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Bert Meyers
Outside, nothing moves: only the rain
nailing the house up like a coffin.

Remember, in childhood, when it rained?
Then, the whole world sailed down the alley:

leaves, paper, old shoes, the buildings,
everything like a circus going to sea.

Now, the rain, the iron rain, with its little keys
is closing all the doors . . .

and I think we're all dead. See how the sky
sits like a tombstone on the roofs.
from the book BERT MEYERS: ON THE LIFE AND WORK OF AN AMERICAN MASTER / The Unsung Masters Series
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Reading Bert Meyers cleanses the senses. His poems intimately connect a reader to the physical gifts of the earth, to truly being an animal, and to the living, trembling moment. When I need to ground myself, touch the essential natures of things, I read Bert Meyers. His images are that tactile, concise, and alive. Bert’s poems teach us to gaze intently, with our whole, hungry souls, and to recognize immensities in the seemingly simple, the apparently humble, the easily overlooked.

Amy Gerstler on Bert Meyers
Color illustration of two figures touching hands over the space between two balconies above a city at night
"Echo and Break": Megan Fernandes

"It’s clear that for Fernandes, love means a fugitive intimacy, a way of being together that escapes the language and jurisdictions of power. If ethics enter this domain, they do so as a horizon of potential, not prescriptive rules. As the winking title I Do Everything I’m Told shows, love can also be logos—a way of making language flesh and vice versa. (Erotic love, in this collection, often sounds like divine love.)" 

via POETRY FOUNDATION
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Cover image of Don Mee Choi's book, DMZ Colony
What Sparks Poetry:
Jennifer Kronovet on Don Mee Choi's DMZ Colony


"'Cruelty and beauty—how do they coexist?' Don Mee Choi asks this question in the middle of her book DMZ Colony. To say that she answers that question is not quite right. What Choi does is harder: she gives us new ways to think it through—she creates a vocabulary, syntax, multiple codes, maps, and sounds so that we can enter specific devastations, see how they weave, like all colonial disasters, backward and forward in time."
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