Susie DeFord discusses process and life in the former Yugoslavia with former Poet Laureate Charles Simic, whose updated and expanded edition of The Horse Has Six Legs is out now from Graywolf.
Author archives for Susie DeFord
Susie Deford speaks with poet Kimiko Hahn about her new book, Toxic Flora, which repurposes facts from the New York Times Science section to create striking verse that probes feminist ethos, aging, and the mother-daughter dynamic.
I became familiar with Yuyutsu RD Sharma’s poetry on his recent long stay in New York to promote his latest collection Space Cake Amsterdam (Howling Dog Press 2009). Space Cake is a beautifully designed book with artwork by the artist Henry Avignon. In the Beat tradition, the Nepali poet chronicles his travels through Europe and America. Read on…
I was immediately drawn to Lynn Emanuel’s latest book of poetry Noose and Hook because of the bright yellow cover with a picture of a barking dog on it. The cover, and the fact that it was published by University of Pittsburgh Press which has consistently put out smart poetry collections since 1936 by authors such as Denise Duhamel, Barbara Hamby, and Billy Collins. Noose and Hook is no exception to Pittsburgh’s stellar catalog.
I encountered Damian Rogers for the first time at this year’s US Poets in Mexico workshop. She was walking around Mérida, Mexico, frazzled, trying to track down her luggage that had been lost by the airline she’d flown in on a few days earlier. Despite her lack of possessions in a strange city, she made smart-ass remarks with me in the van to Chichen Itza and talked poetry and music.
Catherine Wagner’s third collection My New Job (Fence Books 2009) is a highly structured work of experimental poetry in which we follow Wagner through both physical and poetic exercises. In the first section, “Exercises,” she writes a poem for each session of physical therapy she endures after a collarbone accident. The second section, “A Hole in the Ground,” evokes Sylvia Plath and Gertrude Stein as Wagner questions sexuality and politics with precision.
Ugly Duckling Presse describes its Dossier Series as “idea-based books, pamphlets, and other objects” that “don’t share a single genre or form—long poem, lyric essay, criticism, artist book, polemical text—but rather an investigative impulse.” The most recent title of this series is Ten Walks/ Two Talks by Jon Cotner and Andy Fitch. Inspired in part by Basho’s meditative travel diaries, Cotner and Fitch observe today’s New York City with the freshness of travelers’ eyes.
Catie Rosemurgy’s second poetry collection, The Stranger Manual (Graywolf Press 2009), is a heady, yet playful romp through the American psyche. Through her main character, Miss Peach, Rosemurgy questions gender roles in the tradition of PJ Harvey and Liz Phair. Her setting for many of the poems is a somewhat fictitious place Gold River, a sort of Anytown, USA. Reminiscent of Sylvia Plath, Virginia Woolf, and Anne Sexton, Rosemurgy’s precise, restrained language prods into the darkness behind the seemingly mundane nature of her characters and places.
It’s hard to classify Joanna Fuhrman’s poetry. David Shapiro calls it “infra-surrealism” and the press release for her fourth collection Pageant (Alice James Books 2009) defines it as “pop-surrealist lyrical poetry,” but it’s more than that. Unlike a lot of surrealist poetry, Fuhrman’s work actually makes sense.
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