Jan Zwicky, author of Robinson’s Crossing (Brick Books, 2004), interviewed by Jay Ruzesky in The Dark Mountain Project:


“I don’t think lyric poetry is ‘subjective’ in a sense that contrasts with Baconian ‘objectivity’ …. But I do think that if you read a good lyric poem, you have to give yourself to ways of thinking that aren’t conditioned by the Baconian ideal.”




Rigoberto González, writing in The Rumpus, about Iliana Rocha’s Karankawa (Univ. of Pittsburgh Press, 2015):


“… civilizations come stacked one atop the other on the same land, and therefore one cannot be explored without the other.”




Heather McHugh, author of Upgraded to Serious (Copper Canyon Press, 2012), interviewed by Matthea Harvey in BOMB,


“Taxonomies and categories help if what you want is to economize on thought. But if you want to enlarge on it, they hem you in: each line you draw between things makes it harder to keep the options open.”




Myriam Gurba, writing in The Rumpus about tatiana de la tierra, author of For the Hard Ones/Para las duras (A Midsummer Night’s Press, 2018):


“Linguistic pleasure and challenge remain eternally ripe.”




Robert Bringhurst, author of Selected Poems (Copper Canyon Press, 2012), interviewed by Matthew Spellburg in Guernica:


“A lot of poems seem, in some sense, to pull the outside world into the interior. They aren’t perhaps emotion recollected in tranquillity but perception recollected in interiority.”




Jenny McPhee, in Bookslut, writing about Alicia Gaspar de Alba’s book [Un]Framing the “Bad Woman” (Univ. of Texas Press, 2014):


“In a new paradigm Gaspar de Alba calls ‘Malinchismo,’ la Malinche becomes a heroine who resisted her literal enslavement to patriarchy by using her mind, tongue, and body to ‘cultivate her intellectual skills for her own survival and empowerment.’”




Warren Heiti, author of Hydrologos (Pedlar Press, 2011), interviewed at the Pedlar Press blog:


“A sincere and disciplined poem — no less than a carefully made loaf of bread — is a sacred act. It has no exchange-value.”




Carmen Giménez Smith, author of Milk and Filth (Univ. of Arizona Press, 2013), interviewed by Julian Gewirtz in Los Angeles Review of Books:


“… we talk a lot about jazz as being an American art but we don’t talk about spoken word as being an American art that was invented in the United States by an immigrant population, a diasporic population, as it were, the way that jazz was.”




David Lee Garrison, in VPR, about the poetry of Jared Carter, author of Darkened Rooms of Summer (Univ. of Nebraska Press, 2014):


“Though human beings are finite, they can do something or at least gain an awareness of something that is lasting.”




Blas Falconer, interviewed by Sebastian H. Paramo in the Letras Latinas Blog, about Falconer’s book The Foundling Wheel (Four Way Books, 2012):


“We can communicate with each other, perhaps more immediately and more powerfully, with a few particular details and gestures…”