If you've seen a prayer spoken, you know something
    of what I mean. The purpose of the prayer list,
        read by the priest aloud, prior to a silence, is to hold

        names' wetted wafers in the mouth. A person
    creaks like small gravel—you told me that.
You told me trees make speech sounds, growing.

You're not one person, but it's clear you're far
    from the plot I've made. Hard ground. Every cold 
        recalls first cold, as in my Virginia's first winter, a wind

        half-silvered, sharp as a mirror we're given back through 
    but through which we can't see. Same as now. In Appalachia
sometimes a German custom kept: sink a nail in a tree.

at the height of a child, to cure her. This presumes the child
    has time to grow past what's driven. Presumes incantation
        and walking eastward. Certain conditions must be met

        that other events may follow. The list keeps growing
    in quiet. The mirror might show a fix and distance
you didn't intend. Land slips. Its red color . .

You take the child from home to tree before day; neither of you
    may speak a word. And if you've seen a handmade nail,
        you can't help but drnw the modern ones

        backward, the way art of dark caves portends our paintings:
    an abiding absorption in effigies, marks, and asking
that something happen, and in the way we want.
from the book CLOSE RED WATER / Barrow Street Press
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Cover image of Paisley Rekdal's book, West: A Translation
"Winners of Kingsley & Kate Tufts Poetry Awards"

"Paisley Rekdal (West: A Translation, Copper Canyon Press) is the winner of the $100,000 Kinglsey Tufts Award, and Jacqui Germain (Bittering the Wound, Autumn House Press) is the winner of the $10,000 Kate Tufts Discovery Award. Both awards commend outstanding poetry volumes published in the preceding year, with a legacy that includes books by luminaries such as Henri Cole, Tom Sleigh, Patricia Smith, and Ross Gay."

viaCLAREMONT GRADUATE UNIVERSITY
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Cover image of Jessica Fisher's book, Daywork
What Sparks Poetry:
Jessica Fisher on Language as Form


"When the voice began, it wasn’t mine, nor did it belong to anyone else in particular—it was instead something like the possibility of speech beginning again, after a period of long silence. Writing often begins for me with this form of potential opening, and the work is to follow the voice as it accrues—or, to follow its underlying rhythm. I love that the I/you relation so central to lyric poetry can accommodate a simultaneous intimacy and anonymity, that there doesn’t have to be any external circumstance to which the poem refers."
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