recent writing
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“Everything only connected by ‘and’ and ‘and’”: On Elizabeth Bishop and Disappointment
In prose that’s erudite and accessible, former Editor-in-Chief of At Length, Jonathan Farmer, explores why “[s]o many of Elizabeth Bishop’s poems end with something audibly, willfully unsatisfying.” Covering Bishop’s career from “The Map” (1946) to her late elegy for Robert Lowell, “North Haven” (1977), Farmer’s claim will send you back to Bishop’s poems with new eyes.
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Whistlejacket
“[W]hat am I to do / about beauty, about / my fear that beauty // has made me arrange / every experience in a word / and image too neatly // for them to bear / much semblance to life,” Paisley Rekdal asks in this confessional, ekphrastic poem written in response to George Stubb’s famed painting of an Arabian thoroughbred, “Whistlejacket” (1762), on view at the National Gallery in London.
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Sarracenia
“[H]ow do they bear this heat Who / knows who can say what will change,” Joanna Klink writes of this poem’s eponymous plant, also known as trumpet pitchers, as she explores our climate crisis and her relationship with her father in language that is both colloquial and catastrophic, meditative and urgent.
from the archive
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Gest
“When time breaks you can feel it in your body at noon when half the day is done and again at 3 pm when you are going home.” Page Hill Starzinger’s poem of her parents’ decline tries to restore the house they can no longer keep. “No, my father said, don’t do that, it’s not a good house.”
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Two Visual Essays: American Sonnets for My Past and Future Assassin
After Terrance Hayes completed American Sonnets for My Past and Future Assassin, he found he had some remaining fragments and lines that yet “begged … for shape.” From them he has been making drawings.
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Old Times There
“He’s dreaming, and // I see his dream.” In Shane McCrae’s new verse drama, Jim Limber looks down on Jefferson Davis from heaven–and Davis grasps at him from hell.