Somewhere It's Still Summer
Carl Phillips
                             Here's where they stopped to rest, presumably, this
easy-enough-to-miss depression in the low-cut grass. I like
to think they had a chance to sleep a bit, before
          everything else, all the rest that followed, that they neither
                   deserved nor didn't,
                   the way I see it. I prefer a clean view—
                            always have—unencumbered by moral valence; if given
                   paper and told to draw morality, I'd draw a cloud
                   of meadowlarks when all at once, as if on some cue long ago
          agreed upon,
they disassemble. If most people would draw
a different picture—or say it can't be drawn, morality,
          being abstract, as if that meant shapeless (define shape)—
                   that doesn't make me wrong or miles ahead of everyone, it
                   means I'm not
                            someone else, a fact in which I take no little
                   pride, though I try to do so humbly, which is to say, in private,
                   I keep my best to myself; my worst
          also. I think the truth
lies elsewhere. As with sex, or the weather, or betrayal,
would you rather be surprised, disturbed, bewitched,
          or merely entertained, is maybe
                   one way of putting it. Another:
                             they were men who faltered in front of danger the way
                                      most men do, who haven't had to live with it. The kind
                             of men who, having ridden bareback for the first time,
                             think they know what it
                   feels like, to be a centaur—
          the horse's body, the man's
          steep chest, all hybridity
                   and power, two powers
                            especially, lust and intellect, a combination that has
                            mostly worked, though we all make mistakes. Right? We
                                      all do? I know a centaur
                            when I see one. These
                            were men, riding horses. Absolutely nothing mythological
                   about them.
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Composite image of the headshots of the 2024 National Poetry Competition winners
"Meet the 2024 National Poetry Series Competition Winners"

"The National Poetry Series congratulates the five winners of the 2024 National Poetry Series Competition: Games for Children by Keith Wilson chosen by Rosalie Moffett for Milkweed Editions; 82nd Division by D.M. Aderibigbe chosen by Colin Channer for Akashic Books; Blue Loop by AJ White chosen by Chelsea Dingman for University of Georgia Press; Our Hands Hold Violence by Kieron Walquist chosen by Brenda Hillman for Beacon Press; Shade is a Place by MaKshya Tolbert chosen by Maggie Millner for Penguin"

via THE NATIONAL POETRY SERIES
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What Sparks Poetry: Spencer Reece on "Veni Creator Spiritus"

“Grief the weather over my desk as I wrote some of these poems. Grief fogging up the windowpanes in particular poems. Grief came with its own weird chant, grief that strange emotion where you know what you miss before you understand why. In this poem, a young man dies. Like in the poem, his name is Steven Hobbs. The name engraved into my tombstone of a poem. The ambition of the poem? Remember Steven Hobbs. The labor of the poem? Love. The words my Doric column for Eternity."
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