Early in Michael Earl Craig’s Woods and Clouds Interchangeable, forthcoming from Wave Books, there’s a poem that I would argue serves as key to reading the book—and Craig’s work overall. Specifically, it is the first stanza of “The Rabbit,” the collection’s third poem: I remember
“In these avenues, deafness is our only barricade,” reads the final line of “Checkpoints,” a poem in Ilya Kaminsky’s forthcoming book Deaf Republic (Graywolf, 2019). In a lyric world uniquely his own, deafness and its sister sound, silence, become the central tropes of Kaminsky’s book-length
Anne Stevenson’s review of Ted Hughes’s Birthday Letters appeared in MQR’s Winter 1999 issue. Our dear friend and longtime former Editor Lawrence Goldstein knows the journal’s publishing history like an intimate library, and he reminded us of this treasure from the archives. In the United
At the risk of generalizing perhaps too broadly, prose by poets—that is, prose written by writers whose primary mode is poetry—seems to fall into two camps. Either the writing is extremely sober, to clearly differentiate it from the poet’s poetry (think criticism, or op-eds), or
If Irish poetry could not claim to be fine art before the twentieth century, it is not because there was a lack of Irish poets with talent and voice; rather, it is because the literary world ignored them, or willfully caricaturized them. Though the problem persists, this anthology makes it clear: the work of Irish poets is undeniably diverse, crafted with rigor, and historically urgent.