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Threading Stone
By Carey Scott Wilkerson   
Reviewed by Jeremy M. Downes

One of the central poems of Wilkerson’s attractive first book, Threading Stone, unravels the title’s mystery, as the Greek hero Theseus is challenged to follow the thread (the gift of Ariadne) through the great stone labyrinth at Knossos. Even for Theseus, this is much harder than it first appears; not only is there the monstrous Minotaur, but the very act of “threading the stone”—through using language, through creating narrative—is called into question by this book’s “rhizomic world” where every thread appears to lead in multiple directions.

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Dead Letters
By Alan May;  Illustrations by Tom Wegrzynowski and Alan May 
Reviewed by Carey Scott Wilkerson

In a time when perhaps too few poets are willing to explore the ontological rift between language and meaning, discovering Alan May’s book Dead Letters is an occasion both for a new mode of celebration and some old-fashioned investigation of the poetic project itself. This daring collection—by turns experimental and surreal, meditative and poignant—is indeed a powerfully imagined and, finally, astonishing achievement.

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Cities of Flesh and the Dead
By Diann Blakely   
Reviewed by Jennifer Horne

Cities of Flesh and the Dead, Blakely’s third book, is composed of five sections which hold nineteen poems, many of them long and sequenced. Some are in memoriam poems for other poets: Anthony Hecht, Lynda Hull, William Matthews, and Herbert Morris. Because of this, an elegiac tone runs through the book, but it is by no means the only note struck.
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The Boatloads
By Dan Albergotti   
Reviewed by Mark Dawson

Some first books are revised MFA theses, and some are wonderful. The Boatloads, however, is so unified in its themes and in its sets of poems, and conveys such maturity in each poem, that I believe it is shaped more by the author’s obsessions than by chronology of the poems.
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Portions
By Hank Lazer   
Reviewed by Sue B. Walker

Hank Lazer’s fifteenth book of poetry, Portions, is a “language house a / moving place that / feeds & carries,” a linguistic portioning that addresses how it is “to be”; it is “a way / to see out / to learn of / the world we / miraculous stand upon” (“House,” “Nature”). The book is an “invitation into a / new way of / saying (“Invitation”) that is in keeping with Heidegger’s claim that “language is the house of Being” (On The Way To Language). Portions is a “secret & saving / way through the / world in a thin book” (“Way”).
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Equivocal Blessings
By Mary Carol Moran   
Reviewed by Melissa Dickson Blackburn

Strewn with frequent sonnets and the occasional villanelle—as well as historical, literary, and personal reflections—Mary Carol Moran’s Equivocal Blessings delves into the penance we all must pay to the loved, the lost, the dead, and the remembered. Divided into three sections—“Clearing,” “Breathe With Me,” and “Strong Bones”—Equivocal Blessings features diverse approaches and narrative themes....

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The Lions
By Peter Campion   
Reviewed by Russ Kesler

Among contemporary collections of poetry, many books tend to be dominated by the personal narrative; others employ a more public, politically aware voice. Peter Campion’s The Lions blends these opposing temperaments. In poem after poem personal experience is set against the larger concerns of war and the “baleful knowledge” that an understanding of the world is by nature fragmentary at best.
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Shut Up, You’re Fine: Poems for Very, Very Bad Children
By Andrew Hudgins,  with illustrations by Barry Moser 
Reviewed by Norman McMillan

When I pulled Andrew Hudgins’ new volume, Shut Up, You’re Fine, from the mailer, I was struck immediately by Barry Moser’s cover design. The choice of print, the border, the faded subtitle all looked terribly old-fashioned, and I thought immediately of The New England Primer. After completing the poems, I went online to check my memory, and I found that the covers are indeed similar. Then I read the Primer, and I knew that Shut Up, You’re Fine could well be read as a parody of books that exhort children to be good and warn them of the terrible dangers of not doing so.
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Drew: Poems from Blue Water
By Robert Gray   
Reviewed by Russ Kesler

Robert Gray’s book Drew: Poems from Blue Water straddles two genres. In its subject matter and narrative arc, it is a memoir of the life and death of Gray’s older brother Drew. Broken into seventeen discrete sections, the story centers around the family’s cabin at a central Alabama lake. Yet that story is told via a series of poems, each section comprised of one to four poems. As memoir, the book is a moving and compelling tale.
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The Shortest Distance
By Kathleen Thompson   
Reviewed by Robert Gray

The first thing one notices about Kathleen Thompson’s The Shortest Distance is the blurb by Harper Lee, stating that Thompson’s poems are “quietly earth-shaking” and have reduced her to “a quivering mass of admiration & greed for more.” This impressive introduction establishes high expectations. Furthermore, Lee’s use of oxymorons to characterize Thompson’s work attunes the reader to the many paradoxes and contradictions that pervade the volume.
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Heaven Overland
By Jim Murphy   
Reviewed by Mary Kaiser

In Heaven Overland’s opening poem, the seller of a broken-down Cadillac El Dorado claims its metal chassis functions as “a powerful antenna / to draw so much distant matter down to earth.” This image is the perfect introduction to Jim Murphy’s beautifully structured collection about Americans and the faulty, charged vehicles in which we travel.  Iconic figures ranging from the revered to the notorious, from W.E.B. Du Bois to Elvis Presley, inhabit these poems in settings from New York to the Sonoran desert, but their real destination is the past: a turn-of-the-century riverboat, a Hollywood street corner in the thirties, a Bakelite radio tuned in to early rock ’n’ roll.
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Einstein at the Odeon Café: Poems from the Big Table
By Jerri Beck, ed.   
Reviewed by Kathleen Thompson

Technically a chapbook (less than forty-eight pages), this book contains twenty-seven poems by eight poets.  How invigorating to be reminded, surrounded by in-your-face-tweeting heads, of the art of conversation—its give and take, its eclectic range of subjects, its intellectual stimulation—interspersed with an occasional lyrical whisper.
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The Seasons Bear Us
By Jeanie Thompson   
Reviewed by Jake Berry

The title of Jeanie Thompson’s new book is extracted from a letter written by James Wright. A portion of it appears as an introductory quote: “[The seasons] move, as we move, from place to place. As we move, we carry them and they carry us . . . the seasons bear us.”  This sense of the seasons is evidenced in the rich poems that fill Thompson’s new collection.
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And So: Poems
By Joel Brouwer   
Reviewed by Steven Ford Brown

Joel Brouwer’s new book And So furthers his reputation as careful craftsman and ensures his inclusion among the best of the younger generations of poets writing in America today. And So is a lyrical and erudite book in which the characters—and this is a book about people together, alone, and often alone together—live out their lives in a series of changing landscapes and relationships.
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Winter Sky: New and Selected Poems, 1968-2008
By Coleman Barks   
Reviewed by Sandra Agricola

Winter Sky by Coleman Barks is a perfect book for muted December. And winter is the ideal time to dig into books piled beside the sofa requesting our attention. It is the season for the wholehearted yes that poetry demands—“I have often avoided / the wholehearted yes / saying there is plenty / of time. There is not.”
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Sonata Mulattica
By Rita Dove   
Reviewed by Lewis Robert Colon Jr.

The erasure of George Bridgetower from 182 years of Beethoven biographies inspires Rita Dove’s new book Sonata Mulattica, a kind of speculative elegy that appends to the biographies an extended and playfully conjectured footnote. Dove recognizes in Bridgetower a familiar historical archetype: The black or brown artist whose genius and importance, the authors of history seem to have agreed, are negligible. It’s a syndrome that treats some of history’s marquee stars like background scenery, props in the lives of their white counterparts.
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The Second Blush
By Molly Peacock   
Reviewed by Russ Kesler

The poems in Molly Peacock’s sixth collection, The Second Blush, are playful and insouciant, but also unafraid to look deeply and honestly at the vagaries of human relationships, whether marriage or friendship. And as always with Peacock’s work, a formal element, particularly in this case riffs on the sonnet form, provides another layer of polish and opportunities for joy in experimentation.
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Within the Shadow of a Man
By Dennis Sampson   
Reviewed by Book Noted

From the publisher: Within the Shadow of a Man is a work of collision—of art and sense, of morality and mortality, of logic and dream. In Within the Shadow of a Man Dennis Sampson manages, once again, to join the cosmos with the very moments of what we call our lives.
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Burnt Offerings
By Sue Scalf   
Reviewed by Keith Badowski

The strongest poems in Sue Scalf’s latest book Burnt Offerings are dramatic monologues that go beyond their Biblical sources and imaginatively explore the personalities of the speakers. “The Plain One,” for instance, reveals Martha’s fiery reaction to the “scolding” Jesus gives her. The poem has an angry tone as Martha internally justifies her hurt over Mary’s lack of help in preparing and serving the food....
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It Was the Orange Persimmon of the Sun
By Louie Skipper   
Reviewed by Emma Bolden

Rarely comes a book with the power to change the way its reader thinks, believes, and lives for the deeper, the fiercer, and the better. Louie Skipper’s It Was the Orange Persimmon of the Sun is such a book. These startling poems present a mind wrestling with the most difficult questions of being—what is our place in the world, what is God’s place in the world, and what are we to make of death?—in such a beautiful and brave way that the reader cannot help but be engaged in—and better for—the struggle.
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Drunk In Sunlight
By Daniel Anderson   
Reviewed by Russ Kesler

The title of Daniel Anderson’s second book Drunk In Sunlight suggests an altered state of consciousness. But “Drunk On Sunlight” could also serve as the book’s title, since so many of the poems here reflect a kind of rapture provoked by the wonders of being: “How excellent it is to be alive,” as the speaker of “Aubade” puts it.
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Renditions: Poems Written and Read by Sue B. Walker
By Sue B. Walker   
Reviewed by Jennifer Horne

Alabama Poet Laureate Sue B. Walker recently released a CD. No, she has not become a musical artist as well as a poet (although there is some quite nice singing on this CD); rather, Walker has recorded two of her longer poems, “Blood Must Bear Your Name” (28.51 minutes) and “We Are All Alike” (12:15 minutes).
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Blessings and Curses
By Anne Whitehouse   
Reviewed by Book Noted

From the publisher: Blessings and Curses by New York poet Anne Whitehouse is a series of [twenty-four] curses and [forty] blessings that cover territory both familiar and deeply personal. Both curses and blessings are quietly illuminating, neither too full of sadness nor of joy rather a perfect balance of what a life brings and what a perceptive heart has gleaned. [Whitehouse] writes with a sure hand, schooled in the craft of poetry so that what she has to impart has the right language to say it without interruption.
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Black Sabbatical
By Brett Eugene Ralph   
Reviewed by Michael O. Marberry

In his poem “Firm Against the Pattern,” the first of twenty-nine poems in his new collection titled Black Sabbatical, poet Brett Eugene Ralph writes: “Closing my eyes, I extended my tongue / and pressed it firm against the pattern: / I tasted yesterday’s rain, / the carcasses of moths, / broken glances, tears, / the smoke of not-so-distant fires— / all those desperate gestures / we collect and call the seasons.” These lines, so reminiscent in their focus, set the tone for Black Sabbatical—a collection that frequently hopes to navigate the connections between character, place, and memory.
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We Generous
By Sebastian Matthews   
Reviewed by Jennifer Horne

Perhaps due to the growth of MFA programs, leading to more competently-written poetry as well as more competition for publication, most first books of poems don’t seem like first books any more. We Generous is no exception. Stylistically mature, with a distinctive voice and viewpoint, the poems in this book, many of them published originally in journals small and large, take us on a kind of road trip, into scene after scene of late-night jazz clubs, rainy bad-neighborhood streets, rural roads, a country church, a vacation cabin, even to “Wine Mart, that cavernous retail barn” (“Buying Wine”).
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The Sad Epistles
By Emma Bolden   
Reviewed by Alan May

Often in love poems (or poems about unrequited love), we see the love relationship stand as metaphor for something more complex and, perhaps, profound. During my first reading of Emma Bolden’s The Sad Epistles, I was slightly worried that Bolden’s poems weren’t working hard enough, that the honest-to-god ache she relays, akin to the ache we often hear/feel in pop songs, wouldn’t be enough to carry me through the chapbook again and again. However, with subsequent readings, I fell more deeply in love with the poems and their earnestness, humor, and terror.
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Whirl Is King: Poems from a Life List
By Brendan Galvin   
Reviewed by Mary Kaiser

A birdwatcher’s life list is the record, compiled over his lifetime, of all the species he has spotted, whether in his travels or while watching his backyard feeder. But the phrase suggests other meanings too—the rolls of the living, the list of what survives. In his latest collection, Whirl Is King, subtitled Poems from a Life List, Brendan Galvin compiles the poems of a passionate birdwatcher who calls himself a “failed / teetotaler of birds,” and a poet with a passion for locating and honoring what is truly alive.
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Poetic Panacea
By Dr. C. Scott Williams   
Reviewed by Book Briefly Noted

From the author: Dr. C. Scott Williams labels his style as “hub poetry”—“a concise central idea, a snapshot, a fixed point unifying individual lines of text like a hub connecting spokes on a wheel. [His] poems are a minimalist frame leaving space between lines for the reader[s] to interject their own experience. After exploring each individual spoke, the reader is brought full circle into the discovery of the central idea.”
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Meeting Myself 'Round the Corner
By Carol Prejean Zippert   
Reviewed by Bruce Elliot Alford

Carol Prejean Zippert returns to her southern roots in this second volume of poetry, Meeting Myself ’Round the Corner. These poems are about love, community, and family. She writes about her father, for example, who she describes as quiet, witty, and clever, who could solve word problems in his head. She writes about her aging mother, forgetting her medication and “emptying every dresser drawer,” and she writes of her grandchildren.
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I Wish That I Were Langston Hughes
By Robert Gray   
Reviewed by Michael Marberry

In his new collection of poetry I Wish That I Were Langston Hughes, Robert Gray, over the course of thirty-two poems, attempts to do what so many of us cannot: pay precise and appropriate homage to those classic, influential wordsmiths. Whether praising John Donne (“he held holiness at arm’s length yet firmly in his hand”), Langston Hughes (“[he] awoke the power pain and beauty that springs from blues”) or U2’s Bono (“he sings a new song / one man struggling to find what he’s looking for”), Gray dives right into the thick of it—losing punctuation and capitalization along the way, meditating on and incorporating these poets’ own sentiments into his praise of them.
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I Am By Nature a Conflagration
By Jessica Renee Bowden Jones   
Reviewed by Book Noted

From the publisher: Poetry expresses what is inside us—the stuff that can’t help escaping the boundaries we set. This book’s poetry journeys through childhood, teenage years, and adulthood; it aims at immersion in each ages’ passions, confusions, enlightenments, and play with language. The photography offers illustrations for the poems, but also offers unique perspectives on the subject matter. The combination of the two art forms expresses the rage against and pleasure in each age group’s realizations; it compares and contrasts them, questions them, and sometimes answers them.
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Dancing on the Rim
By Clela Reed   
Reviewed by Tony Crunk

The opening poem of Dancing on the Rim pointedly announces the scope and general subject of Clela Reed’s first book of poems. "Prologue" describes a sort of pre-lapsarian age in male-female relationships, when "Love / was that boundless pool that held / the swirl of Time…."  Though most of the poems directly engage this theme of romantic love, the theme of time is the more subtly handled, and the most effective poems are those that engage both themes most obliquely.
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How God Ends Us
By DéLana R. A. Dameron   
Reviewed by M. Dickson Blackburn

DéLana R. A. Dameron has written a terrific book in the original sense of the word. How God Ends Us is an exploration through poetry of those terrifying and terrific aspects of life that may cause one to tremble, whether in fear, in beauty, or in love. While God is often present throughout the book, the collection is not simply a celebration of the God that Dameron proposes ends life so much as a searching meditation on the ways of ending and the nature of the human condition and mind as endings emerge into view.
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Refreshments for the Heart: God’s Treasure Chest
By Vanessa A. Jackson Austin   
Reviewed by Book Briefly Noted

From the publisher: Are you searching for some refreshments for your heart? Well, God can refresh you like no one else can. And better yet, God assures us a lifetime of His faithfulness and goodness. God’s Holy Word expresses how loving and kind-hearted He is.
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