Peter LaBerge
But in the dream, somehow, it was new. It was
just us — just us down the curved tongue

of California, and the faux wind
of the Mustang you rented, it made

your quarantine hair a wildness
I didn't think to capture until after

it returned wherever it came from —
but the thought

lingered, even — hours later — in the motel bed
I dreamt for us, down the throat of evening, once

VACANCY announced itself, martini green, across
our faces, even through

drawn curtains. The thought
                  lingered until the sun sputtered

back into the sky and we woke
to NO across the sheets, to morning

with bathrobes left braided
in a sleep-kicked pile, terry cloth still

slick with night, the condom perhaps
floating, bloated, in the toilet, another

slithering down the pipes. It was just us
in that sand-white Mustang, and I spent

the whole day as I had all winter: thinking
about every part of you I could remember —

it was then in the dream I realized
what I needed to tell you wasn't something

I could tell you in a poem.
It was something I had to show.
from the journal KENYON REVIEW
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This was, to put it simply, a moving-on poem. A poem reckoning with the stubbornness of severed infatuation. I wrote the poem during the pandemic about a long-distance pandemic romance, which felt always encased in the surreal, even in its most real and unflinching moments. I found myself relying on the miracle of collapsed distance that dreaming often affords us in grief—suddenly, I could be, indeed, across the country in a Mustang with a man who days earlier had a change of heart. The poem's drafting also taught me that sometimes we need to put the poem away and just communicate—directly, with heart.
 
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Vintage black-and-white headshot of T. S Eliot
"Why (Most) Critics Hated The Waste Land"

Christopher Morley wrote in the New York Evening Post of January 9, 1923, "Eliot is a mighty clever chap, and The Waste Land is unquestionably a highly sophisticated and cathartic bolus of cynical humor. But it has almost crazed some of the more advanced critics, who try with lamentable gravity to find Deep Meanings in some high-spirited spoofing."

via LITHUB
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Color cover image of the translation of Celia Dropkin's book, The Acrobat
What Sparks Poetry:
Jennifer Kronovet on Celia Dropkin's "A Fear Growing in My Heart"


"Brazenness, surprise at my own flagrant flowering, disgust and enthrallment with my physical transformations, and a bloody lust: all of these things that Dropkin experienced, I have been able to experience on her terms, through them. Would I have known how to without her words? Would I have known how to come through the other side dripping with lyric instead of wrecked by frameless feeling?"
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