Poems

David Dodd Lee’s archived pair, Translation Ambulance and Errors, moves through war-zone imagery, medicine, damaged bodies, biological transformation, weather, desire, erasure, sound, and fragmented perception.

Joseph Mains’s three archived poems from A Portable Model of How Memory Works move through tattooed swallows, stopped time, seasons, Beaujolais, morning intimacy, scars, touch, and memory carried on the body.

Steven Manuel appears in the archive in the thirty-seventh installment. The surviving record preserves his full name and publication placement, while the work title and poem body are absent from the current page.

T.J. Meneely’s archived poem Park Woman Proof uses conditional structure, rooms, earthquakes, volcanoes, furniture, skin, water, and erotic imagery to turn the body into a volatile geography.

Anna Morrison’s Neanderthal Flute joins bone, breath, touch, cave imagery, animal forms, moonlight, fire, desire, and repetition in a charged prehistoric fantasy centered on the body as instrument.

Craig Cady’s archived appearances span experiments, visual poems, altered spelling, typewriter-like composition, gospel cadence, image-based work, and serial pieces across three installments.

Uyen Hua’s three archived poems move through cinema, cafés, imagined doubles, future and childhood selves, street performance, celebrity references, popular music, television, desire, embarrassment, and comic shifts in reality.

A.W. Wilson’s you’ll want that warm to the touch, preserved from the thirty-ninth installment, turns instructional language, touch, food, tools, and bodily unease into a compact poetic sequence.

Liz Afton’s Survival Instructions for Weirdos in Love, preserved from the thirty-seventh installment, uses imperatives, playful compounds, bodies, bed-space, weather, and animal detail to shape an intimate survival manual.

Michael Aird’s Paper Planes Remix, Seam Allowance, and Scatterlogical combine cultural sampling, technical diction, bodily imagery, architecture, media language, collage, and compressed experimental syntax.

Rachel Andelman’s Thompson Satyricon and Effects of Polonium combine performance, pop culture, gender, television, celebrity, slang, music, and abrupt associative collage into two compact experimental poems.

Shawn Arrajj’s Cell Mate moves through restaurants, waitresses, prison, tombstones, fathers, trains, basements, homeless figures, rain, changing months, and the recurring desire for home.

Eric J. Brinovec’s four archived poems move through molten steel figures, impossible weather, torn air, geometric wind, sunbeams, cloudy hills, dreams, and a verbal house built from scattered creation.

Melissa R. Benham’s archived work moves through weather, light, visual typography, civic systems, cities, machines, interiors, science, consumer space, and the designed environments of modern life.

Lola Olinsky’s archived poem Wednesday consists of five words—stepgrandmother, astronomy, kimberly, currency, puffin—placing family, cosmos, a name, exchange, and a bird in a radically compressed sequence.

Joshua Johnston is preserved by name in the forty-first installment, an author-only archival record whose surviving evidence establishes identity and publication placement.

Britta Kallevang’s archived appearances include i i i read and what pigeons see, a dense poem of particles, sand, weather, sound, airplanes, galaxies, dunes, pigeons, art, and altered perception.

Nathan Gamache’s Coco before Chanel, preserved from the forty-first installment, builds a compact sequence of rhymed comparisons around names, history, idiom, pause, treason, and the recurring word before.

Marco Giovenale’s archived appearances include Three Poems from enhance and mooch talk, joining serial form, technological jargon, questions, lexical inventories, punctuation fields, cultural debris, and informational overload.

Stephanie Barber’s five pieces from SOME PHOTOGRAPHS turn archival images into prose poems about floods, bodies, tigers, childhood, mortality, uncertainty, and the strange future carried inside a photograph.

Andrew Brenza’s archive record spans the twentieth, twenty-fifth, and forty-first installments, culminating in five preserved poems on want, repetition, surface, evolution, sound, and seasonal stillness.

Marshall Walker Lee and Drew Scott Swenhaugen’s 99 Fires and a Fire uses numbered fragments, song, fire, Chinese place-names, public language, surreal instruction, and serial repetition to build a collaborative poetic sequence.

Charles D. Tarlton’s Simple Artistry, preserved from the fortieth installment, combines family memory, glassblowing, color, fracture, and found objects in a layered poetic structure.

Diane Harman’s Fugitive, preserved in the fortieth installment, combines fractured syntax, playful language, and digital-era poetic exchange.

Katia Kasch’s archived poem turns a restaurant scene into a layered study of sensory discomfort, desire, service language, text messages, repetition, comic timing, and the social life of small requests.

Michael Keenan’s three archived poems move through waking, translation, Italian cemetery imagery, rivers, Dantean descent, broken windows, letters, museums, and compressed scenes of memory and dislocation.

Corinne Lee’s archived poem Swimmer Lost in Lake (Midnight) moves through condominiums, dawn, moral panic, disguise, tribal costume, rooms, touch, vision, and the unstable border between intimacy and spectacle.

Majena Mafe’s archived poem from any writing annie oakley uses repetition, fractured syntax, the figure of Annie Oakley, guns, mouths, family memory, blue paper, and withheld speech to explore writing and silence.

Shannon Tharp’s archived poem Nebraska moves through caravans, windmills, bridges, horizons, monuments, darkness, cars, touch, worry, memory, and the emotional geography of travel.

Muesser Yeniay’s The Meander, preserved from the twenty-third installment, moves through fractured syntax, river imagery, clocks, silence, commands, and recursive motion.

Amanda Chiado’s Eleven moves through kitchens, coyotes, surgery, knives, a dead grandmother’s house, squirrels, eggs, teeth, rust, blood, and windows, turning domestic memory into a compact surreal lyric.

Peach Friedman’s five-part archived poem moves between San Francisco and Boston through fog, bridges, bars, dreams, telephones, desire, childhood memory, separation, and morning light.

David Koehn’s archived poem Some Lines Written with Invisible Ink uses numbered fragments, visible gaps, a rock garden, stone, sand, fish bones, stained glass, and heaven to make absence part of its form.

Eric Low’s Morning, Truce brings dawn and ceasefire into one compact title, opening a literary field of pause, fragile peace, renewed light, suspended conflict, attention, and the uncertain duration of calm.

Cassandra Schiemann’s stomp, preserved from the twenty-third installment, moves through four weekly sections of bodily metaphor, repetition, pressure, and recovery.

Kristen Yawitz’s Litany, preserved from the twenty-sixth installment, gathers family memory, repetition, domestic scenes, obligation, and omission into a long accumulating sentence.

Brandon Brown’s archived appearances include E Pode 7, E Pode 8, and three pieces from The Poems of Gaius Valerius Catullus, joining distorted diction, sound, translation, recipes, geography, classical reference, and comic recomposition.

Tiffany Noonan’s archived poem How I wonder moves through cupped palms, a bug bottle, July children, fireflies, aster petals, released light, and a final transformation into lamps that remain.

Curt Anderson’s Instructions on Building a Shadow, preserved from the twenty-sixth installment, uses compressed fragments, material nouns, bodily traces, dusk, and gray surfaces to construct an elusive poetic object.

Lily Logan Brown’s two archived poems move through gulls, sand, stolen sandwiches, sealing wax, bamboo, eucalyptus, rooms, curtains, distance, light, and the fragile spaces between bodies and objects.

Victor Camillo’s archived poem Watching Jesus. moves through winter, television religion, a locked door, domestic memory, the Indian Ocean tsunami, friendship, anxiety, and the search for faith amid ordinary life and catastrophe.

Jamine Ergas’s three archived appearances move through religious unease, bodily transformation, dream imagery, urban transit, violence, memory, and the charged movement of bodies through unstable spaces.

Mark Young and Jukka-Pekka Kervinen in Issue 21: a collaborative work of language, literary history, politics, imagined dialogue, and comic recombination.

Jessica Bozek’s The Leaf Transport, preserved from the twenty-seventh installment, turns leaf, leave, left, shedding, season, and bodily possession into a tightly compressed prose poem.

Christopher Brown’s carbon poem moves through treetops, powerlines, television blur, diesel exhaust, stalled traffic, corporate space, islands, malls, and the imagined refuge of a geodesic biodome.

Camille Martin’s archived poem secret tilts moves through fog, woodcock, pilgrimage, stars, gardens, walls, dawn, waves, letters, rocks, repetition, and lexical drift, creating a sequence of shifting verbal landscapes.

Laurie Price’s archived poem Then force the picture cloth overhead moves through beach light, sand, camera shutters, cannons, fortifications, heat, gulls, tide, flies, memory, and bodily vulnerability.

David Felix Sutcliffe’s four poems from the twenty-fifth installment explore place names, language, repetition, definition, and difference through compressed verbal structures.

Sarah Trott’s archived poem the right water uses repetition, spacing, corporate language, groundwater, labor, agriculture, pollution, and village life to examine who receives water and who controls its use.

Andrew Brenza’s three preserved poems from the historical poetry archive trace failure, media, entertainment, memory, and social observation across multiple installments.

Michael Crake’s archived contribution Two Poems preserves a paired literary frame shaped by sequence, adjacency, contrast, echo, pacing, and the interpretive space between neighboring works.

Noah Eli Gordon’s archived appearances include A Lost Whalebone Essay and a later contribution from the twenty-seventh installment, preserving a record shaped by essay form, loss, material memory, sequence, and literary remains.

Julia Istomina’s Blueberry America turns berry, soil, thistle, hunger, hubris, ancestry, national language, and organic growth into a six-part meditation on identity and collective imagination.

Dan Brodnitz’s The New Ralph Macchio turns a familiar screen name into a poetic question about replacement, persona, youth, cultural memory, celebrity, imitation, and the changing life of an image.

Annalynn Hammond appears in the archive with Abecedarian in the twentieth installment. The surviving record preserves the author, title, and publication placement. The poem text itself is absent from the current archive.

David Laskowski’s archived appearance preserves a two-poem contribution from the twentieth installment, offering a documented literary record shaped by pairing, sequence, adjacency, chronology, and the formal possibilities of a small group.

Ian Randall Wilson’s The Bandleader’s Last Gig On, preserved in the twelfth installment of the historical poetry archive, with exact title and publication placement documented.

Amit Dwibedy’s (the fifth of may), preserved in the twelfth installment of the historical poetry archive, with exact title, attribution, typography, and publication placement documented.

Kate Middleton is preserved in the twelfth installment through the title Rape, a title-only record that confirms authorship, work title, and publication placement.

Nikola Richter’s four archived poems, translated into English by Catherine Hales, move through old enemies, provincial travel, shared apartments, sailing mishaps, intimacy, cabaret, friendship, weather, and comic performance.

Tom Schulz’s archived contribution, th, with translations credited to Barbara Thimm, survives through a compact two-letter title and thirty-fifth-installment record shaped by sound, typography, translation, naming, and literary memory.

Nora Almeida’s archived contribution Two Poems preserves a paired literary frame shaped by sequence, proximity, contrast, echo, pacing, and the formal possibilities created when two works share one publication space.

Mark Bibbins’s three poems from the thirty-fifth installment move through neighborhood change, political satire, queer bar memory, cultural reference, and a deliberately abrasive conversational register.

Matthias Goeritz’s three archived poems move through fathers, pockets, graves, Nantucket seasons, birds, storms, whaling history, Alice, time, rabbit holes, translation, and the erosion of bodies into sand.

Donald Berger’s Annisquam, preserved in the sixteenth installment of the historical poetry archive, with its title and publication placement documented.

Helena “Nellie” Corder’s Titoism, preserved in the sixteenth installment of the historical poetry archive, with exact title, full attribution, and publication placement documented.

Martha L. Deed’s archive record preserves Kayaking on the Erie Canal from the sixteenth installment and I got kissed by a crocodile from the thirtieth installment, with attribution and chronology documented.

Tim Donnelly’s archived contribution A Portrait of Eddie’s Father survives through its title and sixth-installment record, creating a compact literary field of portraiture, family relation, naming, observation, and memory.

James Lee’s archived contribution father’s finger survives through its title and publication record, opening a compact field of kinship, touch, inheritance, bodily detail, memory, gesture, and family relation.

Elizabeth Treadwell’s archived appearances span Handgun and three works from Wardolly, joining public language, institutions, media culture, gender, memory, grief, religion, and fragmented social speech.

the archive’s first public reading, held in San Francisco on March 1, 2002, with contributors from the original publication’s tenth issue.

Vernon Frazer’s Slanging Leather Pursed compresses slang, material texture, bodily gesture, sound, surface, and syntactic pressure into a title whose words keep changing one another through proximity.

Michael Basinski’s archived appearances include Study Questions and an earlier three-poem contribution, preserving a literary field shaped by inquiry, sequence, reading, interpretation, attention, and formal experiment.

C. Nolan Deweese’s archive record preserves The Chiropractor’s Dilemma from the eleventh installment and Names of Forties from the fifteenth installment, with attribution and chronology documented.

Meredith Alexander’s archived contribution Remembrance, or the Lives of Po survives through its title and twelfth-installment record, creating a literary field of memory, plural lives, naming, alternative phrasing, and archival presence.

Sofa Relax is a collaborative prose poem by Sheila E.

Catherine Daly’s archived title (daly) turns a surname into a compact parenthetical object shaped by naming, typography, enclosure, self-reference, visual restraint, and the formal pressure of punctuation.

C. S. Carrier’s What’s Highschool? moves through classrooms, cheating, band culture, rebellion, gym floors, yearbooks, parents, cars, cafeterias, social groups, and the unstable language of adolescent memory.

Geoffrey Cruickshank-Hagenbuckle’s Cheops’ Chaos and King Sad move through idols, prayer, snakes, golden oxen, ravens, tombs, forests, family graves, wordplay, ritual language, and midnight grief.

Summer Rogers’s archived poem litmus test moves through television, trend culture, consumer desire, gentrification, advertising, labor, sexuality, image-making, and moral pressure.

Melissa Broder’s archived contribution SOHO Windows survives through its title and thirty-fourth-installment record, creating a compact literary field of city space, glass, observation, interiors, streets, and memory.

Kim Vodicka appears in the archive with Camel. in the thirty-second installment. The surviving record preserves the author, title, and publication placement, establishing a documented point in the archive’s literary chronology.

Michael J. Wilson’s Two Poems, preserved in the thirty-second installment of the historical poetry archive, documents a two-work contribution whose individual poem texts and titles are absent from the surviving record.

Pete Lee’s archived work found: dictionary page headings turns alphabetical reference language into a long field of paired terms, cultural collisions, social vocabulary, technical jargon, humor, and accidental association.

Yedda Morrison’s Deerie Lu moves through artificial nature, cartoon imagery, hunting, desire, violence, religious language, plastic surfaces, animal bodies, and the uneasy spectacle of innocence under pressure.

Gale Acuff’s Dynamic Duo, preserved from the twenty-ninth installment, remembers childhood friendship through comic-book trading, rain, hills, repetition, trust, and questions of creation and salvation.

Gary Barwin and Gregory Betts’s from Dawn of a Dead Wood Dawn, preserved from the twenty-ninth installment, survives as a documented five-part visual poetry sequence with joint authorship and publication placement intact.

Ryan Bird’s two archived poems, The Guilty, Drunken Dirge of Lot and Two Staples Each, join biblical parody, popular-song cadence, chapbook making, marriage, place, humor, and compressed memory.

Wayne Crawford’s archived poem 23 Reasons Why it is Better to be Circumsized moves through physics, poetic meter, religion, adolescence, basketball, myth, ecology, television, popular culture, and bodily humor.

Caroline Crumpacker’s Viewer Discretion and Young Child, preserved from the twenty-ninth installment, moves through river, family, child speech, nostalgia, dislocation, landscape, and spatially distributed lines.

Emily Liebowitz’s two archived poems move through fragmented syntax, haunted houses, memory, landscape, murals, ruins, city space, conflict, repetition, and the visual pressure of broken frames and interrupted relations.

m.g. martin’s two archived poems move through love, philosophical play, solitude, fruit, buses, clouds, newspapers, smoking, bathing, boxing, digital language, urban observation, and bodily intimacy.

Rachel Finkelstein’s archived poem Gated Away moves through boxcars, St. Louis, Ohio, roadside travel, domestic memory, stadium lights, billboards, floodwater, derailed cars, train-yard ghosts, and the unstable geography of recollection.

Leora Fridman’s Local Laundry, preserved from the thirty-eighth installment, moves through chores, vegetables, dust, color, clothing, water, soap, and unstable domestic surfaces.

John Erhardt’s No Gift, preserved from the eleventh installment, uses empty rooms, absurd gifts, a consultant, telemarketers, constellations, and direct address to God in a comic poem about failed consolation.

Trey Moody’s three preserved poems from the thirty-eighth installment compress landscape, weather, bodily sensation, time, and color into spare, syntactically unsettled forms.

Long Fasting Since is a linked-verse renshi by members of JIP Society, recorded in Issue 39.

Suzanne Stein’s Everything’s Fine, preserved from the thirty-eighth installment, explores pavilions, layered space, unstable transitions, light, water, and the language of location.

Allison Elliott’s Roommates, preserved from the thirty-ninth installment, moves through insomnia, cigarettes, late-night television, religious spectacle, friendship, and the fragile boundaries of shared space.

Jessica Guzman’s archived poems Ash and Upon Reading Langston Hughes move through breakup, combustion, rain, immigrant family history, city streets, language, student life, intimacy, and poetic self-portrait.

Kristie Kachler’s archived poem The Cat turns domestic boredom into comic unease through surveillance, abrupt fragments, odd details, self-consciousness, and the final image of a cat synchronized with the universe.

Chad Scheel’s Richard Scarry Skate Park, preserved from the thirty-eighth installment, compresses impact, light, noise, and silence into a spare sequence of turns.

Tim Vander Meulen’s archived poem I Know What’s Good For Me builds an absurd verbal world from desks, bags, stumps, treasure, penguins, popular figures, repetition, comic causality, and unstable naming.

Valerie Witte’s a game of correspondence moves through telephone, radio, television, dreams, circuits, implanted memories, recording, playback, bodies, interference, and the unstable technologies of communication.

Alex Stolis’s Vowels, preserved in the seventeenth installment of the historical poetry archive, with title and publication placement documented.

Gary Sullivan’s archived appearances include Larfing It Up and B, preserving a poetics of verbal collision, comic distortion, public language, slang, collage, and the unstable tonal field associated with Flarf.

Joshua Edwards’s Albion, preserved from the thirteenth installment, moves through distance, desire, ordinary urban debris, plant imagery, birth, and the physical bonds of attachment.

Sarah E. Rehmer appears in the archive with 2 Poems in the seventeenth installment. The surviving record preserves her full name, the collective entry title, and publication placement.

Raymond Farr’s three archived appearances span In Between A Plum and Sound, Under the Influence of a Watch with Black Hands, and a later two-poem entry, tracing literary influence, comic self-exposure, love, urban movement, and fractured intimacy.

Emily Kendal Frey’s Two Poems, preserved in the thirty-first installment of the historical poetry archive, documents a two-work contribution whose individual titles and poem bodies are absent from the surviving record.

Scott Abels’s archived Three Poems from Locus: A Choose Your preserves a three-part literary frame shaped by place, selection, sequence, readerly choice, and the suggestive incompleteness of its surviving title.

Rong Lee’s archived contribution, From an Earlobe, survives through its title and publication record, opening a compact field of listening, bodily attention, intimacy, scale, and sensory imagination.

Megan Breiseth’s Two Poems, preserved in the thirty-sixth installment of the historical poetry archive, documents a two-work contribution whose individual titles and poem bodies are absent from the surviving record.

Will Burke’s .eat., preserved from the thirty-sixth installment, uses fragmented grammar, soil, flesh, clothing, air, and dislocated syntax to create a compressed field of appetite and instability.

Brian Morrison’s Devotion concentrates commitment into one charged word, opening a literary field of attention, ritual, care, repetition, loyalty, practice, and the time required to sustain attachment.

William Routhier’s archived contribution, H.G. Wells on the Moon, survives through its title and tenth-installment record, creating a compact literary field of authorship, lunar imagery, allusion, speculative imagination, and archival memory.

Sonia Mukherji’s archived untitled poem moves through moths beneath the skin, remembered eyes, Sunday songs, walls, floating limbs and hair, and wings beating beneath the chest. The original page also credits a postcard photograph by Joyce Ravid.

John Oakey appears in the archive with Teenagerdom in the thirty-first installment. The surviving record preserves the author, title, and publication placement, establishing a clear literary reference point.

Matvei Yankelevich’s three poems from the tenth installment explore memory, sculpture, repetition, erasure, visual focus, and compressed observation.

Ariana-Sophia Kartsonis appears in the archive with PrettyKitty Postcard in the sixteenth installment. The surviving record preserves the author, title, and publication placement as a documented literary trace.

Christopher Mayer appears in the archive with Dirty Jacket in the sixteenth installment. The surviving record preserves the author, title, and publication placement as a documented literary trace.

Stefano Resta appears in the archive with Cosmo Del Barrio in the sixteenth installment. The surviving record preserves his full name, the work title, and its publication placement.

Photios Giovanis’s A forest scene, preserved in the eleventh installment of the historical poetry archive, with exact title, attribution, capitalization, and publication placement documented.

Jonathan Goodman is preserved in the eleventh installment through the title Beloved, a concise archival record whose surviving evidence centers on name, title, and publication placement.

Rosemary Griggs’s Saint Valentine, preserved in the eleventh installment of the historical poetry archive, with title and publication placement documented.

Bryan Martin’s archived contribution, pomes 1226702, survives through its title and seventeenth-installment record, creating a compact literary field of numbering, naming, sequence, compression, and archival presence.

Mark Ewert’s archived poem Food and Drug transforms overheard consumer language, food labels, human schedules, advertising cadence, voice, and perishability into a compact collage of ordinary life.

Kevin Gallagher’s archived poem The Day No Fish Could Die, dated Gloucester, 1994, moves through street silence, dry leaves, rolling cans, cardinals, mice, alley cats, spring worms, and a final image of birds feeding with confidence.

Elizabeth Galloway’s archived poem MAY 8 : 6 a.m. Pour records a sixty-third birthday through gifts, errands, buses, heat, teaching, student art, neighborhood plans, food, family calls, and rapid shifts of self-description.

Zhuang Yisa’s archived contribution, (yisa), survives through its title and publication record, creating a compact field of naming, parentheses, self-reference, typography, identity, and literary presence.

Diana Magallón and Jeff Crouch appear together across two archived installments, with (magallon) preserved from the thirty-third and a later joint appearance in the thirty-seventh, creating a record shaped by collaboration, naming, sequence, and shared authorship.

Alisa Heinzman is preserved through Two Poems, a thirty-sixth-installment archival record confirming author name, title, and publication placement.

Marcel Stein’s 2 Poems, preserved in the eighteenth installment of the historical poetry archive, documents a two-work contribution whose individual titles and poem bodies are absent from the surviving record.

Steve Timm’s archived appearances span two early two-poem contributions and the later from De/term/st/ination, preserving a literary record shaped by recurrence, serial grouping, segmentation, naming, and publication chronology.

Ric Carfagna’s archived contribution shattered monologue survives through its title and fourth-installment record, creating a compact literary field of voice, fracture, sequence, speech, and memory.

Mona Lisa Donnelly’s archived contribution You Walk So Nicely survives through its title and fourth-installment record, creating a compact literary field of movement, address, observation, grace, social attention, and memory.

Chris Major’s archived poem Surface Tension moves from gathering floral tributes to a gray house, a disturbed street surface, flower imagery, hidden pain, and bruises looming like iceberg tips.

Bob Marcacci appears twice in the archive, with pimiento in the eleventh installment and Blog Sestina in the twentieth. The surviving records preserve both titles and their publication chronology.

Lina Ramona Vitkauskas’s archived contribution Joseph Beuys Listening to J survives through its title and eleventh-installment record, joining a named figure, listening, a single letter, sound, cultural memory, and literary imagination.

Nick Whittock’s archive record spans solo poems and collaborations across five installments, including nike, Fujitsutm, record 9th wicket partnership, One, and d r o m o.

Sophia Dever’s four archived poems move through orphaned waves, lost poems, sound play, clams, ducks, death, mourning, ghostly return, and the eerie compression of nursery-rhyme logic.

“Emotiolution” and “Six Long Stories,” credited to Shafer & John in Issue 15, explore repetition, story, music, peril, childhood, and transformation.

Alissa Carrier’s archived contribution, Final Florida, survives through its title and publication record, opening questions of place, finality, regional naming, sequence, and literary memory.

Gordon Moyer’s Les Solitaires moves through shore wind, Mauritius, guano boats, twilight, wine-colored shoals, shell music, ghost crabs, scent, solitude, and the changing atmosphere of island travel.

J. J. Blickstein’s Night Shade, preserved from the first installment, drives a long lyric sentence through touch, fireflies, animals, ritual, history, and images of transformation.

James Bunzli’s Hearing Test turns an audiology exam into a poem about sound, reflection, pressure, memory, hearing loss, music, touch, direction, and the intimate labor of listening.

Kristin Abraham’s Another Almost Poem, preserved in the eighteenth installment of the historical poetry archive, with its exact title and publication placement documented.

Zinovy Vayman’s archived work joins haibun, haiku, migration, multilingual memory, birds, cities, travel, architecture, dentistry, seasonal detail, and comic observation across a wide sequence of appearances.

Daniel Nester’s archived appearances move from the meditative prose-poem Notes On An Unadorned Night to Adagia 251–300 and Traci Lords is on NPR!, joining night, cinema, aphorism, repetition, cultural noise, comedy, and mortality.

William Charles Delman’s three archived appearances span Trying Desperately to Hold, The Imagination of Relation, and Entanglement, tracing a literary field of attachment, relation, broken chains, distance, sequence, and memory.

Phoebe Sayornis’s archived appearances include the full poem Eden and the later title LoveWar. Eden uses phonetic spelling, letters, numbers, homophones, bees, birds, insects, firelight, habit, and shifting identity.

William Cannon’s untitled poem from the nineteenth installment survives as a seven-line sequence built from clipped phrases, sonic echoes, and abrupt lexical pairings.