Criticism
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Form as Historical Memory: On D. M. Aderibigbe’s “82nd Division”
Are elegies fundamentally love poems? Or are love poems always tinged with elegy, knowing they contain their own ending?
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Consider the Rooster
Aren’t we complicit if we eat the chicken stew? I can’t help but ask myself this. I want the answer to be no, but the collection points to maybe, even towards yes. We are also complicit as we dig in…
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Under Surveillance: Benjamin H. Snyder’s Spy Plane
Righteous Black rage spilled over the borders into the downtown Inner Harbor. The cover of TIME magazine showed a mob of cops in riot gear chasing a young Black person down the street in front of Oriole Park. It was…
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Kafka in Kashmir: Zahid Rafiq’s “The World With Its Mouth Open”
Picture this: You awake to get ready for a cricket tournament. You have been excited for this particular cricket tournament, it’s a special event, a star-studded one. You are going to be on the field and play against sports stars…
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On Natalie Shapero’s “Stay Dead”
In Shapero’s words, “everyone is a worker.” If many of life’s actions are performances done for payment, so that even oxygenation is “a service / the woods provide,” then art forms like acting, painting, and writing are also determined by…
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Now More than Ever, We Need “The Happiest Band on Earth”
It’s a sentiment at the core of The 502s’ origin story. In 2015, Isola and a pair of cousins founded the band, and while they were searching for a name, Isola and one of the cousins (who happened to live…
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O’ Frankenstein: A Resurrection of Manman and Tifi in Catherine-Esther Cowie’s “Heirloom
We begin to wonder how this past might become vivified in our hands. An heirloom might serve this purpose. Or it should. Is an heirloom not typically an item of great value, cherished and preserved to be passed on to…
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The Taxonomy of Girlhood: Review of Susan L. Leary’s “More Flowers”
More Flowers interrogates how patriarchal authority persists even in its absence, transmitted through maternal caretaking rather than overt dominance. While an authoritative male figure is not present, the mother still governs by his rule, passing down restrictive and traditional expectations…
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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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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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What Holds: Manners and Memory in “The Summer We Ate Off the China”
This refusal to treat trauma as singular or sacred, to set it apart from the texture of ordinary life, is among the collection’s quietly bracing achievements. Jacobson’s stories don’t deny suffering. But they do deny it the dignity of exception…