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    O by Jared Schickling

    Jared Schickling, the Poetry of the imagination expansive, no master, not forms that restrict, not the commercialism of print.   Not the Government of Poetry, with this an anarchistic being is where all might of the elemental as a construction without end with wisdom and magic, behold begins a future —Michael Basinski
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    Occasion Poems by Diane Christian

    Occasion poems were suggested by colleague, friend, and poet Robert Creeley, who thought it would be a good idea to have poems for various occasions made up as ink stamps, ready to imprint on a postcard and send off for occasions. Unlike occasional poems tied to specific persons and events, they have a broader human reach.
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    ocean plastic by Orchid Tierney

    It is with intuition rather than calculation that Tierney's #ocean plastic# forages, gathers and arranges. With intuition chosen over calculation, Tierney's unit of measure is a unit of matter. Responding to the pipeline with the ethics of the poetic line, Tierney's particular attention models a dwelling among that can teach both how and why we might turn the plastic we find into an ecology of ethics. —Michelle Taransky
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    Of Some Sky by Joseph Harrington

    If it’s indeed darkest before the dawn, then we should immerse ourselves in Joseph Harrington’s Of Some Sky and hope – because it doesn’t get much darker than this. This book surveys the terrain we inhabit now (in the mid-Anthropocene) somewhere between the devil and the rising seas. —Rae Armantrout
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    One Year In A Paper Cinema by Travis Cebula

    Nobody looks in the newspaper to see what's on TV anymore. For that kind of news, we have to go to poems—specifically, Travis Cebula's pitch-perfect One Year in a Paper Cinema, whose shapely, lyrico-epigrammatic interfaces with a year's worth of TV listings in The Denver Post pull open the gauzy curtain separating ""art"" and ""life"" to reveal something at once fresh and recycled, mysteriously stochastic and predatorily pre-programmed. Almost as soon as this book was finished, the Post stopped printing this section. Thank goodness for the celerity of visionary poets! —K. Silem Mohammad
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    Ongoing Repairs to Something Significant by Linda King

    Linda King’s new collection is filled with poems that reflect on their own making, considering the rules of narrative with wit, subtlety, and grace. Here you will find language interrogated from within its most familiar structures, singing all the while with difficult and necessary music. Her work surprises and gratifies with its syntactic denseness, its wild associative leaps. King is a poet to watch. —Kristina Marie Darling
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    Opera House Arterial by Anne-Adele Wight

    Anne-Adele Wight's new masterpiece Opera House Arterial is a fierce testimony of the power that one archetype alone can create––the Opera House. Part trickster, part behemoth, part lover, part spy, part friendly cadaver––like "sparrow bones in a cup." Or "a mug of phosphorus."––Debrah Morkun
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    Oponearth by Timothy David Orme

    If you want a poetry that drops you off a cliff, then suddenly hauls up the sun making you realize the world's actually cycling at speed around you while you stand awestruck read Timothy David Orme—his lyrics are vertiginous, and lovely. —Catherine Wagner
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    or, The Whale by Sherry Robbins

    “Into this first and oldest cradle / I invite you, reader.” from “The Fossil Whale” by Sherry Robbins. “me in in in / in the boat / of my body” from “The Chase – First Day” by Sherry Robbins. This is her book of poetry. I read her returning to this poetry. Sherry Robbins, ubiquitous saillore at voyage in the allegorical myth of and in her life, explores her journey, the wovenings of woman currents, root drinker and her map of heaven. —Michael Basinski
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    Other Maidens by Toti O’Brien

    In Other Maidens, Toti O’Brien masterfully choreographs shifting perceptions of self and the other in a soulful dance with reality. These intuitive, courageous poems explore the elusive and illusive core of grief and wonder, fear and joy, estrangement and intimacy. —William O’Dal
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    Otherwise Known as Home by Tim Wood

    The poems shimmering in this volume represent an intense and vertiginous new beginning of the sonnet, erupting from the site of "end words." Tim Wood's re-embarkations are thrilling. I hesitate to impose metaphors on a work of art that stands on its own terms, but something related to time travel might turn attention in the right direction. —Lyn Hejinian
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    Overtures by Ted Pearson

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    The standard acrostic submitted to pre-preparation's careful, reticent, insistently epigraphic procedures; the cenobitic playhouse accompaniment in blue sphere’s black expanse; the constant opening of open and uncountable dialog in analog: ladies and gentlemen and all the swung and transient surround, it's nobody but Ted Pearson! – Fred Moten
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    Ovid’s Creek by Sam Magavern, Art by Monica Angle

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    In Ovid's Creek Sam Magavern, in paying tribute to the Roman poet Ovid, works out his own ars poetica, one that values plainness over ornament,  playfulness over solemnity, and liveliness over propriety and elevation. ... The result is a book of peculiar freshness. —Carl Dennis, Winner of the Pulitzer Prize for Practical Gods.

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    Oxidane by Nicole Matos

    Oxidane has the reach of taut flash fiction fiction and the punch of expertly crafted poetry. It is a truly hybrid animal you’ll think about running from—but you'll find yourself running towards it. —J. Bradley
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    Parables For The Pouring Rain by Paul Sutton

    "The ship might be sinking but Paul Sutton has tied himself to the mast and his poems chart the descent as the whole caboodle wallows down. Sutton’s work is a sovereign antidote to the pointless mush of establishment-approved literature." — Rod Madocks
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    Parataxis by Matt Hill

    "... swaying between Baudelairean modalities of social spleen and lyric fervor, perceptions fresh and exacting; each piece demands utopia, and measures reality by its absence." —Andrew Joron
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    Paris Views by Michael Joyce

    Anyone who loves Paris will find that literarily-overdetermined city brought to new life---new and not particularly literary, for through Joyce’s sharp, quick, and cleverly amorous eye, Paris is evoked not as objet d’art, but as sloppily, raucously, lived; as an idiosyncratic confluence of specific instances that shed deep light on the way that individual perception and experience sculpt public space. — Cole Swensen
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    perimeter homespun by Marcia Arrieta

    Marcia Arrieta's perimeter homespun is part meditation, part equation. Both spare and delightfully baroque at the same time, the collection deftly explores the tensions between art and nature, the created world and the occurring one. —Kristy Bowen
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    Permission to Relax by Sheila E. Murphy

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    These intricately constructed structures have an air of lightness about them, though mixed into that lightness is the existential angst of the quotidian rung with rhythmic grace and disjunctive virtuosity. —Daniel Borzutsky
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    Person Hour by Thibault Raoult

    Thibault Raoult reaches across the orderly table of syntax and conventional content to grab the reader literally by the throat in order to redirect attention to language performing itself as an unresolved constellation of eros, humor, history, and social observation. —Forrest Gander
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    PERSONAL EFFECTS by Ted Pearson

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    Time travels aphoristically in short hops, seen from long distance, with words as object lessons, in Ted Pearson’s refulgent work. “These annotations mean the world” in the most personal and impersonal sense. But the “eternal present” affords scant comfort, as quatrains slant away or sentences shimmer over the depth of existence. —Alan Bernheimer
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    Petrarchan by Kristina Marie Darling

    Kristina Marie Darling's Petrarchan uses ideas of the fragment, the unsaid, and the unknown to gesture towards her own passionate syntax. It seeks the person in Petrarch's humanism. —Sean Singer
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    PHARMAKON (A CASE HISTORY) by Kristina Marie Darling

    PHARMAKON is a rattling collection. Laced with pinching, dark detail, the tinge of gone, resonant trinkets, and a seasoned sense of loss, this book dustlessly describes the bewilderment of being, being not, and the feeling that comes with those. —Emily Toder
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    Phoems for Mobil Vices by Rich Murphy

    “intriguing and somehow informative poems.” — Erica Wright, Poetry Editor, Guernica
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