The Unfollowing is a sequence of elegies, mourning public as well as personal loss. The grief is not coherent. Though the poems are each fourteen lines long, they are not sonnets but anti-sonnets. They are composed entirely of non sequiturs, with the intention of demonstrating, if not achieving, a refusal to follow aesthetic proprieties, and a rejection of the logic of mortality and of capitalism. Outrage, hilarity, anxiety, and ribaldry are not easily separated in the play of human emotions. And they are all the proper, anarchic medium for staying alive.

The three works of poetry that constitute Tribunal were written in the current context of seemingly ubiquitous warfare and the specter of unabashed neo-fascism, ethno-nationalism, and—especially in the United States—reassertions of white supremacy. As renowned poet Lyn Hejinian recounts, the inspiration for Tribunal gradually took shape over the course of almost a decade in the collaborative work she has done to fight neoliberal policies that dismantle the public sphere through actions that include privatizing the commons, busting unions, and imposing a corporate, profiteering model on a range of institutions including public higher education. Hejinian explores a broad range of responses to our deeply troubling historical period in Tribunal’s three collections. These poems express an emotional scope that includes fury, sadness, and even, at times, something very close to pity for our humanity, perpetually unable to avoid its own penchant for cruelty. Hejinian is the rare poet who can bring to the page a rich, complex rendering of how mutually exclusive emotions can exist simultaneously. We lose safety and surety, but we gain a wider lens on contemporary crises from her sometimes lacerating, sometimes intensely beautiful lyric verse. It’s only in such an artistic and emotional landscape that readers, thinkers, artists, workers, and all comrades against injustice can manage to keep inventing, imagining, and hoping. Throughout these crises, the poet returns to language as a meaningful space in which to grapple with a seemingly endless cycle of conflict. While the works can be read as expressions of protest or dissent, they powerfully convey an argument for artmaking itself—and a turn to its affirmation of life.

In henceforce, Kamden Ishmael Hilliard’s poems take us on unimaginable voyages within and beyond the contours of our quotidian experience. This is not simply geographic travel, however: though Hilliard’s poems explore air travel, transcontinental locations, and even intergalactic scenes, their travel poetic asks us to move through and beyond deeply entrenched social boundaries. The movement depicted and encouraged here brings the reader into contact with figures that destabilize our notions of race, gender, and nation. Hilliard’s language, too, transgresses boundaries. For any reader who loves strange encounters with the familiar and the thrill of disorientation, these poems will prove challenging in a deeply exhilarating way, asking the reader to question the limits of their gaze, their language, their sense of place, and ultimately to reaffirm their personhood.

Helen of Troy and Aphrodite: two classical paragons of beauty and love. These two figures have served as the inspiration for innumerable works of art in the Western cannon. In the twenty-first century, however, what do their stories provide but a reminder of the predictable roles which sexism has assigned women throughout history and literature?In this fresh new take on the two women’s stories, Jennifer Pullen takes us away from the familiar and deeper into their experiences. Rewriting Homer, Pullen revitalizes these two figures for the contemporary era. In A Bead of Amber on Her Tongue, Aphrodite maintains autonomy through her experience of her own body, even when forced into marriage. Helen of Troy, meanwhile, harbors a love for her maid, Esme, that no conquering hero can vanquish. Revisiting these classic stories with an inventive twist, Pullen shows that, with a little imagination, the classics may yet bear new insights.

McCrae’s latest collection considers the nature of perception and experiments with form and punctuation.  This is a book about perceiving and being perceived. The various subjects of these poems are viewed by an artist, a devil, a soul floating out of a body it had inhabited, a god fed up with her husband’s infidelities, and a father whose young child has COVID-19. The poems of Two Appearances After the Resurrection are haunted by the question of what one ought to do with their perceivability.After a decade of publishing poems almost exclusively utilizing no punctuation aside from the slash, Shane McCrae began including semi-regular punctuation in his 2023 book, The Many Hundreds of the Scent. He continues that project in Two Appearances After the Resurrection. Here, he further explores the consequences—especially the rhythmical consequences—of the change. Throughout these poems, McCrae perceives and implicitly considers his own shifting approaches to writing.

Bridging traditions of secular, religious, modernist, and post modernist writing to encounter living at its most provocative and urgent, Caton's poems -- at times conversational, meditative, minimalist, and expansive--are unified by an insistence to reach, with language, through language, to what is ever outside a word's ability to name.

The Unfollowing is a sequence of elegies, mourning public as well as personal loss. The grief is not coherent. Though the poems are each fourteen lines long, they are not sonnets but anti-sonnets. They are composed entirely of non sequiturs, with the intention of demonstrating, if not achieving, a refusal to follow aesthetic proprieties, and a rejection of the logic of mortality and of capitalism. Outrage, hilarity, anxiety, and ribaldry are not easily separated in the play of human emotions. And they are all the proper, anarchic medium for staying alive.

The three works of poetry that constitute Tribunal were written in the current context of seemingly ubiquitous warfare and the specter of unabashed neo-fascism, ethno-nationalism, and—especially in the United States—reassertions of white supremacy. As renowned poet Lyn Hejinian recounts, the inspiration for Tribunal gradually took shape over the course of almost a decade in the collaborative work she has done to fight neoliberal policies that dismantle the public sphere through actions that include privatizing the commons, busting unions, and imposing a corporate, profiteering model on a range of institutions including public higher education. Hejinian explores a broad range of responses to our deeply troubling historical period in Tribunal’s three collections. These poems express an emotional scope that includes fury, sadness, and even, at times, something very close to pity for our humanity, perpetually unable to avoid its own penchant for cruelty. Hejinian is the rare poet who can bring to the page a rich, complex rendering of how mutually exclusive emotions can exist simultaneously. We lose safety and surety, but we gain a wider lens on contemporary crises from her sometimes lacerating, sometimes intensely beautiful lyric verse. It’s only in such an artistic and emotional landscape that readers, thinkers, artists, workers, and all comrades against injustice can manage to keep inventing, imagining, and hoping. Throughout these crises, the poet returns to language as a meaningful space in which to grapple with a seemingly endless cycle of conflict. While the works can be read as expressions of protest or dissent, they powerfully convey an argument for artmaking itself—and a turn to its affirmation of life.

In henceforce, Kamden Ishmael Hilliard’s poems take us on unimaginable voyages within and beyond the contours of our quotidian experience. This is not simply geographic travel, however: though Hilliard’s poems explore air travel, transcontinental locations, and even intergalactic scenes, their travel poetic asks us to move through and beyond deeply entrenched social boundaries. The movement depicted and encouraged here brings the reader into contact with figures that destabilize our notions of race, gender, and nation. Hilliard’s language, too, transgresses boundaries. For any reader who loves strange encounters with the familiar and the thrill of disorientation, these poems will prove challenging in a deeply exhilarating way, asking the reader to question the limits of their gaze, their language, their sense of place, and ultimately to reaffirm their personhood.

Helen of Troy and Aphrodite: two classical paragons of beauty and love. These two figures have served as the inspiration for innumerable works of art in the Western cannon. In the twenty-first century, however, what do their stories provide but a reminder of the predictable roles which sexism has assigned women throughout history and literature?In this fresh new take on the two women’s stories, Jennifer Pullen takes us away from the familiar and deeper into their experiences. Rewriting Homer, Pullen revitalizes these two figures for the contemporary era. In A Bead of Amber on Her Tongue, Aphrodite maintains autonomy through her experience of her own body, even when forced into marriage. Helen of Troy, meanwhile, harbors a love for her maid, Esme, that no conquering hero can vanquish. Revisiting these classic stories with an inventive twist, Pullen shows that, with a little imagination, the classics may yet bear new insights.

McCrae’s latest collection considers the nature of perception and experiments with form and punctuation.  This is a book about perceiving and being perceived. The various subjects of these poems are viewed by an artist, a devil, a soul floating out of a body it had inhabited, a god fed up with her husband’s infidelities, and a father whose young child has COVID-19. The poems of Two Appearances After the Resurrection are haunted by the question of what one ought to do with their perceivability.After a decade of publishing poems almost exclusively utilizing no punctuation aside from the slash, Shane McCrae began including semi-regular punctuation in his 2023 book, The Many Hundreds of the Scent. He continues that project in Two Appearances After the Resurrection. Here, he further explores the consequences—especially the rhythmical consequences—of the change. Throughout these poems, McCrae perceives and implicitly considers his own shifting approaches to writing.

Bridging traditions of secular, religious, modernist, and post modernist writing to encounter living at its most provocative and urgent, Caton's poems -- at times conversational, meditative, minimalist, and expansive--are unified by an insistence to reach, with language, through language, to what is ever outside a word's ability to name.