Leah Xue – Michigan Quarterly Review

Leah Xue

Leah Xue is a Zell Fellow at the University of Michigan and lives with the dog Poopy Xue in Ypsilanti, MI

“Thermal Gestures:” A Review of W.S. Graham, NYRB Poets Series

Graham is not a poet of language so much a poet of mark and gesture. His fundamental unit of work is not the word but the expressive stroke. That is to say: he’s just another Cornish Expressionist, like his friends.

“Thermal Gestures:” A Review of W.S. Graham, NYRB Poets Series Read More »

Graham is not a poet of language so much a poet of mark and gesture. His fundamental unit of work is not the word but the expressive stroke. That is to say: he’s just another Cornish Expressionist, like his friends.

Roberto Tejada Head Shot

Into the Radical Poetic Future: A Review of Roberto Tejada’s Still Nowhere in an Empty Vastness

To depart so much from poetic convention is an act of rebellion. What is Still Nowhere an Empty Vastness rebelling against? And what better future is it signaling towards?

Into the Radical Poetic Future: A Review of Roberto Tejada’s Still Nowhere in an Empty Vastness Read More »

To depart so much from poetic convention is an act of rebellion. What is Still Nowhere an Empty Vastness rebelling against? And what better future is it signaling towards?

“Both a Poem and a Microcosm:” An Interview with Roja Chamankar

Roja Chamankar’s Dying in a Mother Tongue is a poetry collection on the brink of loss, violence, coming into language, adulthood, and emigration. First written in 2009 (in Persian), when Chamankar was about to leave Tehran for France, Dying in a Mother Tongue is first a diegesis of a relationship’s destruction. The poem moves from

“Both a Poem and a Microcosm:” An Interview with Roja Chamankar Read More »

Roja Chamankar’s Dying in a Mother Tongue is a poetry collection on the brink of loss, violence, coming into language, adulthood, and emigration. First written in 2009 (in Persian), when Chamankar was about to leave Tehran for France, Dying in a Mother Tongue is first a diegesis of a relationship’s destruction. The poem moves from

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