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From Stephen Elliott
In age of poetry saturated with the irony and airy nonsense of the last phalanx of the grandchildren of the New York School, it is wonderfully refreshing to read Tanya Larkin’s poems in My Scarlet Ways. She uses a refreshing synthesis of lyric and narrative poetic modes in an expressive and intellectually rigorous way.
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Sommer Browning’s Either Way I’m Celebrating shows effervescence, delight in language, and whimsy, even as it hides more introspective and severe undertones. Taking elements of surrealism from the Ashbery branch of American poetry, Browning also shows elements of Dobby Gibson and Juliana Spahr, though as her own inimitable recipe.
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I found this text to be profound, relentless, frustrating, inspiring, demanding, silly, pompous, elastic, and mind-expanding. That is what poetry is for, and this is for poetry.
Coleman’s work is functional and communal; she wields the oral tradition in a way that reflects her poetry ancestry—the blues queen, Koko Taylor, for example, or the fringe Beat genius, Bob Kaufman—but she also shows planed, hewn lines of intellectual poem-making.
These poems have all the instinct and fangs of a canine, and the plush, electric fur of a wolf: the intensity and sheer quality of workmanship in the poems is impressive.
There is a feeling of complicity in his [Dlugos's] best poems in that he makes the reader love the burnished, tumultuous late nights and affection for those around him. 
Rumpus Poetry Book Club board member Sean Singer on why he chose Lea Graham’s Hough & Helix & Where & Here & You, You, You as the July selection for the club.
Tracy Smith’s Life on Mars is a strong, surprising, and often beautiful book. Its themes include family births and deaths, outer space as a metaphor for inner space, and broader political questions regarding violence and power.
The poems in Copperhead use the deeply wrought questions with which it is concerned to wisely come up with a sort of memoir, which is attaching deeply felt memories with deeply felt language, thus making it literature.
In February at the AWP Conference in Washington D.C., Claudia Rankine gave a talk about Tony Hoagland’s poem “The Change.”
Afterward, she posted a call for responses to the conversation that started at AWP, and today she posted those responses here.
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Leslie Williams is a fine poet, skillful and smart. She takes a range of topics I find by themselves repelling or uninteresting (suburban life, nature, flowers, gardening, Thomas Jefferson, the American South, etc.) and makes them compelling; she demands my attention because she is such an attentive writer.
Michael Klein’s then, we were still living is a thoughtful, emotional book that treats death in a fresh, even endearing way.
It is Zweig’s essential Vermont-y-ness that makes her indispensable. The charm and beauty of those green mountains and isolation and mud seasons of that terrain is applied thickly in these poems.
The poems in This Noisy Egg are always engaging and hold the reader’s attention, but they do not feel un-tethered or dangerous. Reading them, I had the sensation that there was little room for what Stanley Kunitz called “wilderness,” the part of the poem that appears to write itself, unhinged from the fantasies and illusions of the Writer.
Doller’s facility with language, and his wheeling imagination, which pushes language into fresh directions, never ceases to delight the reader. We Will Never Learn
Where have these disappeared to, the green ones?
Tongues against the darkness are seething.
The poems in The Ancient Book of Hip create a precise and evocative description of time and place; they celebrate that space, even as they have a witty undercurrent of critique.
Taste of Cherry is a beautiful, carefully crafted, and sensual display of poetry; the verbal, pyrotechnical, unabashed bravery of the poems is their most significant quality.
Aim Straight at the Fountain and Press Vaporize is ambitious and clever. By turns entertaining, fascinating, and charming, it is also monotonous with its adolescent charm and fluorescent insistence.
Gunn’s work is imminently teachable in the form of Selected Poems, but it is derived from a world that now no longer exists: the Metaphysical poets drawn through the intermingling bodies of the Summer of Love: biker leather, drug haze, and the destructive tragedy of death sought without irony or deconstruction.
Like the razor-edged minimalism of Robert Creeley, the rich ontology of these poems, where the content and form eloquently match, communicates carefully into the reader’s memory.
Melvin Dixon’s “Spring Cleaning”
Melvin Dixon died of AIDS in 1992 and is one of our most underrated poets. “Spring Cleaning” alludes to what Ralph Ellison called “the jagged grain,” the texture of experiencing the blues in one’s life. Dixon, an African-American, a homosexual, an intellectual, and a great artist, seems to sum up his own being-it-itself (a mode of existence that simply is) in “Spring Cleaning.”
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A review of Micrographia
People don’t read enough, and when they do, they don’t ask the questions of themselves that Micrographia demands.
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Katy Lederer’s poems are both romantic and political in nature. With their attention to formal and lyrical concerns, these poems tackle the problems of desire when it coincides with money and passion.
