Juniper Prize for Poetry – serie

Diane Seuss's poems grow out of the fertile soil of southwest Michigan, bursting any and all stereotypes of the Midwest and turning loose characters worthy of Faulkner in their obsession, their suffering, their dramas of love and sex and death. The first section of this collection pays homage to the poet's roots in a place where the world hands you nothing and promises less, so you are left to invent yourself or disappear. From there these poems both recount and embody repeated acts of defiant self-creation in the face of despair, loss, and shame, and always in the shadow of annihilation.With darkly raucous humor and wrenching pathos, Seuss burrows furiously into liminal places of no dimension - state lines, lakes' edges, the space ""between the m and the e in the word amen."" From what she calls ""this place inbetween"" come profane prayers in which ""the sound of hope and the sound of suffering"" are revealed to be ""the same music played on the same instrument.""Midway through this book, a man tells the speaker that beauty is that which has not been touched. This collection is a righteous and fierce counterargument: in the world of this imagination, beauty spills from that which has been crushed, torn, and harrowed. ""We receive beauty,"" Seuss writes, ""as a nail receives / the hammer blow."" This is the poetry that comes only after the white dress has been blown open - the poetry of necessity, where a wild imagination is the only hope.

This distinctive collection introduces a new type of mythmaking, daring in its marriage of fairy tale tropes with American mundanities. Conspiratorial, Goodbye, Flicker describes the interior life of a girl whose prince is a deadbeat dad and whose escape into a fantasy world is also an escape into language, beauty, and the surreal.

In the study of sound waves and optics, the term transmission loss refers to how a signal grows weaker as it travels across distance and between objects. In this book, Chelsea Jennings reimagines the term in poems that register attenuated signals, mark presence and loss, and treat the body as an instrument sensitive to the weather of immediate experience. Threading together landscapes, abstract paintings, family heirlooms, maps, manuscripts, and photographs, these poems follow the seasons and traverse the spectrum of visible light. Vivid and precise, Transmission Loss brings us to the boundary between inside and outside, ""As if what the hand knows / could be held in the hand.

You Are the Phenomenology is a cross-genre book - a blend of poetry, songs, lyric prose, and invented forms - that explores the everyday junctures of perception, compassion, and multiplicity. How might our powers of association create shared experiences without distorting the contexts from which those experiences emerge?One of the volume's innovative forms is a poetic series called ""Quadrilaterals"" - four-line poems that present the reader with various ways to leap associative gaps:Quadrilateral : Pinch in Your HeelSoars the mackled sound, kites ago :A Polish boy thinks with accordions, adopts a stammer :When were we first older than we wanted to be :That was our city, our chisel, the corbeil from which we ate.

What does it really mean when people are viewed as bytes of data? And is there beauty or an imaginative potential to information culture and the databases cataloging it? As Too Numerous reveals, the raw material of bytes and data points can be reshaped and repurposed for ridiculous, melancholic, and even aesthetic purposes. Grappling with an information culture that is both intimidating and daunting, Kent Shaw considers the impersonality represented by the continuing accumulation of personal information and the felicities - and barriers - that result: ""The us that was inside us was magnificent structures. And they weren't going to grow any larger.

Christina Pugh's fifth book of poems explores the technologies both ancient and new that inhabit our contemporary cultural moment. Mapping an uncanny journey through the clusters of media we encounter daily but seldom stop to contemplate, Pugh's focused descriptions, contrasting linguistic textures, and acute poetic music become multifarious sources of beauty, disruption, humor, and hurt. Here, Netflix and YouTube share space with eighteenth-century paintings, Italian graffiti, ballet, Kurt Cobain's recordings, and even a collection of rocks. Whether technology is a vessel for joy or grief in these poems, it is always an expression of our continuing desire to invent and to mediate. At once personal archive and cultural barometer, Stardust Media traces the moving constellations of life in the distant twenty-first century, ""a kaleidoscope /... half-filled with sky-blue glass-cut blossoming, / then labored to crystallize.

Wrestling with desire, shame, and the complications of attempting to resist one's own nature, How to Love Everyone and Almost Get Away with It offers a tragicomic tour of a heart in midlife crisis. Populated by unruly angels, earthbound astronauts, xylophones, wordplay, and glitter glue, these wildly associative poems transform the world line by line, image by image. Part confessional, part kitsch, and often self-deprecating, this debut collection offers an honest and tender exploration of love's necessary absurdity. Lara Egger asks: Who put the end in crescendo, the over in lover? Are metaphors always reliable witnesses? Why does the past sleep with us when we hope the person beside us is the future?

Scarred by nuclear smokestacks, oil wells, and surging floodwaters, and haunted by the legacies of slavery, racism, and French rule, the Louisiana of Landscape with Bloodfeud is disenchanted but still exerts an undeniable pull. Reckoning with displacement, ancestral guilt, and centuries of human and environmental exploitation, Wendy Barnes dissects the state's turbulent past—as a microcosm of colonial oppression, westward expansion, and the birth of global capitalism. With an expat's detachment, our Louisiana-born speaker contemplates her fraught relationship with her home culture and her white working-class roots, raising questions about complicity and shame, as history "bleeds us all for its tax, some for more, / digging down into every wet wound, / digging down among the taproots, under old folks' / marble tombs or unmarked graves.

Located somewhere between fiction and reality, the animals of Dogged exist as both "creatures children see in their fevers" and "your one / good dream / in the night." Inhabiting a space apart from time and narrative, the space of the ever-elusive now, these haunting poems probe animal consciousness and desire, as "howls float / like crocuses— / violet / and half open / to the unknown."Looking to a wide range of high and low visual media, from Steven Spielberg's Jaws and Animal Planet's Fatal Attractions to Peter Paul Rubens's painting of Hercules's dog discovering Tyrian purple, Stacy Gnall ponders human-animal connections and divisions, exploring those moments when human voices blend with "silent" beasts to exceed the limits of language. In Dogged, animals emerge as the highest aspiration of poetry.  Around the bend it was reckoned we would never grow old        because there were no words for it.I placed my arms soft around the neck of a fawn and she felt no alarm. Speech is where we went wrong.(From "The Wood in Which Things Have No Name")

Does history live inside of us? Are we capable of transcending the past or are we destined to repeat it? With understated humor and grace, Once, This Forest Belonged to a Storm wrestles with questions of inheritance, spiritual unrest, the integrity of the self, and humanity’s relationship to the natural world. Excavating both personal and historical trauma and the rippling effects of the Holocaust, Austen Leah Rose writes of “the silence that follows after silence.” The poems in this debut collection map a surreal journey from alienation to belonging, as our speaker floats across the night sky over Los Angeles, communes with Shakespeare in a hotel room, attends a dinner party in outer space, and drifts down a river for fourteen years with her sister.

Chamber after Chamber is about what fractures, fixes, and refills the hearts of two girls as they grow into women. A loose narrative in three sections, the poems follow a speaker and her cousin through their hardscrabble, backwoods childhood to their separation—both physical and emotional—as adults. From the make-believe apocalypses and cut-and-paste valentines of elementary school to the stadium-seating classrooms and multiplexes of southern China, our speaker tries to leave the shame and dysfunction of her family behind. In China, she begins to see America—and herself—clearly for the first time, and in doing so discovers that both her cousin and her country are inextricably woven into [her body] part that never sleeps the bloodand chambered meat that’s like a rock squeezedin a fist rapping its knuckleson the sweet door of the body.

Crafted with lines from her late father’s letters, Jennifer Tseng’s Thanks for Letting Us Know You Are Alive is a portrait of an immigrant, a rootless person whose unspoken loss—that of his native geography, family, traditions, language—underlies every word. Though her father’s first language was Mandarin, for more than twenty years he wrote these letters in English,so that she could understand them. Someare riddled with errors, some nearly unintelligible. Lines from his letters appear as titles and are scattered throughout the poems, blending voices of father and daughter. This collection enacts what it means to lose someone and commune with them simultaneously—the paradox of grief and all it gives us.

“I’ll tell you everything I know. Though there might not be much to tell,” confesses the speaker in Strange Hymn by Carlene Kucharczyk, in a meticulously crafted lyrical journey exploring morality and humanity. The poems here grapple with understanding physical loss: “I wanted / to know once and definitively our animal bodies / were not all we were. It is shameful to be this fragile.” They also engage with the more abstract slipping away of memory and time: “Since I was born, I have been forgetting. Forgetting what I have wanted to remember.” Kucharczyk’s insightful poems blur the lines between history and myth, love and grief, song and silence.  Caught between lamenting the passage of time and rejoicing in small beauties, she writes, “I tell you, I wish we could stay here longer / in this hotel of lost grandeur, this palace of interesting disarray, / and stay here with these pieces of the impersonal past / that have somehow not yet outlasted their small lights.” Each moment reflects on our ephemeral lives from musings on art and nature to reflections on the self, asking “Is a mirror a sort of glass house? / And, is there a way to see ourselves besides through the glass?”  As readers traverse this collection, they learn how the body sings, the many iterations of Mary, what sirens truly think of Odysseus, how a Morning Glory unfurls, and lessons in orthodontics, but most importantly, how to live with absence. Kucharczyk is a master of manipulating time and space through her dynamic use of form, creating a narrative that begs, “After I’m gone, don’t bury my body— / Burn it, and turn it into song.”

“We breathe, and then / vanish,” proclaims a speaker in Once When Green, a new collection by accomplished poet Mark Irwin. While deeply personal, the book engages the earth, “gulls, / gray, quarreling air, their ha-ha-ha-ing at our trace / of garbage and carbon,” and addresses mortality as well as the consequences of global warming—how it impacts humans, animals, and the plant life that sustains us all. Poems here accent the lateness of our attempt to control pollution, while interrogating the natural world through myth and the voicings of different creatures, beings displaced or relegated to other spaces, including apes, birds, and an arcade bear that reflects: “I once thought that was freedom— / but how in a receding wilderness no longer mine?”  Sighting those areas where metropolis and wilderness collide, Irwin conveys the tension between the natural and digital world as a speaker laments: “I am so lonely for a river’s one rushing / minute with scuttling crayfish, nymphs, and eddies blurring clouds, not its / imagined thousand pixels changing colors toward forms / on a screen.” These poems remind us how forms of the spirit cannot be bound by technology and capitalism, imploring “how to become explorers, cartographers / again.”

A dazzling debut that blends folklore with the everyday Drifting between the past and present, the material and the otherworldly, Who Follow the Gleam melts lore and magic with history to shape distinctive narratives of childhood, fatherhood, and personhood. In his debut poetry collection, Christian Wessels crosses centuries and takes his readers with him to Germany’s Black Forest, burning hotels, chromatic casinos, and Long Island’s dazing Sound. Uncanny elements of folklore and dreamlike stories are grounded in the atmosphere of the natural world as Wessels turns the sun, moss, and clouds into characters connecting his poems: “maybe I myself am the sun; am / the brilliant silence engraved / in stone; am the arc / through which the future becomes / legible.” In the world of this collection, intuition, feelings, dreams, and spells mimic cycles, patterns, rules, and structure as the speaker disappears in the magic of language, only to resurface in the everyday. In four sections, Wessels reckons with a changing world, evolving and sometimes unfamiliar, while coming to terms with the uncertain future: “The cloud looks / like me, it looks like me because / the present moves, the present moves.” This collection is a sensitive meditation on the power of passed-down knowledge—personal and collective, factual and mythical—and how such knowledge finds its embodiment in the world.

Poems that question the world with tenderness and restless introspection In I Love You But I Don’t Speak Your Language, brushes with the profound may lead to brushes with the mundane, or vice versa. Cause and effect become unreasoned and transcendent, at times lifting the arbitrary into the sublime or the sublime into happenstance. Intuitive leaps pull us through oscillations between humor, introspection, and the surreal. These poems don’t follow a straight path; instead, they capture the way thoughts shift, contradict, and collide. Inspired by the poet’s dreams, as well as travels throughout central Europe, the West Indies, and Central and South America, the poems are alive in voice and detail, yet the speaker’s connections, and more so, disconnections, turn toward isolationism, solitude, and loneliness. At times, the collection leans into restless emotion: “I want to cry / when I think of how / I’ll look back at this moment someday / and cry.” Other moments pull the reader to “a far away place / of limitless palm trees and sunsets.” This is poetry that doesn’t try to fit into a traditional form. It questions, observes, and rethinks the world around it. Some moments might seem absurd, others deeply reflective, but all of them work together to create a book that is both thought-provoking and unpredictable.

A debut collection of poems that question authority with wit and clarity "Words lead on to words" is both provocation and method in SIGN BROKEN, MESSAGE INSIDE, Susanna Schantz's debut collection rooted in examining the roadside church signs near her South Carolina home. These poems are at turns humorous and polemical, a deft call-and-response, taking the lure and scold of these marquees as prompts for close reading and reinvention. From the local, she sketches a portrait of the national, offering an "orison / from the republic of readers," and asking with one illuminated placard, "what will our words be like today?" Treating church signs as a public language—communal, persuasive, sometimes backhanded—these poems expose the friction between proclamation and reception, between belonging and exclusion. They press on questions of gender and agency in faith and civic life: what role women are meant to play in the church, and what might happen if a woman were to "sail beyond this place on her / own wings and a prayer." Formally alive, Schantz's lines stretch, scatter, and rearrange across the page, their shapes mirroring a refusal to be contained by the cramped wit of the marquee. Her diction is tactile and bodily, reconnecting language to sensation: "fall[ing] to one's knees / not in surrender, but / simply to luxuriate / in the cool mud." Elsewhere, a more bristling music rises: "alphabets of tick bytes / and sacramental snaps / Climbing into our avatars / we thread our way in." The poems' bold sounds and rhythms echo the urgency of the signs themselves even as they reclaim their message. "She has seen signs, and wonders," the epigraph promises; this book delivers both. In Schantz's hands, the roadside semaphore becomes a threshold and a mirror, inviting readers to decide: When is it enough to observe, and when must we answer back?

A searing exploration of young womanhood in a culture of being seen Inspired by an exhibit of vintage photographs by Francesca Woodman, whose work is often shocking in its exploration of a woman's relationship with her body in a misogynistic culture, The Body Taken combines the confessional, the ekphrastic, and the erasure of women's artistry. In a New York City gallery, Lisa Beech Hartz finds herself completely captivated and especially moved by how much the photographer's self-portraits resemble a sort of mash-up of the poet and her dearest friend in their late teens, writing: "Mirrored in girlhood / recollection / and all our fables — / all the frazzled strands / of stories / I can never braid / complete / for lack of you." These poems grieve the poet's deep youthful bond while also reflecting on each girl's family life and their shared experiences: adventurous trips into the New York of the late seventies from their suburban town; encounters with distant, heavy-drinking parents; various medical and emotional challenges; and navigating the rampant and casual misogyny of the time. Memories are punctuated with examinations and interpretations of Francesca Woodman's photographs, attempting to decipher what the artist captured about her experience of being a young woman and what it meant to live inside a young woman's body: "Francesca crouches / in her dotted dress seam- / split and gaping. Fingers / splayed across her face / she calculates her escape." The collection also includes erasures of critical responses to Woodman's work which are sometimes respectful, even reverential, and other times reinforce the fascination with her suicide and her sexuality. Using provocative imagery, this collection serves as a love letter to lost girlhood, exploring themes of identity, loss, and the female body in the world.