Aubrey L. Glazer's Mystical Vertigo: Contemporary Kabbalistic Hebrew Poetry Dancing Over the Divide (Academic Studies Press, 2013) immerses readers in the experience of the contemporary kabbalistic Hebrew poet, serving as a gateway into the poet’s quest for mystical union known as devekut. This journey oscillates across subtle degrees of devekut―causing an entranced experience for the Hebrew poet, who is reaching but not reaching, hovering but not hovering, touching but not touching in a state of mystical vertigo. What makes this journey so remarkable is how deeply nestled it is within the hybrid cultural networks of Israel, crossing over boundaries of haredi, secular, national-religious, and agnostic beliefs among others. This volume makes a unique contribution to understanding and experiencing the mystical renaissance in Israel, through its multi-disciplinary focus on Hebrew poetry and its philosophical hermeneutics. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/poetry

“My poetry captures a moment,” remarked Dr. Castillo when asked about the process of writing her most recent collection of poems My Book of the Dead: New Poems (University of New Mexico Press, 2021). While many of us would be immobile at the news about the effects of climate disaster, school shootings, and anti-black racism which often resulted in extralegal violence, Ana Castillo reached for pen and paper. She processed these events through writing carefully, intentionally, and vividly about the world which gave rise to these catastrophes. She forces us to feel that moment with her – confusion, anger, grief. My Book of the Dead is the result of Ana’s mourning turned artistic bodily expression.Each poem offers a snapshot in response to personal and national tragedies. Ana mourns loss at all levels – from the passing of artist friends she danced with to the national news of slain schoolchildren. “You hear of his death by the virus and // it all comes back – // meeting in Chicago, // celebrating his first novel, // dancing to a sweat together in New Orleans,” Ana writes in “Hache ¡Presente!” (8). Eight pages later she launches into an exhaustive yet incomplete list of mass shootings in the United States between 2016 and 2019. “+ Plus más – // domestic violence // deaths // at the hands // of someone that loved you, // loved your baby, // mother, // the neighbor upstairs who came running,” Dr. Castillo writes in “Mass Shooting (2016 to 2019 and Counting” (16-23). Sixty-three incidents of mass shootings span eight pages, each indicating the number of deaths in bold. These two poems sit alongside poems about anti-Black racism, police violence, and the threat to Democracy posed by the Trump administration.Dr. Castillo’s My Book of the Dead also carries with it a sense of urgency about the future of the United States. By connecting the relationship between domestic terrorism (i.e., mass shootings and anti-Black racism) and the imperial violence inflicted across the world by the U.S. through bombs and other warfare, Ana takes to task the history and the present U.S. In “Xicanisma Prophecies Post 2012: Putin’s Puppet,” Ana writes, “Putin’s Puppet sees color and it revolts him. // Blacks belong in Africa, he opines, and Muslims must stay in the Mid-East. // Mexicans are the scourge. // Like with his father, // his father before him, and so on. Darker races serve their purpose – // servitude or genocide. // As for women – // you kill a rhino for sport or for its horns. // (A woman is worthwhile only if she enhances your status.)” (80). In several poems such as “Gotas caían en el techo” (31), “A Storm Upon Us” (3), and How to Tell You Are Living under Rising Fascism (A Basic Primer in Progress)” (41), she indicts the Trump Administration for advancing white supremacy, their attacks on history, and their denial of science. Ana is insistent about calling out every aspect of exactly how the rights of people of color, the elderly, and women are continuously being restricted. She is particularly focused on the plight of mothers. Jonathan Cortez is currently the 2021-2023 César Chávez Postdoctoral Fellow in the Department of Latin American, Latino, and Caribbean Studies at Dartmouth College. You can follow Jonathan on Twitter @joncortz Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/poetry

Ricardo Wilson speaks to managing editor Emily Everett about his poem, “nigrescence,” which appears in The Common’s spring issue. In this conversation, Ricardo talks about his new collection Apparent Horizon and Other Stories, winner of the PANK Book Contest in fiction. The collection includes several short poetic fragments scattered amongst stories and novellas, with both historic and contemporary storylines. He discusses his process for writing from historical research, and what it’s like writing creative and critical work at the same time. Ricardo also talks about Outpost, a fully-funded residency in Vermont for creative writers of color from the US and Latin America.Ricardo Wilson is an assistant professor of English at Williams College and the author of An Apparent Horizon and Other Stories and The Nigrescent Beyond: Mexico, the United States, and the Psychic Vanishing of Blackness. His fiction and critical writing can be found in 3:AM Magazine, Black Renaissance / Renaissance Noire, Callaloo, CR: The New Centennial Review, Crazyhorse, and Stirring. He is director of Outpost, a residency for creative writers of color from the United States and Latin America. Read his poem in The Common at thecommononline.org/nigrescence.Read more about Ricardo and his work at ricardoawilson.com. Follow him on Twitter @ricardoawilson.Purchase An Apparent Horizon and Other Stories from PANK Books.Find out more about Outpost, and apply by November 1, at outposttheresidency.org.The Common is a print and online literary magazine publishing stories, essays, and poems that deepen our collective sense of place. On our podcast and in our pages, The Common features established and emerging writers from around the world. Read more and subscribe to the magazine at thecommononline.org, and follow us on Twitter @CommonMag.Emily Everett is managing editor of the magazine and host of the podcast. Her stories appear in the Kenyon Review, Electric Literature, Tin House Online, and Mississippi Review. She holds an MA in literature from Queen Mary University of London, and a BA from Smith College. Say hello on Twitter @Public_Emily. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/poetry

The poet Shachar-Mario Mordechai was born 1975 in Haifa and he currently lives in Tel Aviv. He has published four volumes of poetry, all of which attracted critical attention. Mordechai is the 2017 recipient of the Prime-Minister’s award for creativity in poetry and the 2010 recipient of Tel Aviv Municipality's nationwide Poetry Competition. He was Poet in Residence at Johns Hopkins University for 2018/9. His book of poems "Make Room For The Rain" won first place in poetry by the Rachel and Leib Goldberg Foundation for 2021. The book was written in the USA when Mario lived for two years in Baltimore and one year in NYC.Dr. Yakir Englander is the National Director of Leadership programs at the Israeli-American Council. He also teaches at the AJR. He can be reached at: Yakir1212englander@gmail.com Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/poetry

Shlomit Naim Naor’s poetry is a unique voice in Israel. She is inviting the readers to delve deeper and engage in a dialogue with the Jewish religion and texts which are relevant to the most banal, everyday life. In her poetry, Naim Naor searches for places to which the Divine is NOT welcome, like abortions or the Oncology Department. She openly speaks about the (un)meaningful lives of single (religious) women and more. In her sensitive way she shares with us her personal journey as an Orthodox Jewish woman who lives in Jerusalem, but her words speak universally to all of us. In this podcast we will focus on her books: No End in Sight (2016) and The Things We Are Not Talking About (2020).Shlomit Naim Naor is a poet, an educator and a religious feminist. She lives in Jerusalem with her partner and their three daughters. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/poetry

In this episode, I interview Rachel Zolf—a poet whose “interdisciplinary practice explores questions about history, knowledge, subjectivity, responsibility, and the limits of language, meaning, and the human”—about their new book, No One’s Witness: A Monstrous Poetics, published by Duke University Press.In the text (which is both an essay in the etymological sense of an attempt as well as a longform poem, a making), Zolf activates the last three lines of a poem by Jewish Nazi holocaust survivor Paul Celan—“Niemand / zeugt für den / Zeugen. [No one / bears witness for the / witness.]”—to theorize the poetics and im/possibility of witnessing. Drawing on black studies, continental philosophy, queer theory, experimental poetics, and work by several writers and artists, Zolf asks what it means to witness from the excessive, incalculable position of No One. In a fragmentary and recursive style that enacts the monstrous speech it pursues, No One's Witness articulates the Nazi holocaust as part of a constellation of horror that includes the trans-Atlantic slave trade, Israeli occupation of Palestine, and settler-colonial practices across the globe Thinking along with black feminist theory's notions of entangled swarm, field, plenum, chorus, No One's Witness interrogates the limits and thresholds of witnessing, its dangerous perhaps, and language. Zolf’s No One operates outside the bounds of the sovereign individual, hauntologically informed by the fleshly no-thingness that has been historically ascribed to blackness and that blackness enacts within, apposite to, and beyond the No One. No One bears witness to becomings beyond comprehension, making and unmaking monstrous forms of entangled future anterior life.Britt Edelen is a Ph.D. student in English at Duke University. He focuses on modernism and the relationship(s) between language, philosophy, and literature. You can find him on Twitter or send him an email. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/poetry

Is it just a coincidence that three books by the major Russian writer Maria Stepanova have appeared in English in 2021? Why does Maria Stepanova deploy such a rich variety of voices and forms? What are the challenges of translating her poetry? Who are the pantheon of deceased writers who seem to haunt her every line? In this conversation, the editor of The Voice Over: Poems and Essays (Columbia UP, 2021), Irina Shevelenko talks about Stepanova's poetry and prose with Duncan McCargo. Irina elaborates on her wonderful introduction to the collection and explains how she assembled an outstanding team of translators to help bring this work to an international audience. Both Duncan and Irina read extracts from Stepanova's work.Maria Stepanova is the author of over ten poetry collections as well as three books of essays and the documentary novel In Memory of Memory.(US: New Directions, Canada: Book*hug Press, UK: Fitzcarraldo), which was shortlisted for the 2021 Man Booker International Prize. Her poetry collection War of the Beasts and the Animals was published by Bloodaxe Books, also in 2021. She is the recipient of several Russian and international literary awards.Irina Shevelenko is professor of Russian at the University of Wisconsin–Madison. Additional translations are by: Alexandra Berlina, Sasha Dugdale, Sibelan Forrester, Amelia Glaser, Zachary Murphy King, Dmitry Manin, Ainsley Morse, Eugene Ostashevsky, Andrew Reynolds, and Maria Vassileva.For a video of the May 2021 launch event for The Voice Over, featuring Maria Stepanova and several of the translators, see Book Launch of Maria Stepanova’s The Voice Over: Poems and Essays – A Reading and Conversation – CREECA – UW–Madison (wisc.edu)Maria Stepanova is one of the most powerful and distinctive voices of Russia’s first post-Soviet literary generation. An award-winning poet and prose writer, she has also founded a major platform for independent journalism. Her verse blends formal mastery with a keen ear for the evolution of spoken language. As Russia’s political climate has turned increasingly repressive, Stepanova has responded with engaged writing that grapples with the persistence of violence in her country’s past and present. Some of her most remarkable recent work as a poet and essayist considers the conflict in Ukraine and the debasement of language that has always accompanied war. The Voice Over brings together two decades of Stepanova’s work, showcasing her range, virtuosity, and creative evolution. Stepanova’s poetic voice constantly sets out in search of new bodies to inhabit, taking established forms and styles and rendering them into something unexpected and strange. Recognizable patterns of ballads, elegies, and war songs are transposed into a new key, infused with foreign strains, and juxtaposed with unlikely neighbors. As an essayist, Stepanova engages deeply with writers who bore witness to devastation and dramatic social change, as seen in searching pieces on W. G. Sebald, Marina Tsvetaeva, and Susan Sontag. Including contributions from ten translators, The Voice Over shows English-speaking readers why Stepanova is one of Russia’s most acclaimed contemporary writers. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/poetry

Green River Valley, Robert Lashley's third book of poetry, is a moving and complex tribute to the Hilltop neighborhood of Tacoma, Washington. Whether writing about finding love in the aisles of Value Village, the ex drug runner who now feeds pigeons in the park, or the pain of being mocked for expressing emotion at the barber shop, Lashley unites exacting attention to detail with universal themes of trauma and survival. Lashley's Tacoma comes alive in this book like Wilson's Pittsburgh, Borges' Buenos Aires, or Gornick's New York.Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA at Columbia University, Harvard University, and the Arizona School for the Arts. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/poetry

Poet Ariana Brown searches for new origins in her debut book We Are Owed. (Grieveland Press, 2021). Brown has had over ten years of experience writing, performing, and teaching poetry that struggles towards freedom for all Black peoples. She identifies on her website as a “queer Black Mexican American poet” whose lived experiences within anti-Black cultures and societies have forced her to spin language into liberation. We Are Owed. achieves that goal by centering scenes of Black Mexican American life, history, and feeling. The title is a call to action, a demand, a recognition, a reparation, a reorientation, and a reclamation. Brown ushers in a new grammar that reaches beyond nation and builds from the foundational understanding that colonial and neocolonial nation-states, and the theory of borderlands set forth by Anzaldúa, are limiting to Black peoples.Jonathan Cortez is currently the 2021-2023 César Chávez Postdoctoral Fellow in the Department of Latin American, Latino, and Caribbean Studies at Dartmouth College.  Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/poetry

A Camera Obscura (Red Hen Press, 2021) by Carl Marcum is a lyrical exploration of external and internal worlds. The heavens described in these poems could be the stars glittering above our heads, the pathways of faith, or the connection between human beings. Playing with scientific understandings of the world, along with the linguistic conventions of the poetic form, A Camera Obscura is a compelling journey that simultaneously drifts through the cosmos while being rooted to the ground beneath our feet.“When the sun rose it was smallerthan in my dream. I had been asleepfor what felt a long time, and wokeconfused and claustrophobic.The texture of the sky still magnetized me,a desert bright day. But the light is streakedlike too much everything pulled to the edgesof a window in storm.”— from “A Science Fiction”Carl Marcum is a Chicano poet from Tucson, Arizona. He is the author of the collection Cue Lazarus, and his poems have appeared in the anthologies The Wind Shifts: New Latino Poetry and Latinx Rising: An Anthology of Latinx Science Fiction & Fantasy. Carl has been awarded fellowships from the National Endowment for the Arts, the Illinois Arts Council, and the Taos Writers Conference. And he has also served as a Canto Mundo Fellow from 2011 to 2015. Andrea Blythe bides her time waiting for the apocalypse by writing speculative poetry and fiction. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/poetry