Jason Sommer
The last of a late night's argument,
the dreadful unsnarling of intent—
our what you said and what I meant
and neither of us penitent,
though nearly ready to relent
in laughter as we get the scent
of our absurdity, each pent
to a bed's edge, when the apartment
takes its turn as the respondent—
the babbling pipes, the sighing vent.
After the hours and anger spent,
what I continue to resent
is how, some sliver of a moment,
sleep comes for you, and for me doesn't.
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Much art involves theme and variation, and occasionally, as here, I like to be at play with form and the formal tradition. The elaborations and accretions in the aftermath of a lover’s quarrel are set in a version of a sonnet on a single rhyme that has the slightest variation at the close, all of which provides, I hope, the right sort of music for the words.

Jason Sommer on "Grudge"
Cover of Chelsey Minnis's new book, Baby I Don't Care
"The Poets Nightstand"

Michael Robbins discusses books by Diane Seuss, Chelsey Minnis, Natalie Shapero, Tongo Eisen-Martin, and Anahid Nersessian. Of Minnis's work he writes, "These nervy pieces are all attitude and bravado, like Robert Mitchum and Jane Greer in Out of the Past, which is to say they're terribly vulnerable and a little sad."

via POETRY SOCIETY OF AMERICA
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Cover of Jill Osier's book, The Solace is Not the Lullaby
What Sparks Poetry:
Eric Pankey on Jill Osier’s The Solace Is Not the Lullaby

"Osier is a poet I have never met and about whom I know very little, but her poems are mysterious, rich in their clarity, uncanniness, and clairvoyance. Her work feels at once familiar and strange, and that quality has haunted me."
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