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    Robert Creeley on the Poet’s Work in conversation with & photographs by Bruce Jackson

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    This is an edited transcript of a conversation about the work poets do that Robert Creeley and Bruce Jackson held in Robert Creeley’s home—a converted firehouse in Buffalo’s Black Rock district— the morning of September 6, 2001.
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    ROMANCE WITH SMALL-TIME CROOKS by Alexis Ivy

    Alexis Ivy's jagged, hoarse, and beautiful poems recount a journey through a hell that looks a lot like honky-tonk America: the drugs, the booze, the sex— and the promise of transcendence everywhere just out of reach. There is nothing small-time about Romance With Small-Time Crooks. It is an extraordinary book. —Richard Hoffman
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    Rude Girl by John Sakkis

    In Rude Girl, light "scrime[s]," a girl secretly "places a button under her tongue," and a tide is a "pseudonym" both for not speaking (right then) and for what comes after: the start of seeing "the things [in front of]" (my brackets), which in fact "were always [in front of]."  There's an attention too, in John Sakkis's beautiful book, to the "frequency and occurence" with which these things happened.  Are happening. Like "years or color."  Loved these poems.  Hope you will too.  Bhanu Kapil
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    Ruin by Luke McMullan

    ‘The Ruin’ is the remaining fragment of an eighth-century Anglo-Saxon poem that describes the collapsed arches and rubble-strewn site of the old Roman baths at the city of Bath. Here Luke McMullan offers a translation in two strands that cross—poem and gloss—with the generous gift also of a scaffolding: word-tables that reveal for a reader the possible constellations of meanings of the poem’s key words, situating this gorgeous text within the history of its previous translation. —Lisa Robertson
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    Runes by Tracy Thomas

    Tracy Thomas' poetry takes us to places we've never been even as we feel we've been there before. Sometimes mystical, sometimes comical, sometimes frightening and always overwhelming. His juxtapositions are dizzying, he creates language you can dance to. —Jack Evans
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    Runoff by Clay Matthews

    It’s a major book from a writer who’s already shown himself to be one of our best and most unconventional narrative-lyric poets.  Your head will spin, your eyes will bulge, you’ll think you could’ve done it, but you didn’t (and you couldn’t)!  Put on your goggles and armor; you’re in for a crushing, bewildering, and beautiful ride. — Matt Hart
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    Saccade Patterns by Deborah Meadows

    Saccade Patterns explores vision, the erotic gaze, and social discernment. The book opens with a shuffled text that dismantles melodrama by inscribing primate capacity for abstract thought. There’s even a list of possible names for a pet cricket that follows a mathematic iteration. The poems seem to ask how an ekphrastic poem based on the story of Tristan und Isolde illumines the oldest gaze of love and eros. “Highways out to desert proving grounds” lead to technologically-enhanced vision, failures in our “dynastic speed-up.”
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    Sailing This Nameless Ship by Justin Evans

    Soundly lyrical yet subtly narrative, these poems find a grounded energy in a bittersweet longing for home that is belied by a thrilling apprehension of what’s to come. — Jeff Newberry
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    SALVAGE by Michael Basinski

    SO, he tried and it was endless in his head labyrinth and he tried and tried: When asked about SALVAGE Basinski pondered and battled with his selves. He didn’t know. He was afraid. His impulses were everywhere. The veil of art, which would unveil nothing! The silly, try too hard, musings of an aging being! Alien communication, confrontation, and arrogance and some rampant need and want.
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    Samsara Congeries by mIEKAL aND

    Impossible to characterize in a few sweeping phrases, Samsara Congeries, an epic in many pieces, channels land-ancestors, land-heirs, langue-ancestors, langue-heirs, all the detritus of material and linguistic (t)ex(t)(ins)istence that insists on itself in cycles of embodied living. —Maria Damon
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    Say It Into My Mouth by H. L. Hix

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    What makes H. L. Hix’s book unique is that its set of very personal, indeed autobiographical poems turn out, paradoxically enough, to be composed almost entirely of quoted text. How does a poet perform this feat? ... Every aphorism or question provokes a further question or response, often familiar on its own, but transformed by its context. The resulting lyric conceptualism or conceptualist lyric — take your pick! — is as thought-provoking as it original and charming. — Marjorie Perloff
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    Scorched Altar: Selected Poems & Stories 2007-2014 by Kristina Marie Darling

    It is in the very restlessness of her metaphors that Kristina Darling documents a tangible faith. Such restlessness is trustworthy and always, throughout Scorched Altar, both vital and in plain view. Here are truthful experiments. Here is a new tradition, alive in bright air. —Donald Revell
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