Remind me to show you where the horses finally got freed
for good—not for the freedom of it, or anything like
beauty, though their running was for sure a loveliness, I'm
thinking more how there's a kind of violence to re-entering
unexpectedly a space we never meant to leave but got
tom away from so long ago it's more than half forgotten,
not that some things aren't maybe best forgotten, at a
certain point at least, I've reached that point in my own life
where there's so much I'd rather not remember, that
to be asked to do so can seem a cruelty, almost; bad enough,
some days, that there's memory at all, though that's not
exactly it, it's more what gets remembered, how we
don't get to choose. For example, if love used to mean
rescue, now it's more gladiatorial, though in the end
more clean: Who said that? Not the one whose face I've
described somewhere as the sun at that moment when,
as if half unwilling, still, to pull itself free from the night's
shadow-grove of losses, it first begins to appear. No.
Not that one. And not the one whose specialty was
making a bad habit sound more excusable by calling it
ritual—since when do names excuse? Wish around for it
hard enough, you can always find some deeper form
of sadness where earlier—so at least you thought—mere
sorrow lay . . . I'd been arguing the difference between
the soul being cast out and the soul departing, so I
still believed in the soul, apparently. It was that long ago.
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Head Shot of Levi Romero
New Mexico Names Its First Poet Laureate

"The state’s selection of Levi Romero—a poet, architect, lowrider, and professor of Chicano studies who writes in Spanish, English, and Spanglish, with and without italics—doesn’t just embody the beguiling complexities of New Mexico. It also underscores the importance of literary representation in the state with the greatest percentage of Hispanic residents."

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What Sparks Poetry:
John Cotter on Bill Knott’s "(Sergey) (Yesenin) Speaking (Isadora) (Duncan)"

"I realized eventually the intensity of my hero worship was too unwieldy, though only about six or seven months after my friends did. I also knew I’d never find my own voice if I kept imitating Bill’s. I pushed off toward other mentors—no one I interacted with personally, just voices in books—but it was never the same. Poetry was too lonely without Bill in my head." 
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