Poetry
ARTUR SCHNABEL AND JOSEPH SZIGETI PLAY MOZART AT THE FRICK COLLECTION (APRIL 4, 1948)
By Lloyd SchwartzLloyd Schwartz is the Poet Laureate of Somerville, MA, the Frederick S. Troy Professor of English Emeritus at UMass Boston, the longtime music and art critic for NPR’s Fresh Air and WBUR, and an editor of the poetry and prose of Elizabeth Bishop. His awards include the Pulitzer Prize for Criticism and Guggenheim Foundation, NEA, and Academy of American Poets fellowships in poetry. His poems have been chosen for the Pushcart Prize, The Best American Poetry, and The Best of the Best American Poetry. His latest collection is Who’s on First? New and Selected Poems (University of Chicago Press). He was born in Williamsburg.
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By Ariel YelenAriel Yelen’s poems have been published in Poetry Magazine, BOMB, The American Poetry Review, and elsewhere. She’s the Associate Editor for the NYC-based publishing collaborative Futurepoem Books, and is also the founding editor of their digital space futurefeed. She’s taught classes on poetry for Rutgers Mason Gross School of the Arts, The Loft Literary Center, and Mana Contemporary, and lives in Brooklyn, NY.
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By Will StanierWill Stanier is a poet and printer from Athens, Georgia. He is the author of the chapbook, Everything Happens Next (Blue Arrangements, 2021). His poems have recently appeared in Annulet, The Baffler, berlin lit and RECLINER. He is currently studying to be a librarian.
Alphabet as letters
By Rachel Blau DuPlessisRachel Blau DuPlessis is the author of Drafts, NUMBERS, and several critical considerations of poetry and gender. Recent books are Selected Poems 1980-2020 from CHAX and A Long Essay on the Long Poem from University of Alabama. Expected soon are Life in Handkerchiefs (Materialist Press), Daykeeping (Selva Oscura), and Eurydics (Shearsman).
The Rate At Which
By Jaylen StrongJaylen Strong is a poet-worker, librarian curator, elegiac archivist, friend (to those who are his friends), and knows his enemies well. He is concerned with the necessity of the poet as a tool for revolutionary thought-struggle, and steward for the people. He is currently living inside his manuscript Weep Not a counternarrative document interrogating the arena of the death-tragedy of a beloved and grief-cartography.
Trans Genital Mutilation
or
SRS in Five Easy Steps
By Dahlia Damoiselle
Dahlia is a poetess, writer, educatrix, and sex industry worker who still smells like she’s in the dungeon.
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By Álvaro de Campos/Fernando Pessoa, translated from the Portuguese by Margaret Jull Costa and Patricio FerrariÁlvaro de Campos is a heteronym created by Portugal’s greatest modernist writer Fernando Pessoa. According to Pessoa, Campos was born in Tavira (Algarve) in 1890 and studied mechanical engineering in Glasgow (Scotland) though never managed to complete his degree. Orphaned at an early age, he embarked to the East in his early 20s where he became an opium addict, much like the Portuguese symbolist poet Camilo Pessanha (1867-1926). Back in Portugal, on a visit in the Ribatejo province, Campos met Alberto Caeiro—the literary master of Pessoa’s fictitious coterie. A dandy and flaneur, Álvaro de Campos read Blake, Whitman, and Nietzsche, among others. In his own day he was celebrated and slandered for his vociferous poetry imbued with Whitmanian free verse rhythms, his praise of the rise of technology and polemical views on the industrial civilization—also attested in manifestos, interviews and essays. Some of his most notable works such as the “Ode Marítima” [Maritime Ode], “Ultimatum,” and “Tabacaria” [Tobacconist’s Shop] were published during Pessoa’s lifetime. Fernando Pessoa didn’t end Campos’s life, so that this heteronym would survive his author who died in 1935.
Dale Herd’s Dreamland Court
By Dale Martin SmithDreamland Court presents a complex range of human experience and desire through vernacular soundings. In a way, this book is more like an epic poem than a novel, derived from the monologues of men and women searching for the meaning to the actions of their lives, making sense, or not, of experience at the often-overlooked extremes of the so-called American Dream.
In Conversation
Interdiasporic Frequencies: Divya Victor & Ariel Resnikoff
each letter, oiled with the familiar / flinty viridescence of mackerel, apostolic & fluttering down / wiped with the edge of a lungi, the frayed plaid dotting / tea terraces warbling with a green / so wet it rivers my lap, so wet it migrates my throat—from CURB, “Milestone 3 (We Are at Ease in Our Silence)” btwn the the tiny steel frame door a small concrete portal / & a stowaway—from Unnatural Bird Migrator, “Third Space”
