Ariel Francisco’s Before Snowfall, After Rain (Glass Poetry Press, 2016) leads readers through a breathing portrayal of New York City where we come face-to-face with our own sense of isolation.
Jenny Sadre-Orafai’s collection Malak (Platypus Press, 2017) creates a new language that helps us understand the metaphysical, the things we cannot see.
Enikő Vághy discusses themes of heritage, trauma, survival, and inherited memory in Ruth Awad’s ‘Set to Music a Wildfire’ (Southern Indiana Review Press, 2017).
Jennifer Tseng’s “Not so dear Jenny” (Bateau Press, 2017), the winner of the 2016 Boom Chapbook Contest, is born from a 30-year correspondence with her father. These poems are intimate missives on parenting, longing, and heartbreak.
Marlena Chertock’s collection “On that one-way trip to Mars” (Bottlecap Press, 2016), contemplates the beauty on the earth and in the universe and how quickly it can dissipate if we aren’t careful.
Megan Merchant’s The Dark’s Humming (Glass Lyre Press, March 2017) speaks to the maternal experience in the most intimate and real ways: its joys, fears, and the eternal, overwhelming responsibility.
In Sarah J. Sloat’s Heiress To A Small Ruin (Dancing Girl Press, 2016), household objects and common domestic scenarios breathe, grow, and make choices on every page, but there is nothing common about them.
Kelly Lorraine Andrews’ “I want to eat so many kinds of cake with you” offers an honest, witty look at lust, lost love, and isolation. Seductive as cake.
In Amy Strauss Friedman’s poetry collection Gathered Bones are Known to Wander (Red Bird Chapbooks, 2016), the familiar is made strange and surreal, and what’s “real” is slippery at best.