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Current Issue: No. 298

Stop! Look! Listen! Ronna Bloom's Book Recommendation

Phil Hall’s new book, The Ash Bell, undoes me. His work makes me read below the below and out the corners of my eyes. Drops me down under understanding, echos of words like backlit other words waving their fronds. I read the word “worship" and see “warship." It's blunt, raw, funny and true. Cumulative. I do not understand, I stand under, happily. 

No. 296 (Summer Poetry 2023)

The Fiddlehead No. 296 (Summer Poetry 2023) is our triennial summer poetry extravaganza! This issue features poetry from over 50 contributors, including Kim Addonizio, Derek Austin, Ali Blythe, John Barton, Sadiqa de Meijer, Boris Dralyuk, Leontia Flynn, Jim Johnstone, Meghan Kemp-Gee, Dan O’Brien, Douglas Walbourne-Gough, Lisa Russ Spaar, Karen Solie, and many more. Cover art is by Ben von Jagow. 

Stop! Look! Listen! Dawn MacDonald's Book Recommendation

The literary lives of us rural folks can be overly shaped by whatever happened to be available at our local library, or that one random anthology we found in a "free books" pile. I was extremely fortunate to have that anthology be The New American Poetry: 1945-1960, edited by Donald Allen. What a revelation! Kenneth Koch's sense of play, Frank O'Hara's "I do this I do that" poems, the whole New York School in general -- the Beats -- it just blew my head off. I had no idea you could do this stuff.

Robert Colman: Plot Lost in the Details, Review of Where Beauty Survived by George Elliott Clarke

George Elliott Clarke has carved a name for himself in Canada’s poetry landscape as a talented modernist paradoxically charged with verbosity. The richness of his language, the energy and directness of his address, and his exploration of “big” themes (racism, love, poverty) have garnered him understandable praise. In his best work, the focus of language and theme creates an undeniable force.

Katia Grubisic: Different Fruit, Review of Little Wet-Paint Girl by Ouanessa Younsi and translated by Rebecca L. Thompson

“My parents peeled me like a fig. I was a different fruit each day.” Is the self the me, an object created, or the I, with self-knowledge and even agency over its own definition? In Métissée, ably rendered in English by translator and scholar Rebecca L. Thompson as Little Wet-Paint Girl, Québec poet Ouanessa Younsi brings multiple possible selves together in a collision complicated by mixed cultural heritage.


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