Test Site Poetry Series – serie

In her debut collection, Stephanie Berger cracks the earth open and exposes the ""woman inside."" In a sequence of poems that present variations on the Western feminine archetype, Interior Femme visits many unique locales, from cemeteries in Brooklyn to canyons in New Mexico to churches in San Diego, Paris, and Peru. Berger approaches her subjects--mothers, goddesses, whores, daughters, muses, and movie stars--from multiple angles, and through her poems she reveals historical, personal, social, environmental, and artistic viewpoints.The poems offer layered perspectives fused with multiple versions of female representation, as if to underscore the burden of responsibility, inherited shame, and awesome power that comes with the position women have occupied throughout history. Berger reveals a woman critically wounded--representing the totality of the Western feminine imaginary. Lyrically complex, sometimes surreal, and often ekphrastic in style and content, Interior Femme simultaneously offers heartbreak, laughter, comfort, and empowerment.

With fearless and playful language, Katherine Factor’s debut collection reveals agony, humor, and the necessary voices of the female oracle through time. The oracle’s message is apparent—she is not dead. Her words are cryptic but contemporary, offering caution along with guidance to a society interested only in using prophecy for profit.In a time when only a select few are prosperous, A Sybil Society paints a portrait of the present moment and unveils a restless truth. The collection is fearless in the face of convention and gives readers a sense of devastating sorrow in a world gone mad.

Through poems of witness, species and habitat extinction, war, pandemic, technology, history, and race, Mark Irwin's elegant collection of poetry explores the collision between metropolis and wilderness, and engages with forms of spirit that cannot be bound. With the incursion of electronic communication, our connections with one another have been radically distorted. Irwin's poems confront what it means to be human, and how conflict, along with the interface between technology and humanity, can cause us to become orphaned in many different ways. But it is our decision to be joyful. Excerpt from "Letter"Times when we touch hope like the hem of a cloudjust as when we touch a body or door, or think of the dead come back, romancing us through the warp of memory, lighting a wayby luring . . .

Rain, Wind, Thunder, Fire, Daughter is a story about leaving religion and coming of age in a world of accelerating climate apocalypses and environmental loss. In her debut collection of poems, H. G. Dierdorff interweaves an investigation of wildfires in Eastern Washington with a personal account of growing up in Christian fundamentalism, calling our attention to the violent histories undergirding both.“I want you to touch the fire / sparking from my lips” the opening sonnet commands, daring the reader to abandon the safety of analytical distance and draw near to the moment of ignition itself. The voice that emerges is incessant, ecstatic, explosive. Fire erupts from every page, multiplying into rage, desire, judgement, responsibility, and renewal. A love song to the forests of the Pacific Northwest, a dramatic portrait of a daughter struggling to find her place in her family, and a philosophical exploration of the limits of language and belief, this collection demands the necessity of both pleasure and grief as responses to a world on fire.

In poems both personal and historical, The Dove of the Morning News explores conceptions of collectivity, inflected by each psyche, as a force of both connection and division.  In its look at tribalism and systemic cruelty as rooted in shame, dread, and insecurity, the book seeks a better understanding of how power needs, spurred by communities of hatred, weaponize the brain’s tendencies to think in animated figures, caricatures, erasures, or, as in the book’s mediation on vellum, texts written across the bodies of others.As a lens into contemporary life, the title sequence interrogates the vision of Pierre Teilhard de Chardin, whose sense of our increasingly interwoven cultural conversation figures now as a premonition of the internet.  If his hope for the noosphere as a fulfillment of divine promise feels problematic, it nonetheless sees our globe as an organism whose long-term survival depends on the capacity of each to forge friendship across difference, to take the health and integration of the individual as emblematic of the whole.

The Long Now Conditions Permit confronts the persistent brutalities of our world through poetry that both names and resists the injustices shaping it. From the quiet sorrows of everyday slight to the overwhelming crises of ecological collapse and gendered violence, these poems document what is occurring—the horrendous and the intimate, the anguished and the magnificent. With ethical attention, Jami Macarty’s collection engages the political, ecological, and personal forces that shape and mark our lives, offering an ecofeminist ethic of care as an antidote to extractive capitalism and patriarchal norms. Each poem meditates on power, insists on articulating what is being lost—and what must be saved and reclaimed. Amid the exploitation and violence, these poems find moments of grace: the scent of a sea rose, a desert walk in spring, the company of birds, Earth entire. The Long Now Conditions Permit is both tender elegy and urgent call, exhorting readers to grapple with the devastating failings of humanity and the saving possibilities of love.

In A Grain of Sand in Lambeth, poetry becomes a lens through which to explore the complex, visionary world of William Blake. Drawing on Blake’ s own rejection of tradition and his relentless quest to challenge the boundaries of art, Geoffrey Babbitt confronts the tensions between genius and convention, life and death, light and dark. Each poem in this collection inhabits a moment of Blake's life, offering a vivid glimpse into his unique perspective - a perspective that rejected the normative for the transformative power of imagination. From his visionary watercolors to his provocative views on oil painting, these poems draw readers into Blake's world, where reality and the unseen converge in prismatic intensity. A Grain of Sand in Lambeth is an invitation to experience the world through Blake's eyes - a world where imagination reigns supreme and art is a living force.

Saint October is a collection of title-less poems that create a network throughout the season of autumn. With challenging language and surprising imagery, these poems lift the rock of superficial autumnal beauty and examine the finer details of death and transformation, often daring the reader to leave their comfort zone. Saint October begins by taking an objective look at the last gleams of summer and quickly re-grounds itself by participating in the dynamic processes of a new season. Loss and rebirth weave these poems together as the speaker listens to the earth's last words before she passes into death and stalks the secrets she took to her grave.

It's Late approaches the world with openness and affection, prioritizing wonder about plants, animals, and other people, as well as individual and communal pasts, presents, and futures as a guiding force. The voices behind these poems dwell in a state of perpetual curiosity. Colin Drohan's writing is full of awe but he also asks difficult questions about the world we inhabit and its present ecological crises, often discovering humor as a mechanism for real hope. It's Late imagines readers as close friends and confidants, written with a conversational quality that welcomes the absurdity of our daily lives.

Winner of the inaugural Interim 2018 Test Site Poetry Series Prize, Refugia is a bright and hopeful voice in the current conversation about climate change. Kyce Bello's stunning debut ponders what it means to inhabit a particular place at a time of enormous disruption, witnessing a beloved landscape as it gives way to, as Bello writes, "something other and unknown." These poems explore the author's home ground in Northern New Mexico and carefully observe nature's seasons in parallel with personal cycles of renewal and loss. The vivid and engaging poetry touches upon history, inheritance, dry rivers, mountains, and most of all, trees—be they Western conifer forests succumbing to climate change or family trees reaching simultaneously into the past and future. In doing so, Bello creates a connection between generations that underscores our most critical tool for survival: imagination.Ultimately a dedication of resilience, Refugia creates a terrain of the imagination that is, like ecological terrain, grounded in image and yet many-layered and unresolved. This poetry is a listening that writes us back into an ecological language of place that is crucial to our survival in this time of environmental crisis.