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Four Poems
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The Call and Response of the Ensemble Novel: A Conversation with Emily Nemens
“I do think a lot about musical structures, and call and response. There is a common source to both writing and music—some of these patterns that we digest and metabolize as musicians about structure and callbacks. I love telling my…
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Obliteration and Authorship: On Hamid Ismailov’s “We Computers”
Jon-Perse’s vision for computer generated poetry can be summed up as a kind of obliteration of the author.
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Meaning in the Ice and “A Violence: Poems” by Paula Bohince
Like silence, violence is not quantifiable. Put the indefinite article “a” in front of it and the monolithic world of violence shutters into a reflective surface of infinite, biodiverse fragments. What counts as violence?
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Knowing the End before the Beginning: A Conversation with Jonathan Miles
The distinctions we make between ourselves and our animal brethren tend to be very self-flattering. We have unique skills and capabilities, to be sure, but they’re just fractionally different from those of many animals, and our primal drives are essentially…
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Four Poems
Kwikset That lock we kept on our doorwasn’t so much of a lock as a nonbinding contract I keptwith an outside world only vaguely complicitin our agreement— something we might forget aboutif one of us didn’t sign it every day—…
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A Backyard of One’s Own: The Meticulous Ecology of Cecily Parks’ “The Seeds”
The incisive precision of The Seeds’s assemblage cannot be overstated: if the collection is an ecosystem, its sections and sequences are habitats, and each poem is a haunt. The poems are divided into five sections, bookended by a hackberry, and…
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