"Reincarnation" was the first poem I translated from Julia Wong Kcomt's collection "Bi-rey-nato"/"Vice-royal-ties," and it remains a favorite. I was drawn by the poem's eerie blend of stillness and small movements. This is one of those poems that practically translated itself—the sounds clicked into place early on, and the first two stanzas are unchanged from my first draft to the final published version.Jennifer Shyue on "Reincarnation" |
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Lynn Xu: "A Second Coming"
"Lynn Xu’s second book of poetry, And Those Ashen Heaps That Cantilevered Vase of Moonlight, reads like the Book of Revelation. The first word of that text is apokalypsis, meaning 'unveiling' or 'revelation,' and Xu’s poetry feels like a report from the end of time, the strangeness of which can only be conveyed with the strangeness of her language."
via THE ADROIT JOURNAL |
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What Sparks Poetry:
Rob Schlegel on Michele Glazer's fretwork
"In an explanation of the process the multidisciplinary artist Saul Melman uses in his Anthropocene Series (featured on the cover of fretwork) Glazer writes, 'The artist sets a process in motion, but the materials have the last word.' It's a deeply instructive metaphor for how Glazer allies with language to create poems that feel and sound as though she is tapping into a frequency just beyond herself." |
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