlecki

    Crystalline would describe the language of Peter Siedlecki's Going with the Flow, an outstanding set of poetic essays chockfull of surprises. —Jorge Guitart
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    Golden Age by Seth Abramson

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    Seth Abramson is author of The Metamodern Trilogy, which includes Golden Age (2017), DATA (2016), and Metamericana (2015), all published by BlazeVOX. He is also the author of The Insider’s Guide to Graduate Creative Writing Degrees (Bloomsbury, forthcoming 2018); Thievery, winner of the Akron Poetry Prize (University of Akron Press, 2013); Northerners, winner of the Green Rose Prize (New Issues/Western Michigan University Press, 2011); and The Suburban Ecstasies (Ghost Road Press, 2009).
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    Goodbye Public and Private by James Sanders

    Goodbye Public and Private is the work of a barbarian Thomas Edison—poems that are not simply wildly inventive but rather the end-result of a perpetual cycle of creation, destruction, and re-creation of poetic convention on every page. “[A]s a series of discarded habits,” Sanders offers us everything from diagram poems—the21 st century equivalent of Charles Peirce's logical graphs—to procedural, conceptual, concrete, hand-written, hand-drawn poems driven as much by sight and sound as sense. We are awash in language and we are grateful. – Lori Emerson
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    Gradually the World: New and Selected Poems, 1982 – 2013 by Burt Kimmelman

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    The specificity of Burt Kimmelman's poems has, for more than thirty years, been a singularly locating force. It situates us in space, in relation to the luminosity of objects, art, and one another. That every shadow of wonder can stand forth in the most familiar words is the gift this poet offers his readers time and again. – Susan Howe
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    grief notes by rob mclennan

    Good grief! mclennan—in elision of subject, omission of object, in suppression of narrative—has rewritten the grammar of love. He jiggers love radically in suspended prepositions. He newly measures it in hesitations and in the innumberable small moments between comma and semi-colon. Those discretions. —Dennis Cooley
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    Guides, Translators, Assistants, Porters a polyvocal American epic minus the details by Jared Schickling

    …nation…limning…common ground…sought…thwarted…sought again… (ES) …imagination expansive…elemental…construction…without end… (MB)
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    Handbook for the Newly Disabled, A Lyric Memoir by Allison Blevins

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    Handbook for the Newly Disabled is a beautiful lyric memoir of disability: of the dailyness of grief, parenting, queerness, and pain in the setting of navigating illness. Allison Blevins writes gorgeously around, inside, and through illness, welcoming and challenging readers on every page, in every lyric turn. —Krys Malcom Belc
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    Having Broken, ARE by Evelyn Reilly

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    Evelyn Reilly's poetry evokes and identifies the very deepest and complex emotions lurking below the surface angst of our crimes against and love for the Earth. — Lyna Hinkel,
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    Heisenberg’s Salon by Susan Lewis

    Tiny stories, or large poems, Susan Lewis’s writing features exacting, figurative frames, windows in which glimpses of oneself are prismy, apposed by some other real—allegory—sounded in language’s slanted order (ardor?—(yes)). —Dale Smith
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