On August 27, 1959—or was it September 3?—a fresh and enigmatic cultural movement was supposedly born, according to which the poem might be located “at last between two persons instead of two pages.” But if one may as well make a phone call (or send an email) as compose a poem, does the choice of form—blank verse over Instant Message, for example—reveal the poet as a narcissist, a poseur intellectual fixated on fame?
Tag Archives: Word Choice
“Your Inbox. Love, Manila” by Kimberly Quiogue Andrews
“Contrabass” by John Thomas
“Hum” by Kirk Nesset
“No Science” by Weston Cutter

Weston Cutter turns his regard to the rare enigma of the quotidian: shunning any suggestion of pretension in favor of an Ammonsian phrasing, “No Science” mulls over clues pulled from their contexts, tapping into questions of exclusion and intrusion, the thin distinction between durability and stability.
“Midday” by Yael Shinar
“Balloons the Shape of Manhattan” by John Randolph Carter

John Randolph Carter’s taut but rangy take on Americana merges familiar subjects and settings to a satisfyingly bizarre effect. His verse strikes a difficult balance between originality and appeal, luring in the audience with its tidy structure, friendly diction, and tasteful embellishment, only in the end to reveal its surprise as omen.
“Prayer, 6/13/08″ by Jamie Quatro
While Michael Lays Dying by Rosemarie Castoro

Before I was aware of the news, I just had a good friend for tea, and he helped me bring some pictures out in the light. Little did we know, an unveiling of another kind was happening in California.







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