Hollis Summers Poetry Prize - Böcker

Influenced by Alice Notley, Eileen Myles, Rachel Zucker, and other poets of the New York school, the poems in Retribution Forthcoming blend a talky, quick, funny voice with candid examinations of gender norms, class pressures, and the existential. Their speaker explores her mortality anxiety through her experiences of gendered exploitation, reflecting on bodily autonomy and the nexus of violences that women face.Using oblique and direct strategies, these poems recount sexual coercion, the ways consumerist society reinforces and reifies gender conformity and performativity, and the psychological ramifications of these abuses of power. Retribution Forthcoming examines selfhood, consciousness, and mortality as they intertwine with our identities and the ways those identities are politicized. At its core, though, this book is an account of sexual assault and its aftermath, exploring how trauma interacts with belief and our ability to trust others and ourselves.

In the world of Memye Curtis Tucker's poetry, the observed are on display, on trial, on guard, or disappearing, and often changed by the eyes upon them; the gazers are benevolent, threatening, judgmental, separate, invisible.There is in the poems a surface accessibility; mysteries in this book are not puzzles or ellipses, but moving revelations of paradox and unending possibilities. And while many are meditative there is always the tug of the narrative impulse.Northrop Frye has remarked upon the centrality of the epigram in Tucker's writing. But beyond the epigrammatic quality and the elegiac stance of much of her work, whether her subject matter is a turkey caller or a town covered over by an airport runway, is the hope of holding on, even if provisionally, to what disappears by watching as it is transformed through memory and art into "a fugue, a twisting leap, pigment the color of flame."Louis Simpson, this year's judge of the Hollis Summers Poetry Prize, said of Tucker's work, "the writing is elegant in the sense engineers use, the forms and style being fitted to their purpose. I was not able to predict what this highly intelligent writer would turn to next, and found that whatever it was would be a pleasure to read."

In the world of Memye Curtis Tucker's poetry, the observed are on display, on trial, on guard, or disappearing, and often changed by the eyes upon them; the gazers are benevolent, threatening, judgmental, separate, invisible.There is in the poems a surface accessibility; mysteries in this book are not puzzles or ellipses, but moving revelations of paradox and unending possibilities. And while many are meditative there is always the tug of the narrative impulse.Northrop Frye has remarked upon the centrality of the epigram in Tucker's writing. But beyond the epigrammatic quality and the elegiac stance of much of her work, whether her subject matter is a turkey caller or a town covered over by an airport runway, is the hope of holding on, even if provisionally, to what disappears by watching as it is transformed through memory and art into "a fugue, a twisting leap, pigment the color of flame."Louis Simpson, this year's judge of the Hollis Summers Poetry Prize, said of Tucker's work, "the writing is elegant in the sense engineers use, the forms and style being fitted to their purpose. I was not able to predict what this highly intelligent writer would turn to next, and found that whatever it was would be a pleasure to read."

In choosing the winning manuscript for the Hollis Summers Poetry Prize, judge Andrew Hudgins remarked: "With immense poetic verve, Pelizzon finds flamboyance in places where it has been forgotten and brings it back to vivid life—and she sees it for what it is. Her vision is then both passionate and dispassionate at the same time, a maturity of perspective that is just one of the many accomplishments of this superb first book."In Nostos (the voyage of return) V. Penelope Pelizzon demonstrates again and again a worldly perspective, made clear and complex by her intelligence that is itself a treat to witness at play. Whether set in a Purgatory garden or on the platform of a bombed train station, these poems enthrall with language that is, in the words of one reader, "both the vehicle for vision and the vision itself."Nostos is indeed a voyage—of the mind and heart—guided by Pelizzon's compelling images and rhythms and one that returns us to where we started, but not unchanged.

In choosing the winning manuscript for the Hollis Summers Poetry Prize, judge Andrew Hudgins remarked: "With immense poetic verve, Pelizzon finds flamboyance in places where it has been forgotten and brings it back to vivid life—and she sees it for what it is. Her vision is then both passionate and dispassionate at the same time, a maturity of perspective that is just one of the many accomplishments of this superb first book."In Nostos (the voyage of return) V. Penelope Pelizzon demonstrates again and again a worldly perspective, made clear and complex by her intelligence that is itself a treat to witness at play. Whether set in a Purgatory garden or on the platform of a bombed train station, these poems enthrall with language that is, in the words of one reader, "both the vehicle for vision and the vision itself."Nostos is indeed a voyage—of the mind and heart—guided by Pelizzon's compelling images and rhythms and one that returns us to where we started, but not unchanged.

The winning manuscript of the fourth annual Hollis Summers Poetry Prize is also the exciting American debut by a poet who has already established himself as an important international poetic voice. Midland, the seventh collection by Kwame Dawes, draws deeply on the poet's travels and experiences in Africa, the Caribbean, England, and the American South. Marked equally by a lushness of imagery, an urgency of tone, and a muscular rhythm, Midland, in the words of the final judge, Eavan Boland, is "a powerful testament of the complexity, pain, and enrichment of inheritance…It is a compelling meditation on what is given and taken away in the acts of generation and influence. Of a father's example and his oppression. There are different places throughout the book. They come willfully in and out of the poems: Jamaica. London. Africa. America. But all the places become one place in the central theme and undersong here: which is displacement…The achievement of this book is a beautifully crafted voice which follows the painful and vivid theme of homelessness in and out of the mysteries of loss and belonging."Midland is the work of a keen and transcendent intellect, a collection of poems that speaks to the landscape from inside, from an emotional and experiential place of risk and commitment.

The winning manuscript of the fourth annual Hollis Summers Poetry Prize is also the exciting American debut by a poet who has already established himself as an important international poetic voice. Midland, the seventh collection by Kwame Dawes, draws deeply on the poet's travels and experiences in Africa, the Caribbean, England, and the American South. Marked equally by a lushness of imagery, an urgency of tone, and a muscular rhythm, Midland, in the words of the final judge, Eavan Boland, is "a powerful testament of the complexity, pain, and enrichment of inheritance…It is a compelling meditation on what is given and taken away in the acts of generation and influence. Of a father's example and his oppression. There are different places throughout the book. They come willfully in and out of the poems: Jamaica. London. Africa. America. But all the places become one place in the central theme and undersong here: which is displacement…The achievement of this book is a beautifully crafted voice which follows the painful and vivid theme of homelessness in and out of the mysteries of loss and belonging."Midland is the work of a keen and transcendent intellect, a collection of poems that speaks to the landscape from inside, from an emotional and experiential place of risk and commitment.

The Palace of Bones by Allison Eir Jenks is an often stark and startling vision of the way we live, the places we inhabit, and the relics we make to comfort ourselves.Haunted by a quiet, unquenchable longing, Jenks expertly and calmly guides the reader through a vivid dreamscape in this first full-length collection of poems.The Palace of Bones was selected by final judge and Pulitzer Prize winner Carolyn Kizer. At once dark in its vision and light in its tone, this remarkable book is its author's self-confident invitation for us to join her in a world she knows intimately and has made almost familiar if not entirely safe.The Palace of Bones is a stunning debut.

The Palace of Bones by Allison Eir Jenks is an often stark and startling vision of the way we live, the places we inhabit, and the relics we make to comfort ourselves.Haunted by a quiet, unquenchable longing, Jenks expertly and calmly guides the reader through a vivid dreamscape in this first full-length collection of poems.The Palace of Bones was selected by final judge and Pulitzer Prize winner Carolyn Kizer. At once dark in its vision and light in its tone, this remarkable book is its author's self-confident invitation for us to join her in a world she knows intimately and has made almost familiar if not entirely safe.The Palace of Bones is a stunning debut.

In Solving for X, his award-winning collection of new poems, Robert B. Shaw probes the familiar and encounters the unexpected; in the apparently random he discerns a hidden order. Throughout, Shaw ponders the human frailties and strengths that continue to characterize us, with glances at the stresses of these millennial times that now test our mettle and jar our complacency. Often touched with humor, his perceptions are grounded in devoted observation of the changing world.As in his previous collections, Shaw in these poems unites conversational vigor with finely crafted metrical lines. Final judge Rachel Hadas says it best: "Solving for X is droll and puzzled, elegiac and satirical in equal measure. Shaw's attention alights on a variety of more and less tangible things—a seed catalog, a shirt, a bad book, a request for a letter of recommendation, an irritating colleagues's death—which his masterfully packed lines then proceed to light up with deliberate and unforgettable authority."

In Solving for X, his award-winning collection of new poems, Robert B. Shaw probes the familiar and encounters the unexpected; in the apparently random he discerns a hidden order. Throughout, Shaw ponders the human frailties and strengths that continue to characterize us, with glances at the stresses of these millennial times that now test our mettle and jar our complacency. Often touched with humor, his perceptions are grounded in devoted observation of the changing world.As in his previous collections, Shaw in these poems unites conversational vigor with finely crafted metrical lines. Final judge Rachel Hadas says it best: "Solving for X is droll and puzzled, elegiac and satirical in equal measure. Shaw's attention alights on a variety of more and less tangible things—a seed catalog, a shirt, a bad book, a request for a letter of recommendation, an irritating colleagues's death—which his masterfully packed lines then proceed to light up with deliberate and unforgettable authority."

Once or twice in a generation a poet comes along who captures the essential spirit of the American Midwest and gives name to the peculiar nature that persists there. Like James Wright, Robert Bly, Ted Kooser, and Jared Carter before him, Dan Lechay reshapes our imagination to include his distinct and profound vision of this undersung region.The poetry of Dan Lechay, collected in The Quarry, constructs a myth of the Midwest that is at once embodied in the permanence of the landscape, the fleeting nature of the seasons, and the eternal flow of the river. Lechay writes of memory and the mutability of memory, of the change brought on a person by the years lived and lost, and of the stoic attempts made by those around him to elicit an order and rationale to their lives.The Quarry is the first full-length collection from this seasoned poet. Final judge Alan Shapiro in writing about The Quarry said: "If Dan Lechay's poems often begin with the ordinary details and circumstances of life in a small Midwestern town or city, they always end by reminding us that no moment of life is ever ordinary, that 'Nothing is more mysterious than the way things are.'The Quarry is a marvelous, disquieting, extraordinarily beautiful book that meditates on fundamental questions of time and change in and through a clear-eyed yet loving evocation of everyday existence. Under Lechay's soulful gaze, the backyards, neighborhoods, animals, and landscapes he describes dramatize the often wrenching connection between beauty and loss, evanescence and memory. The Quarry is a thoroughly mature and accomplished book."

Once or twice in a generation a poet comes along who captures the essential spirit of the American Midwest and gives name to the peculiar nature that persists there. Like James Wright, Robert Bly, Ted Kooser, and Jared Carter before him, Dan Lechay reshapes our imagination to include his distinct and profound vision of this undersung region.The poetry of Dan Lechay, collected in The Quarry, constructs a myth of the Midwest that is at once embodied in the permanence of the landscape, the fleeting nature of the seasons, and the eternal flow of the river. Lechay writes of memory and the mutability of memory, of the change brought on a person by the years lived and lost, and of the stoic attempts made by those around him to elicit an order and rationale to their lives.The Quarry is the first full-length collection from this seasoned poet. Final judge Alan Shapiro in writing about The Quarry said: "If Dan Lechay's poems often begin with the ordinary details and circumstances of life in a small Midwestern town or city, they always end by reminding us that no moment of life is ever ordinary, that 'Nothing is more mysterious than the way things are.'The Quarry is a marvelous, disquieting, extraordinarily beautiful book that meditates on fundamental questions of time and change in and through a clear-eyed yet loving evocation of everyday existence. Under Lechay's soulful gaze, the backyards, neighborhoods, animals, and landscapes he describes dramatize the often wrenching connection between beauty and loss, evanescence and memory. The Quarry is a thoroughly mature and accomplished book."

In Joshua Mehigan's award-winning poetry, one encounters a lucid, resolute vision driven by an amazing facility with the metrical line. Most of the poems in The Optimist unapologetically employ traditional poetic technique, and, in each of these, Mehigan stretches the fabric of living language over a framework of regular meter to produce a compelling sonic counterpoint.The Optimist stares at contemporary darkness visible, a darkly lit tableau that erases the boundary between the world and the perceiving self. Whether narrative or lyric, dramatic or satirical, Mehigan's poems explore death, desire, and change with a mixture of reason and compassion.In choosing The Optimist for the Hollis Summers Poetry Prize, final judge James Cummins, wrote:"The world is given its due in these poems, but its due is the subjective voice making 'objective' reality into the reality of art. To do this Mehigan accesses a tradition of voices—the echoes in The Optimist are, to name a few, of Frost, Robinson, Kees, and Justice; and more in terms of point of view, Bishop and Jarrell—to form with great integrity his own. It isn't that Mehigan is concerned more with what's outside himself than inside; nor merely that he travels the highway between the two with such humility and grace. It's also that these voices, this great tradition, infuses his line with what the best verse, metrical or free, must have: wonder."

In Joshua Mehigan's award-winning poetry, one encounters a lucid, resolute vision driven by an amazing facility with the metrical line. Most of the poems in The Optimist unapologetically employ traditional poetic technique, and, in each of these, Mehigan stretches the fabric of living language over a framework of regular meter to produce a compelling sonic counterpoint.The Optimist stares at contemporary darkness visible, a darkly lit tableau that erases the boundary between the world and the perceiving self. Whether narrative or lyric, dramatic or satirical, Mehigan's poems explore death, desire, and change with a mixture of reason and compassion.In choosing The Optimist for the Hollis Summers Poetry Prize, final judge James Cummins, wrote:"The world is given its due in these poems, but its due is the subjective voice making 'objective' reality into the reality of art. To do this Mehigan accesses a tradition of voices—the echoes in The Optimist are, to name a few, of Frost, Robinson, Kees, and Justice; and more in terms of point of view, Bishop and Jarrell—to form with great integrity his own. It isn't that Mehigan is concerned more with what's outside himself than inside; nor merely that he travels the highway between the two with such humility and grace. It's also that these voices, this great tradition, infuses his line with what the best verse, metrical or free, must have: wonder."

In her second collection of poems, Jennifer Rose writes primarily of places and displacement. Using the postcard's conventions of brevity, immediacy, and, in some instances, humor, these poems are greetings from destinations as disparate as Cape Cod, Kentuckiana, and Croatia. Rich in imagery, deftly crafted, and imbued with a lightness of voice, these poems are also postmarked from poetry's more familiar provinces of love, nature, and loss.

In her second collection of poems, Jennifer Rose writes primarily of places and displacement. Using the postcard's conventions of brevity, immediacy, and, in some instances, humor, these poems are greetings from destinations as disparate as Cape Cod, Kentuckiana, and Croatia. Rich in imagery, deftly crafted, and imbued with a lightness of voice, these poems are also postmarked from poetry's more familiar provinces of love, nature, and loss.

Taking the warp of dream, sometimes nightmare, and weaving it with the ordinary world, the poems of The Armillary Sphere, Ann Hudson's award-winning debut collection, do not simplify the mystery but deepen it. Just as the interlocking rings of the armillary sphere of the title represent the great circles of the heavens, so do the poems herein demonstrate out of the beautiful, the extraordinary, and the cast off, a fresh scaffolding, a new way to see out from the center of our selves, a new measure of our relationship to the things of this world and the next.Chosen from hundreds of manuscripts as this year's winner of the Hollis Summers Poetry Prize, Ann Hudson's The Armillary Sphere possesses, in the words of final judge Mary Kinzie,"… a brightness of spirit and quickness of thought that are conveyed with extraordinary care as she frames moments of experience. Her style is unobtrusive—no fireworks of phrasing obscure the thing felt and seen. So simple a device as taking an intransitive verb transitively can shed strong light on the moment: "A fine sheen /of sweat glistens the cocktail glasses,"—and Hudson studies emotions with a brave restraint that resists cliché, while deftly joining together intuitions that bring contradictory or opposing charge.… Both circular and digressive, Hudson's portrayal of beings of all ages poised on their varying thresholds brings a novelist's sense of details unfolding into their future under the control of a fine poet's pure and condensed language of likeness."InsomniaIf you were awake too, I'd tell youthe whole story, how I dreamtwe never saw the child, how easilywe forgot. Instead I shuffleto the porch to watchtraffic pass the houseand an occasional bat diveunder the streetlamps, ruthlessafter its dark targets.

Taking the warp of dream, sometimes nightmare, and weaving it with the ordinary world, the poems of The Armillary Sphere, Ann Hudson's award-winning debut collection, do not simplify the mystery but deepen it. Just as the interlocking rings of the armillary sphere of the title represent the great circles of the heavens, so do the poems herein demonstrate out of the beautiful, the extraordinary, and the cast off, a fresh scaffolding, a new way to see out from the center of our selves, a new measure of our relationship to the things of this world and the next.Chosen from hundreds of manuscripts as this year's winner of the Hollis Summers Poetry Prize, Ann Hudson's The Armillary Sphere possesses, in the words of final judge Mary Kinzie,"… a brightness of spirit and quickness of thought that are conveyed with extraordinary care as she frames moments of experience. Her style is unobtrusive—no fireworks of phrasing obscure the thing felt and seen. So simple a device as taking an intransitive verb transitively can shed strong light on the moment: "A fine sheen /of sweat glistens the cocktail glasses,"—and Hudson studies emotions with a brave restraint that resists cliché, while deftly joining together intuitions that bring contradictory or opposing charge.… Both circular and digressive, Hudson's portrayal of beings of all ages poised on their varying thresholds brings a novelist's sense of details unfolding into their future under the control of a fine poet's pure and condensed language of likeness."InsomniaIf you were awake too, I'd tell youthe whole story, how I dreamtwe never saw the child, how easilywe forgot. Instead I shuffleto the porch to watchtraffic pass the houseand an occasional bat diveunder the streetlamps, ruthlessafter its dark targets.

In his provocative, brave, and sometimes brutal first book of poems, Roger Sedarat directly addresses the possibility of political change in a nation that some in America consider part of "the axis of evil." Iranianon his father's side, Sedarat explores the effects of the Islamic Revolution of 1979—including censorship, execution, and pending war—on the country as well as on his understanding of his own origins. Written in a style that is as sure-footed as it is experimental, Dear Regime: Letters to the Islamic Republic confronts the past and current injustices of the Iranian government while retaining a sense of respect and admiration for the country itself. Woven into this collection are the author's vividdescriptions of the landscape as well as the people of Iran. Throughout, Sedarat exhibits a keen appreciation for the literary tradition of Iran, and inmaking it new, attempts to preserve the culture of a country he still claims as his own.ThighWith honesty of homemade butter,paddle-churned cream (eshta in Arabic,ecstasy foaming to the brim), a womanriver-bathes, sheet of oil-black hair breakingin rapids, cut lemon scintillatingolive skin free of tree-stumped chador, skirtswithin skirts, peal of her bell-body rungmuffled in Iran heat—a splash of white.The rhythm of pumice scraping her feet,sandbar against warm current, frothy capea bee-bubbled hive, honeyed trace curlingto her bare knees, thick transparent lather.At a Tehran bazaar endless gold-storescould never return me anywhere pure.

Photographing Eden presents the first full-length collection of poems by a major new talent. The work meditates on several ideas, the crux of which is Eden: spirituality, environmentalism, and the relationships between men and women. Observing, often through the lens of a camera, our state in the world, the poems try to focus sharply on what often seems a blur. The poems are always attentive to artistic mediums and the craft behind them because our struggle is to make something perfect in the imperfect world in which we live, while acknowledging the impossibility of that quest. Gray's poems range all over, from adventures in Egyptian ruins with machine-gun-toting tourist police to the western edge of the foggy Irish coastline, and to the mythic past, where Adam and Eve visit a zoo and Eden has become a nature preserve.

Photographing Eden presents the first full-length collection of poems by a major new talent. The work meditates on several ideas, the crux of which is Eden: spirituality, environmentalism, and the relationships between men and women. Observing, often through the lens of a camera, our state in the world, the poems try to focus sharply on what often seems a blur. The poems are always attentive to artistic mediums and the craft behind them because our struggle is to make something perfect in the imperfect world in which we live, while acknowledging the impossibility of that quest. Gray's poems range all over, from adventures in Egyptian ruins with machine-gun-toting tourist police to the western edge of the foggy Irish coastline, and to the mythic past, where Adam and Eve visit a zoo and Eden has become a nature preserve.

To take the mess of life and make meaning from it is what all poets seek to do. For Will Wells, recipient of the thirteenth annual Hollis Summers Poetry Prize, this includes reaching across centuries and continents, into the minds and hearts of disparate individuals—Albert Einstein, Andrea Yates, the traveler from Porlock, Dante, or Holocaust survivors, including his own grandmother—to extract the personal value embedded there for him.By turns funny, shocking, gentle, and musing, the poems of Unsettled Accounts reflect Will Wells's constant attention to his environment and to his past—and to our environment and our past—and his persistent effort to keep them real and whole by turning them into art.Ping-Pong with the NazisBored couriers have kicked off boots and settheir pipes aside, a Dutch interior.The slapped ball clacks over the tablelike a telegraphic code, then trickleslike faint hope across the marble floor.How quickly he bends to retrieve itand puts it back in play, the Jewish boyliving with false papers in a villaowned by his mother's Gentile friends, and nowcommandeered by retreating Germansas divisional headquarters. The youngblond soldiers, deferential to a socialbetter, muss his blond locks like the kidbrothers back in the fatherland, like bigbrothers steeped in genial menace.He begs another game, so they relent.As the ball resumes its chatter acrossthe no-man's-land strung with a net,he calculates the risk that each shot brings.And so do they. He holds his pee and serves.

To take the mess of life and make meaning from it is what all poets seek to do. For Will Wells, recipient of the thirteenth annual Hollis Summers Poetry Prize, this includes reaching across centuries and continents, into the minds and hearts of disparate individuals—Albert Einstein, Andrea Yates, the traveler from Porlock, Dante, or Holocaust survivors, including his own grandmother—to extract the personal value embedded there for him.By turns funny, shocking, gentle, and musing, the poems of Unsettled Accounts reflect Will Wells's constant attention to his environment and to his past—and to our environment and our past—and his persistent effort to keep them real and whole by turning them into art.Ping-Pong with the NazisBored couriers have kicked off boots and settheir pipes aside, a Dutch interior.The slapped ball clacks over the tablelike a telegraphic code, then trickleslike faint hope across the marble floor.How quickly he bends to retrieve itand puts it back in play, the Jewish boyliving with false papers in a villaowned by his mother's Gentile friends, and nowcommandeered by retreating Germansas divisional headquarters. The youngblond soldiers, deferential to a socialbetter, muss his blond locks like the kidbrothers back in the fatherland, like bigbrothers steeped in genial menace.He begs another game, so they relent.As the ball resumes its chatter acrossthe no-man's-land strung with a net,he calculates the risk that each shot brings.And so do they. He holds his pee and serves.

Stephen Kampa's poems are witty and restless in their pursuit of an intelligent modern faith. They range from a four-line satire of office inspirational posters to a lengthy meditation on the silence of God. The poems also revel in the prosodic possibilities of English'shigh and low registers: a twenty–one line homageto Lord Byron that turns on three rhymes (one of which is "eisegesis"); a sestina whose end words include "sentimental," "Marseilles," and "Martian;" sapphics on the death of Ray Charles; and intricately modulated stanzas on the 1931 Spanish–language movie version of Dracula.Despite the metaphysical seriousness, there is alwaysan undercurrent of stylistic levity — a panoply of puns, comic rhymes, and loving misquotations of canonical literature — that suggests comedy and tragedy are inextricably bound in human experience.

Gravel and Hawk dwells on the physical and cultural landscapes of the Texarkana border region, an area of stark natural beauty and even starker manifestations of its human habitation: oil derricks and pump jacks, logging trucks, chicken houses, come-to-Jesus billboards, and greasy catfish joints, a patchwork of dying farm towns and ragtag municipalities laced together by county roads, state highways, and that treacherous, rust-hued slurry known as the Red River. Gravel and Hawk charts the emotional landscape of a single extended family, its history of loss and gain, and, especially, its encounters with violent death. It is an eminently readable collection, rooted in a distinctly American place and united by a poetic voice that is honest, sophisticated, and persuasive.

On the Desire to Levitate is the first collection of poems by Alison Powell. This striking collection includes vivid, unflinching meditations on aging, mythology, poetry, and family. In tight, elegant lines that alternate between homage and elegy, these poems explore known subjects with a rebellious eye: a defeated Hercules and a bitter Eurydice, a sympathetic Lucifer, and generations of adolescent girls as mythical adventurers moving within a beloved but confining Midwest. Yet in Powell's skillful hands, hardship never overtakes: as judge Charles Hood writes, "There's often a delicious humor in this work, and always a deep and lasting integrity."

In The Surface of the Lit World, Shane Seely draws on a wide range of sources—from personal memory to biblical narrative—to explore the stories that we tell ourselves about ourselves, the ways in which we make meaning of our lives. Seely delves into the ways in which family and environment shape us. Poems ranging from terse, meditative lyrics to more direct narratives examine the relationship between what lies visible on the lit surface and what lies just beneath.In addition to first-person autobiographical narratives, there are ekphrastic poems; poems that explore narratives from mythology and religion; and poems based on news reports, radio stories, and audio recordings. Regardless of the approach, the central questions are the same: How do we sense the world we live in? What do the institutions to which we turn for meaning—family, religion, art, literature, science—offer us, and in what ways do they fail us? The answers may depend on where we dare to look.

In Animal Purpose, Michelle Y. Burke explores the lives of men and women as they stand poised between the desire to love and the compulsion to harm. In one poem, a woman teaches a farmhand the proper way to slaughter a truckload of chickens. In another, a couple confronts the recent loss of a loved one when a stranger makes an unexpected confession in a crowded restaurant. Set in both rural and urban spaces, these poems challenge received ideas about work, gender, and place. Danger blurs into beauty and back again. Burke scours the hard edges of the world to find "fleeting softness," which she wishes "into the world like pollen that covers everything."