Heather Desaulniers, writing in ballet-dance magazine, about Renée D’Aoust’s Body of a Dancer (Etruscan Press, 2011):


“… advanced study can feel like an elusive game of hide and seek….”




Rajiv Mohabir, author of The Taxidermist’s Cut (Four Way Books, 2016), interviewed in Mistake House:


“In order to make a more just and fair world we must first envision this. We call things into incarnation by thinking and writing them down.”




Claire Bateman, author of Coronology (Etruscan Press, 2010), interviewed by Nin Andrews on the Best American Poetry blog:


“Speaking of faith, inasmuch as I can imagine Judgment Day (whatever that may be), I envision it as, among other things, a revelation of everyone’s works of beauty/artistic exploration that remained undiscovered in life.”



Brenda Cárdenas, author of Boomerang (Bilingual Press, 2009), interviewed by Wendy Vardaman in Verse Wisconsin:


“In some ways, a bit of isolation can be good for a writer. It is, after all, a solitary activity. And I believe there is a big difference between a community of artists and a ‘scene.’”




Brian Henderson, author of [OR] (Talonbooks, 2014), interviewed by Rob McLennan on McLennan’s blog:


“I’m interested … in that remainder, that left over, that lies outside the realm of the Symbolic which might therefore show us something of the Real.  How the non-place of language opens a gap in the world….”




Walid Bitar, author of Divide and Rule (Coach House Books, 2012), interviewed by Carmine Starnino in The Véhicule Press Blog:


“What is an “apolitical” poet? One who implicitly promises not to offend or oppose the powerful cliques in his/her society. No poet would take such a promise seriously.”




Susan M. Schultz, writing on the Tinfish Editor’s blog about Steven Shrader’s The Arc of the Day/The Imperfectionist (Tinfish Press, 2013):


“The sestina is a precise instrument, in other words, toward a poem that courts imprecision, ending not where the poet demands that it end but where the language mandates it.”




Erin Watson, writing in The Volta Blog about Linda Hogan’s Dark.  Sweet. (Coffee House Press, 2014):


“Sometimes everything you read seems to be about everything else you read, particularly in this trying, inescapable political landscape. The body moving through space, time, and memory. The body in history. The body of an American woman.”



Allison Titus, author of  The Arsonist’s Song Has Nothing to Do with Fire (Etruscan Press, 2014), interviewed by Ruth Awad, at Awad’s blog:


“Life is hard and sad and strange, and also miraculous: why pretend it’s anything else?”



Andrea Dulberger, writing in New Pages, about Crystal Williams’s Detroit As Barn (Lost Horse Press, 2014):


“… a reminder that history is shimmering, that it is not one thing.”