Backwaters Prize in Poetry – serie

Winner of the Backwaters Prize in Poetry, Jennifer K. Sweeney’s Foxlogic, Fireweed follows a lyrical sequence of five physical and emotional terrains-floodplain, coast, desert, suburbia, and mesa-braiding themes of nature, domesticity, isolation, and human relationships.These are poems of the earth’s wild heart, its searing mysteries, its hollows, and its species, poems of the complex domestic space, of before and after motherhood, gun terror, the election, of dislocation and home, and of how we circle toward and away from our centers. Sweeney is not afraid to take up the domestic and inner lives of women, a nuanced relationship with the natural world that feels female or even maternal, or a duty to keeping alive poetry’s big questions of transcendence, revelation, awe, and deep presence in the ordinary.

In Susan Firer’s The Laugh We Make When We Fall, peonies; snow drops, “with all their survivor ecstasies”; “windy caravans of lilacs”; and “Dali Lama-robed “ daylilies act as magnets to attract history-personal and historical-myths, language, facts, love, gratitude, prayers, beauty, and ”all the colors of death and sex.” Family oddities appear in this collection, as well as Catholic rituals, saints, and ghost poets. Always ghost poets: Whitman, Neruda, Thoreau, and Saint Francis.In these poems, “toads/ pull their finished skins off/ delicately as evening gloves,” and in “Birds” you can look into an injured bird’s neck and see “everywhere it had ever flown…” see “insects, & seeds, & amphibians,/ & even a piece or two of snake.” Using list poems, exploded elemental odes, lyrics, and American sonnets, Firer writes her own survivor ecstasies: “I was buried under/deaths: mother’s, father’s, sisters’ deaths wrapped me/ like surgical wrap. And who and where would I be/ when all their gauzy deaths were removed?” In poem after poem in this collection, Firer begins to explore and to answer that question. This collection is "a wild generosity of spirit," creating an effect that is "sacramental."

A book-length poem in six sections, Long Rules takes readers to five Trappist monasteries in the southeastern United States to consider the intersections of solitude, family, music, and landscape. Its lines unspool in a loose and echoing blank verse that investigates monastic rules, sunlight, Saint Basil, turnips, Thomas Merton, saddle-backed caterpillars, John Prine, fatherhood, and everything in between. Looking inside and outside the self, Perry asks, what, or whom, are we serving? Winner of the Backwaters Prize in Poetry, this essay in verse contemplates the meaning of solitude and its contemporary ramifications in a time of uncertainty.

Finalist for the 2023 Virginia Literary AwardsFinalist for the 2023 Eric Hoffer Book AwardDeeply phenomenological and ecological, Laura Bylenok’s poems in Living Room imagine the lived reality of other organisms and kinds of life, including animals, plants, bacteria, buildings, and rocks. They explore the permeability of human and nonhuman experience, intelligence, language, and subjectivity. In particular, the poems consider so-called model organisms-nonhuman species studied to understand specific and often human biological processes, diseases, and phenomena-as well as an experience of self and world that cannot be objectively quantified. The impulse of these poems is to slow down, to see and feel, and to listen closely. Language becomes solid, palpable as fruit. Long lines propel breath and push past the lung’s capacity.Life at a cellular level, synthesis and symbiosis, is revealed through forests, fairy tales, and vines that grow over abandoned houses and hospital rooms. A living room is considered as a room that is lived in and also a room that is alive. Cells are living rooms. A self is a room that shares walls with others. Interconnection and interplay are thematic, and the network of poems becomes a linguistic rendering of a heterogeneous and nonhierarchical ecosystem, using the language of biology, genetics, and neurochemistry alongside fairy tale and dream to explore the interior spaces of grief, motherhood, mortality, and self.

Gold Medal for the 2024 Illumination Book AwardHonorable Mention for the 2024 Catholic Media Association Book Award Winner of the Backwaters Prize in Poetry, Butterfly Nebula reaches from the depths of the sea to the edges of space to chart intersections of the physical universe, the divine, the human, and the constantly unfolding experience of being “one thing in the act of becoming another.” This collection of poems teems with creatures and cosmic phenomena that vivify and reveal our common struggle toward faith and identity. The longing and metamorphosis of the human heart and soul are reimagined in an otherworldly landscape of firework jellyfish, sea slug, stingray, praying mantis, butterfly and moth, moon and star, and celestial events ranging from dark matter and Kepler’s Supernova remnant to a dozen classified nebulae. Our desire for purpose and renewal collides with the vast constellation of divine possibility in this collection, which invites the reader to enter a transformative world both deeply interior and embracing of the far-flung cosmos.

Winner of the Backwaters Prize in PoetryDear Wallace addresses the poet and insurance executive Wallace Stevens in an attempt to reconsider art, power, and creativity amid the demands of everyday responsibility. Exploring relationships between modernism, motherhood, poetry, and privilege, the speaker of these poems puts her daily routines in dialogue with his. Curious, funny, and wry, Julie Choffel confronts Stevens as an unlikely peer who lived and wrote in the same city and weather as she does now, imagining a present-day conversation about the many ways creative practice is informed by social context. As we struggle to marry creative independence with our communal obligations, the questions in these poems are more urgent than ever. Stevens, a proxy for beauty, inventiveness, and legitimacy, becomes an audience for the ennui, anxiety, and politics of care that characterize another kind of writer’s life today.

Winner of the Backwaters Prize in PoetryWolves in Shells is a modern monomyth telling the story of a woman navigating homelessness, trauma, and memories as she attempts to leave a violent partner. Reflecting on her familial heritage, this survivor grapples with the way she, the women of her history, and her daughter have been conditioned to accommodate the demands of the male ego and predation. Reflective, clear-eyed, and incisive, the poems of Wolves in Shells feature O-Six, a wolf born into the rewilding territory of Yellowstone National Park in the 1990s who serves as a metaphor for women who must cope with violence and survive on their own. Drawing from Gaston Bachelard’s quote “wolves in shells are crueler than stray ones,” the narrative considers how survival requires a balance of protectiveness, risk, trust, and escape.

Winner of the Backwaters Prize in PoetryThe word "hum" in Urdu can mean both "we" and "I." In English, it's a gesture of sound—a vibration. Sanam Sheriff's HUM is a trans call to the beauty of attempt rather than the clarity of arrival. This book seeks as the pilgrim seeks, wandering from a plural sense of self with a lyric attunement to the wound's power.Following a queer, trans, Muslim speaker who grew up in southern India and migrated to the United States, Sheriff's debut collection invites us to listen: to how yearning for a country blurs with yearning for a beloved; to how exile, for queer and trans people, is where the body itself becomes a place of dignity and prayer.Enriched by Urdu lyric traditions of love, and love mourned, HUM raises the queer erotic to the heavens, even as the grief of separation lingers as paradise lost. Here, Sheriff weaves together the two most potent threads of human life: pain and love, strummed until they sing.