Michael Londra
Jim Windolf’s joint portrait argues that competition between icons did not divide them—it reshaped modern music
Poet Adrian Matejka distills identity, anti-racist critique, political commentary, and literary history into rapid left-right-left punches, each landing hard.
D. H. Lawrence’s final poems confront mortality with mysticism, sensuality, and hard-won clarity.
By Michael Londra In /face, William Lessard examines how technology fragments identity, transforming our faces into data and design. /face by William Lessard. Kernpunkt Press, 100 pp, $18. Recently I saw Patti Smith perform her album Horses at the Beacon Theater in Manhattan. Filing in, a sign alerted me to the following: “Attention Customers: biometric identification…
Juan Ramón Jiménez’s “Eternities” could be considered a gallery of invisible tongues schmoozing at heaven’s bandwidth.
Matt Bialer’s long poem doesn’t see time as a clock running to zero, but as an infinite love poem.
Richard Hell is the only New York artist of the past fifty years to give Lou Reed and Patti Smith a run for their money.
Yusef Komunyakaa and Laren McClung’s goal — achieved through tag-team lyric utterance — is a noble spirituality.
You can almost hear the volume whispering in your ear, “Be like lichen.” Traumatic grief, political tyranny, and environmental catastrophe are not irreversible.
Poet John Berryman’s choice of minstrelsy in his “Dream Songs” is not just a distraction that can be explained away by aficionados — it is impossible to excuse or forgive.
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