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85-96 of 510 products

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    Cloud of Witnesses by Linda Norton

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    Like W. E. B. Du Bois finding solace in his library, Norton moves back and across “the color line,” sits with Shakespeare, Fanny Howe, James Joyce, Toni Morrison, etc., and they wince not, welcoming her into their esteemed company. —Tyrone Williams

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    Color Me White by Kevin Thurston, Illustrations by Mickey Harmon

    Color Me White focuses on straight white males, and what is often called toxic masculinity—a topic only aggravated by the current political climate.
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    COMMA FORK / MOVING PARTS by Ted Greenwald

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    Thrilled to be writing this blurb because I love Ted Greenwald's poetry. It is extraordinary lifelike in its interlocking pattern and surprise. I mean like life, if life were a made thing, a homemade pinwheel blown askew and ridden to the front-stoop carnival where your friends work and you can talk about how your mouth feels when you fill pronouns from the dictionary. And how you don't need the dictionary. Rearrange. The world's so modular! Set free for a minute. — Cathy Wagner
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    Complete Dark Shadows [of My Childhood] by Tony Trigilio

    Barnabas Collins, kitsch vampire but source of poet Tony Trigilio’s childhood nightmares, rises from his casket in the first sentence of this intrepid fever chart of a poem. Trigilio manages to create a riveting two-fold narrative—personal and TV-screen ekphrastic—out of piecemeal sentences (one per episode) that honor the most unlikely of poetic subjects: a cheaply produced, blooper-ridden, gothic-horror soap opera. —David Trinidad
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    COMPOS(T) MENTIS by Aaron Apps

    Knuckles digging in the knee and not knowing it, while reading! To be disturbed and to be reminded of something you never quite knew. To be reminded and made to know that memory a new way, this is the way Aaron Apps gives it. Morphine drip as the scalpel tears open the new machine. —CA Conrad
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    Compulsive Words by Michael Ruby

    Reading the poems in Compulsive Words is like taking a hard drug. —Aaron Kiely  
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    Continental Drifts by Cheryl Pallant

    Continental Drifts is Pallant’s most unwieldy, sprawling, cosmic, and best book yet. It is far more tightly woven than Uncommon Grammar Cloth, and stiller than Into Stillness. What really separates this book, though, is how engaged it is (though tacitly and subtly) with the current historical/ecological moment. Basically it continues Pallant’s signature hermetic style but, just under a language that sparks with reference, resides a deeply cutting commentary on postmodern human existence in the world.
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    Contingencies of the Bourgeoisie by Grant Matthew Jenkins

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    Grant Jenkins’s Contingencies of the Bourgeoisie active as a lone imaginative probity. Within its pages, poetic medicinal ranges transpire. This script unseals itself as a form of slow motion burning alive with insistent tenacity not unlike a gem of wildfires that illuminate themselves as suns within a percussive proto-season. —Will Alexander
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    Counting Sheep Till Doomsday by Carlo Matos

    Carlo Matos offers us original, honest, highly charged poetry with mature, hard-won insights and a gift for language. I recommend Counting Sheep Till Doomsday to anyone interested in modern poetry. —Simon Perchik
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    Cracked Altimeter by Joe Milford

    Here are multitudes. In Joe Milford’s hell-bent Cracked Altimeter, “All the names of Heaven/become a universal phonetic.” I’m grateful for his effusiveness; these hexed poems dispense grace enough to make even the warped and wayward begin to see again, and to believe. —Steve Langan
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    Crying Shame by Jeffrey Morgan

    Morgan’s gaze is always up-tunnel, if you know what I mean; the power’s in Morgan’s ability to look and look and look.  No one—neither rescuer nor castaway, not commuter, not gentle or base reader—walks away whole from Crying Shame. —C. S. Giscombe  
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    CUNTIONARY/ Repent at Your Leisure (or The Folklore of Hell) by Benjamin L. Perez

    From its title onward, Ben Perez’s fast, fresh fore(word)play aims to say “what oft was thought but ne’er so [politically uncorrectly] expressed.” This book is bound to ruffle some feathers—not for the faint of heart, denizens of “official verse culture” are hereby advised to enter at your own risk. — Stephen Ratcliffe
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