New Books in Poetry

How can it be that deeply religious poetry is being written by a committed socialist, literary revolutionary and modernist? How sacredness appears in working in the field? How one can pray after the “death of God”? This magical contradiction is being explored and explained in the book Abraham the Hebrew Believer: Secularism and Religion in the work of Abraham Shlonsky (1900-1973). The book is a journey to the world of one of the most creative figures in modern Hebrew culture.Dr. Rani Jaeger is a scholar and educator at the Shalom Hartman Institute in Jerusalem and the co-founder and rabbi of “Beit Tefila Israeli” in Tel-Aviv.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

Charlie Louth, an Associate Professor of German at Oxford, delves into the profound impact of Rainer Maria Rilke's poetry. He discusses Rilke's journey through modernity and the beauty that emerged from it, emphasizing the emotional depth in works like the 'Sonnets to Orpheus' and 'Duino Elegies.' Louth explores the tension between poetry and loss, suggesting that Rilke’s writings can illuminate life's meaning amid grief. The conversation also highlights the nuances of translating Rilke, revealing the power of words to transform our understanding of art and existence.

Jessica Romney's book Lyric Poetry and Social Identity in Archaic Greece (U Michigan Press, 2020) examines how Greek men presented themselves and their social groups to one another. The author examines identity rhetoric in sympotic lyric: how Greek poets constructed images of self for their groups, focusing in turn on the construction of identity in martial-themed poetry, the protection of group identities in the face of political exile, and the negotiation between individual and group as seen in political lyric. By conducting a close reading of six poems and then a broad survey of martial lyric, exile poetry, political lyric, and sympotic lyric as a whole, Romney demonstrates that sympotic lyric focuses on the same basic behaviors and values to construct social identities regardless of the content or subgenre of the poems in question. The volume also argues that the performance of identity depends on the context as well as the material of performance. Furthermore, the book demonstrates that sympotic lyric overwhelmingly prefers to use identity rhetoric that insists on the inherent sameness of group members.All non-English text and quotes are translated, with the original languages given alongside the translation or in the endnotes.Reyes Bertolin is a professor of Classics at the University of Calgary. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/poetry

[This episode contains explicit content.] Artists from Kurt Cobain to Amy Winehouse command fascination not only for their work but also for their drug addictions and the manner of their death. Communions is an attempt to understand the role that opiates play in the artistic lives of those who are gripped by addiction.Channeling hallucinated versions of dead artists and junkies, these fragments access the uncanny allure of shared experience. Elements of speculative fiction, criticism and encrypted auto-biography merge to form a disconcerting portrait of the artist as addict. Neither denunciation nor valorization, Communions probes the haunting singularity of opiate addiction and its ineradicable influence on art and culture.Adam Lehrer speaks to Pierre d'Alancaisez about addiction and class, our fetish for the artist flirting with death, communing with his heroes, his experience of the opioid crisis, and the role for art criticism in unraveling these issues. Lehrer reads a chapter on Darby Crash from Communions.Adam Lehrer is a writer and art critic, but he’s also a former heroin addict himself. He blogs at Safety Propaganda. A Statement On My Severed Relationship With The Quietus Art's Moral Fetish Darby Crash Frisk, film based on a novel by Dennis Cooper Dash Snow Beautiful Boy, film based on memoirs by David and Nic Sheff Zoë Tamerlis Lund Pierre d’Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/poetry

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