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Showing 51 to 60 of 632 Articles
  • Essay
    By Rhian Sasseen

    Fernando Valverde’s America continues the long tradition of Europeans reporting on life in the US.

    Binocular view of a desolate mountain landscape , with a junked car, trash bags, and a fallen No Trespassing sign visible.
  • Essay
    By Omari Weekes

    Phillip B. Williams’s Mutiny asks how Black poetry can and should be read.

    Collage of Langston Hughes, shackles, a centaur, a skull, and a slave ship manifest.
  • Essay
    By Diana Khoi Nguyen

    In Yellow Rain, Mai Der Vang assembles witness testimonies and declassified documents into a stunning indictment of US bombings in Laos.

    Three airplanes flying inside a yellow haze.
  • Essay
    By Ryan Ruby

    Rosmarie Waldrop’s poems suspend time to achieve the experience of instantaneity.

    Illustration of Rosmarie Waldrop in a dark field, holding an hourglass, while phases of the moon arc behind her.
  • Essay
    By Kamran Javadizadeh

    In Pilgrim Bell, Kaveh Akbar reaches across languages to write "documents of barbarism."

    Illustration of a hand reaching through the glass of a window.
  • Essay
    By Declan Ryan

    A new volume reintroduces Walter de la Mare’s eccentric, haunted, sonically rich poetry.

    Black-and-white portrait of Walter de la Mare.
  • Essay
    By Mia You

    The South Korean poet Yi Won blurs the boundaries between the virtual and the real.

    Illustration of a woman's face bursting through a laptop screen, attached to the head by wires, while balloons float in the colored background.
  • Essay
    By B.D. McClay

    Melissa Broder's poems share the exaggerated candor of her popular Twitter account, but they obscure as much as they reveal.

    Illustration of a woman crying over a phone while she tweets.
  • Essay
    By Ben Libman

    Marie Uguay’s meteoric rise was cut short, but her work marks a turning point in Canadian poetry.

    Illustration of Marie Uguay looking into rippling water.
  • Essay
    By Gillian White

    More Anon charts Maureen N. McLane’s career-long ambivalence toward the Romantic canon.

    Illustration of Maureen N. McLane's head emerging out of mountains, with a Romantic figure standing atop her hair and surveying the landscape.
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