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October 17, 2012






John James reviews Kathleen Ossip's The Cold War: "Presenting Winter's struggle with poetic meter as an avoidance of chaos and emotion, Ossip highlights his artistic paralysis--and winks at our nation's economic stagnation"; Jason Tandon reviews Dean Young's The Art of Recklessness, "a frenetic and subversive meditation on poetry and poetics"; W.M. Lobko reviews Christopher DeWeese's The Black Forest, a "debut collection is packed with personae the way a forest is packed with trees"; Anna Ross reviews Amaranth Borsuk's Handiwork, an "interrogation of personal identity and a family narrative partly obscured by the Holocaust"; and Lynn Melnick reviews Boni Joi's Before During or After Rainstorms, a "vibrant and incisive first collection."



The ease of crossing
on mud-cracked slats
of the footbridge amid flickering debris:
Good. You've brought a thing to eat.
The riverbed is inset with fossils.
You're not early.

Other better walkers
were diverted here and washed their snowy 
ankles in the briar.
Then the storm came back, back then, 
flooding the lowlands.

I've seen you in your best suit.
It hangs well. It smells of earth.
You can lie on your raft in it
waiting for the waters to rise
to the visible bridge. It suits you.
It was built for mourning.


Meanwhile, elsewhere . . . 

Peruvian poet Antonio Cisneros passed away at the age of 69. At The Atlantic, Andrew Cohen finds poetry in campaign mailers and Dorothea Lasky asserts the importance of poetry to early education. New Directions reports that Lawrence Ferlinghetti has declined a 50,000 Euro prize from the Hungary PEN Club, citing its relationship with the right-wing Hungarian government (more on the rise of the Hungarian right here). At The New Republic, Helen Vendler writes that Dante is essentially untranslatable. At The American Scholar, poet, translator, and Poetry Magazine editor Christian Wiman reflects on his battle with cancer.

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