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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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