New Books in Poetry

The Houston Chronicle’s review of Sarah Adleman’s The Lampblack Blue of Memory: My Mother Echoes (Tolsun 2019) praises that the book “dissects the feelings that have been a part of her since her mother's death with the precision and brutality of a poet and all the awful beauty of a perfectly performed major surgery...It's one of the most beautiful things you're likely to read.”Adleman’s collection, a gorgeous hybrid of poetry and memoir, is a journey through grief and forgiveness. The author’s debut book uses both the personal and the informative to examine and preserve the loss, grief, and cleansing set in motion by her mother’s death. She honors her mother not only in the crafting of these shared memories, but also in the actual formatting of the text itself. Adleman gives her mother voice by including her own work interwoven throughout the retelling. The author does not shy away from the heaviness of absence, her personal reaction to the events, and especially not the profound changes to her father. She unfurls these emotions in the light and scrubs away the haze. She leaves us with the “bliss at the core of our beings” and challenges us to walk beside her to the other side.Sarah Adleman was born and raised between the bayous of Houston, the swamps of Louisiana, and the desert of El Paso. She was a Peace Corps Volunteer in Bangladesh, studied yoga in India, and taught English in China. Sarah earned her MFA from The University of Texas at El Paso and works as a Certified Yoga Therapist specializing in Traumatic Brain Injury survivors. Her work has been published, acknowledged, or is forthcoming in Kindred Magazine, Terrene, Glimmer Train, and America Writers Review. Sarah’s first book The Lampblack Blue of Memory: My Mother Echoes is a finalist for the Colorado Book Awards in Creative Nonfiction and for the Eric Hoffer/da Vinci Eye Award. She lives in Denver with her husband, almost two year old son, and their thirteen year old dog.Athena Dixon is a NE Ohio native, poet, essayist, and editor. Her essay collection, The Incredible Shrinking Woman, is forthcoming from Split/Lip Press (2020). Athena is also the author of No God in This Room, a poetry chapbook (Argus House Press). Her poetry is included in The BreakBeat Poets Vol. 2: Black Girl Magic (Haymarket Books). Learn more at www.athenadixon.com  Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/poetry

The British romantic poet William Wordsworth is best known for his moving evocations of nature, his celebration of childhood, and his quest to find a shared humanity in his poetry. He’s also widely considered the first modern poet because he turns his experiences, memories, and the workings of his mind (earlier "spots of time") into the main subject of his accessible poetry. That hadn’t happened before, and all of us, who today are either committed to rational thought, sober analysis and reflection or are deep in our feelings, are ultimately Wordsworthians.But what Wordsworth may really be about, I discussed with the brilliant poet and critic Maureen McLane, is whether with knowledge truly comes wisdom, and whether we trade in the ecstasies of youthful exuberance and immediate experience for a more measured but diminished way of living life. Is there really "abundant recompense," as Wordsworth wrote, in recalling earlier "fits of passion" that roiled our lives? Are "our minds [...] nourished and invisibly repaired" when we look back upon earlier experiences of joy and suffering? "What I'm looking for is a golden bowl, carefully repaired," writes McLane in one of her poems in This Blue - but can we trust that things will be repaired after having been lost to the passage of time? (Incidentally, I talked with Jessica Benjamin in another podcast about the human capacity for "repair," and whether we can trust that things can be restored once broken).This question is also at the heart of the Enlightenment itself: whether knowledge frees us from superstition but at the cost of sacrificing the immediacy of experience. Can we turn fights, arguments and turmoil into something larger by placing them into a wider context: do we have the "power to make/our noisy years seem moments in the being/of the eternal Silence"? Or are some things broken by humans never fully recovered, and we are left with grief, and loss, and silence, but nothing eternal?It's an urgent question for our age, when reason, argument and truth themselves seem so easily upstaged by spectacle and the fire and fury of immediate action.Uli Baer is a professor at New York University. He is also the host of the excellent podcast "Think About It" Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/poetry

In Octavia Cade's brilliant collection of poetry Mary Shelley Makes a Monster (Aqueduct Press, 2019), the famous author of Frankenstein crafts a creature out of ink, mirrors, and the remnants of her own heartbreak and sorrow. Abandoned and alone after Shelley’s death, the monster searches for a mother to fill her place. Its journey carries it across continents and time, visiting other female authors throughout the decades — Katherine Mansfield, Virginia Woolf, Sylvia Plath, Octavia Butler, and others. Pulling from the biographical accounts of these amazing authors, these poems beautifully examine the nature of art and creation, reading and consumption, and how monsters are really reflections of ourselves.The monster has no heart.Mary has two.There is the one she keeps in her bureau—wrapped up in silk and parchment,burnt about the edges and stinking of salt.It is the heart of the man who was her loverand it is less damaged than the heart inside her chest.That is a mangled and un-pretty thing,but she takes it out of her chestsits it beside the other:two hearts on a writing desk.The vibrations send the papers flying.Octavia Cade is a New Zealand writer. She's sold nearly 50 short stories to markets like Clarkesworld, Asimov's, and Strange Horizons. Several novellas and a collection of essays on food and horror have sold to various small presses. She is the 2020 writer-in-residence at Massey University, and Mary Shelley Makes A Monster is her second poetry collection. The first, Chemical Letters, was written while studying for her PhD (in science communication) and is about a woman who spends her afterlife in the periodic table.Andrea Blythe bides her time waiting for the apocalypse by writing speculative poetry and fiction. She is the author of Your Molten Heart / A Seed to Hatch (2018) and coauthor of Every Girl Becomes the Wolf (Finishing Line Press, 2018), a collaborative chapbook written with Laura Madeline Wiseman. She serves as a cohost of the New Books in Poetry podcast. Find her online at andreablythe.com or on Twitter/Instagram @AndreaBlythe. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/poetry

Paul Celan's poetry marks the end of European modernism: he is the last poet of the era where the poetic "I" could center a subjective vision of the world through language. Celan bears witness to the Holocaust as the irredeemable rupture in European civilization, but he does so in German, the language of the perpetrators who murdered his parents along with millions of others. How do you bear witness to suffering, murder and loss in the language of the murderers? How can poetry account for the inhumanity of the Holocaust without aestheticizing it? How can language prevail when words fail to express what really happened to millions upon millions at the hands of a people who claimed to be the height of civilization?I spoke with Amir Eshel, a critic and poet who is also Edward Clark Crossett Professor of Humanistic Studies and Professor of German Studies and Comparative Literature at Stanford University. His books include: Poetic Thinking Today (forthcoming with Stanford University Press in 2019); Futurity: Contemporary Literature and the Quest for the Past (University of Chicago Press 2013); as editor, The German-Hebrew Dialogue: Studies of Encounter and Exchange (2018), and with Uli Baer, an edited book of essays on Hannah Arendt, Hannah Arendt: zwischen den Disziplinen. He's published several books on poetry after the Holocaust and on writings about the Palestinian expulsion. In 2018 Amir published a book with the artist Gerhard Richter, called Zeichnungen/רישומים, a book which brings together 25 drawings by Richter from the cycle 40 Tage and Eshel’s bi-lingual poetry in Hebrew and German.Eshel first encountered Celan in Hebrew translations before learning German himself. I read Celan in (my native) German but not until I have moved to America and started writing and mostly speaking in English. Amir and I met, in a way, as an Israeli and a German, via Celan's poetry. We talked about the experience of reading Celan, how being estranged by language can come close to grasping another's experience that we will never know, and why poetry never quite lives only in a familiar idiom.Uli Baer is a professor at New York University. He is also the host of the excellent podcast "Think About It" Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/poetry

“I am the Real,” is the ecstatic statement often associated with the early Sufi poet Mansur al-Hallaj. In popular narratives about Hallaj this declaration of absolute unity with God is what led to his execution in Abbasid Baghdad. Other accounts attribute it to Hallaj’s directive to build a symbolic Ka’ba in one’s home if they are not able to perform the hajj pilgrimage in Mecca. While Hallaj’s biographical details are often wrapped in myth what is clear is the polarizing position he played within the Islamic tradition. Hallaj wrote prodigiously but it was his poetry that drew particular reservations even among his peers.Carl W. Ernst, Kenan Distinguished Professor of Islamic Studies at the University of North Carolina, makes this poetry available to the contemporary reader in his new volume of translations, Hallaj: Poems of a Sufi Martyr (Northwestern University Press, 2018). Ernst contextualizes Hallaj’s poetry within various intellectual and social contexts and renders them in clear beautiful language. While the poetry can be read on its own for its aesthetic value the volume overall helps us understand Hallaj’s complex system of thought through his own words. In our conversation we discuss the intellectual and social context of Hallaj’s Baghdad, his textual legacy, his feelings about the emerging Sufi practices and norms, how the poems’ original audiences encountered them, Hallaj’s metaphysics, sermons, riddles, and love poems, how to translate Arabic poetry, Louis Massignon, and the relationship between Rumi and Hallaj. You can hear more about Carl Ernst’s background and research in our previous conversation about his book How to Read the Qur'an: A New Guide, with Select Translations.Kristian Petersen is an Assistant Professor of Philosophy & Religious Studies at Old Dominion University. You can find out more about his work on his website, follow him on Twitter @BabaKristian, or email him at kpeterse@odu.edu. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/poetry

Eliza Griswold writes in Snow in Rome, "we hate being human,/depleted by absence." In her latest poetry collection, If Men, Then (Farrar, Straus and Giroux, 2020), Griswold grapples with a world that is fracturing at its foundation. In this series of poems, all at once dark. humorous and questioning, the author moves from the familiar to the unjust to hope with a keen eye. She guides readers through a world that at times strips the humanness from our bones with embedded violence and disconnection, but also calls for us to reconnect by reminding us to be a bridge out among the flames.Eliza Griswold is the author of an acclaimed first book of poems, Wideawake Field, as well as The Tenth Parallel: Dispatches from the Fault Line Between Christianity and Islam, which won the 2011 J. Anthony Lukas Book Prize. Her translations of Afghan women’s folk poems, I Am the Beggar of the World, was awarded the 2015 PEN Award for Poetry in Translation. She has held fellowships from the New America Foundation, the Guggenheim Foundation, and Harvard University, and in 2010 the American Academy in Rome awarded her the Rome Prize for her poems. Griswold, currently a Distinguished Writer in Residence at New York University, is also the author of Amity and Prosperity: One Family and the Fracturing of America, which was named a New York Times Book Review Notable Book of 2018, one of The Washington Post’s 50 Notable Works of Nonfiction for 2018, and a New York Times Editors’ Choice. She was awarded the Pulitzer Prize in General Nonfiction in 2019.Athena Dixon is a NE Ohio native, poet, essayist, and editor. Her essay collection, The Incredible Shrinking Woman, is forthcoming from Split/Lip Press (2020). Athena is also the author of No God in This Room, a poetry chapbook (Argus House Press). Her poetry is included in The BreakBeat Poets Vol. 2: Black Girl Magic (Haymarket Books). Learn more at www.athenadixon.com Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/poetry

Franny Choi’s book-length collection of poetry, Soft Science (Alice James Books 2019), explores queer, Asian American femininity through the lens of robots, cyborgs, and artificial intelligence. As she notes in this interview, “this book is a study of softness,” exploring feeling, vulnerability, and desire. How can you be tender and still survive in a hard and violent world? What does it mean to have desire when you yourself are made into an object of desire? What does it mean to have a body that bears the weight of history? Choi’s poetry contemplates such questions through the technology of poetic form.“Once, an animal with hands like mine learned to break a seed with two stones – one hard and one soft.Once, a scientist in Britain asked: Can machines think? He built a machine, taught it to read ghosts, and a new kind of ghost was born.At Disneyland, I watched a robot dance the macarena. Everyone clapped, and the clapping, too, was a technology.I once made my mouth a technology of softness. I listened carefully as I drank. I made the tools fuck in my mouth – okay, we can say pickle if it’s easier to hear – until they birthed new ones. What I mean is, I learned.”— from “A Brief History of Cyborgs” by Franny ChoiFranny Choi is the author of two poetry collections, Soft Science (from Alice James Books) and Floating, Brilliant, Gone (Write Bloody Publishing), as well as a chapbook, Death by Sex Machine (Sibling Rivalry Press). She is a Kundiman Fellow, a 2019 Ruth Lilly and Dorothy Sargent Rosenberg Fellow, and a graduate of the University of Michigan's Helen Zell Writers Program. She is a Gaius Charles Bolin Fellow at Williams College and co-hosts the podcast VS alongside fellow Dark Noise Collective member Danez Smith.Andrea Blythe is a cohost of the New Books in Poetry podcast. She is the author of Your Molten Heart / A Seed to Hatch (2018) a collection of erasure poems, and coauthor of Every Girl Becomes the Wolf (Finishing Line Press, 2018), a collaborative chapbook written with Laura Madeline Wiseman. She is a cohost of the New Books in Poetry podcast and is a member of the Science Fiction and Fantasy Poetry Association and the Horror Writers Association. Find her online at andreablythe.com or on Twitter and Instagram @AndreaBlythe. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/poetry

How does the world of book reviews work? In Inside the Critics’ Circle: Book Reviewing in Uncertain Times (Princeton University Press, 2020), Phillipa Chong, assistant professor in sociology at McMaster University, provides a unique sociological analysis of how critics confront the different types of uncertainty associated with their practice. The book explores how reviewers get matched to books, the ethics and etiquette of negative reviews and ‘punching up’, along with professional identities and the future of criticism. The book is packed with interview material, coupled with accessible and easy to follow theoretical interventions, creating a text that will be of interest to social sciences, humanities, and general readers alike. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/poetry

Kahlil Gibran’s 1923 The Prophet is book that’s changed people’s lives. It is a deceptively simple book, but it contains a radical insight. “Of what can I speak save of that which is even now moving in your souls?” What can a book teach us that we cannot know ourselves?To detect this thing inside of us we must break through convention: our escape into social habits, religious and political doctrine, the comforting approval of others, and the truisms and clichés we take for wisdom. And even once we realize that something is “moving in our souls,” Gibran warns us, we tend to repress this insight by submitting to outside authorities to give it a name, a label, or a theory. By turning to religion or other people’s teachings, we dodging the challenge of taking charge of our own conditions, and thus of our freedom.I spoke with Glenn Wallis, a renowned scholar of Buddhism, translator and teacher who has published The Dhammapada, Basic Teachings of the Buddha, and a Critique of Western Buddhism, and who runs Incite Seminars in Philadelphia. Glenn had first read The Prophet when he was 16 and it changed his life profoundly. He then forgot about the book and even dismissed it for decades, until I persuaded him, pleading three times, to reconsider it. This conversation is as much about The Prophet as about the things that move us deeply when we’re younger but which we then, in growing up, learn to dismiss as adolescent. I’d like to think that re-reading a book sometimes lets us rekindle our youthful passion to ignite our lives yet once more. The conversation also led Glenn and myself to co-author an introduction to a new and beautiful edition of The Prophet, published together with The Forerunner and The Madman, by Warbler Classics.Uli Baer is a professor at New York University. He is also the host of the excellent podcast "Think About It" Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/poetry

Becca Klaver writes in the poem 'Hooliganism Was the Charge,' It offered reassurance which said, “You are not alone; I can hear you.” Her forthcoming collection, Ready for the World (Black Lawrence Press 2020), reminds us that no matter the digital distance between us we are never quite alone. A collection that both casts and dispels the bindings ever present via social media, patriarchy, and our own paths to growth, this collection allows readers to blur the lines between our sometimes carefully curated online lives and the magical beings we truly are.Part spell book and a rumination on technology, Klaver explores womanhood and feminism from a distance and up close. These poems ask for us to find a remembrance and a reconnecting. She asks in the poem Manifesto of the Lyric Selfie, what is burning in our little hearts?, and dares us to tear down what we think we know to find what we feel.Becca Klaver is the author of two books of poetry—LA Liminal (Kore Press, 2010) and Empire Wasted (Bloof Books, 2016)—and several chapbooks. Becca was a founding editor of Switchback Books and is currently coediting, with Arielle Greenberg, the anthology Electric Gurlesque. Her poems have appeared in The American Poetry Review, Fence, jubilat, and in Poem-A-Day and Verse Daily. She was also the editor of Women Poets Wearing Sweatpants and is cohost, with Lauren Besser, of the podcast The Real Housewives of Bohemia. Born and raised in Milwaukee, WI, she is a graduate of the University of Southern California (BA), Columbia College Chicago (MFA), and Rutgers University (PhD). She is the Robert P. Dana Director of the Center for the Literary Arts at Cornell College and currently lives in Iowa City, IA.Born and raised in Northeast Ohio, Athena Dixon is a poet, essayist, and editor. She is Founder of Linden Avenue Literary Journal, which she launched in 2012. Athena’s work has appeared in various publications both online and in print. She is the author of No God In This Room, a poetry chapbook, published by Argus House Press. Her work also appears in The BreakBeat Poets Vol. 2: Black Girl Magic (Haymarket Books). She writes, edits, and resides in Philadelphia. Learn more about Athena here. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/poetry