Poets

Andre Rudolph, the Warsaw-born Leipzig poet and translator whose English translations in Issue 35 entered an international record of contemporary German poetry.

Daniel Y. Harris is an American experimental poet and writer whose work connects digital poetics, hypertext, collaboration, theology, philosophical language, and hybrid form.

Richard Caddel: a profile of night, music, sound, landscape, and the clear-edged lyric practice associated with the British Poetry Revival.

Stephen Ratcliffe is an American poet, critic, publisher, and teacher whose books include CLOUD / RIDGE, Selected Days, Portraits & Repetition, and REAL.

Elisa Gabbert’s “Something to Remember You By” turns a remembered night into dream variation, mixing romance, comedy, pop music, failed speech, and the physical residue of aftermath.

A critical profile of Ron Silliman, tracing Language poetry, the New Sentence, long-form sequence, social speech, sound, and the architecture of Ketjak.

A critical profile of Jim Behrle, tracing poetry, literary satire, cartoons, small-press culture, radio, digital projects, and his 2026 selected poems.

A critical profile of Norma Cole, tracing translation, visual art, sound, memory, experimental poetry, and her long literary conversation between French and American writing.

Sam Rasnake’s poetry connects cinema, visual art, Appalachian landscape, memory, mortality, music, ekphrasis, spiritual attention, and the quiet transformations of image and place.

Matthew Rotando’s poetry connects surreal learning, Buddhist poetics, Sri Lanka, pilgrimage, illustrated poems, strange instruction, desire, landscape, and the restless life of language.

Ellen Welcker’s Issue 37 excerpt from The Botanical Garden, set within a body of work spanning Ram Hands, chapbooks, performance, ecology, motherhood, borders, and planetary imagination.

Jessy Randall and Daniel M. Shapiro are American poets and longtime collaborators, coauthors of Interruptions: Collaborative Poems.

Tomaž Šalamun was a major Slovenian poet whose work joined surrealism, absurdity, play, lyric intensity, and the international avant-garde across more than fifty books.

Mike Smith’s “US—An Anagram” builds a day-and-night poem from the letters in the fifty state names, joining formal constraint to civic anxiety and disorientation.

Julia Cohen and Mathias Svalina are American poets whose collaborative chapbooks include When We Broke the Microscope, Chugwater, and Sugar Means Yes.

Cyril Wong’s poetry joins love, confession, memory, body, domestic detail, philosophical reflection, and formal control within a major contemporary Singaporean body of work.

John McKernan’s poetry joins Midwestern geography, road maps, surreal plain speech, dark humor, desire, mortality, weather, and American vernacular life across a career reaching back to the 1970s.

Seth Oelbaum is an American poet whose work uses triolets, sonnets, repetition, rhyme, childish registers, grotesque transformation, and family memory.

David M. Morini’s Cornflower uses footnotes, music, roads, remembered rooms, and the details of 1990s life to build an annotated archaeology of memory.

A critical profile of Brane Mozetič, tracing queer Slovenian poetry, intimacy, violence, translation, publishing, and the compressed prose poems of Banalities.

KJ Hays’s surviving poem The Ride turns carnival machinery, animals, games, light, risk, and bodily desire into a rapidly escalating field of comic and erotic metaphor.

Colin Herd’s poetry connects Glasgow, collaboration, artist books, conceptual writing, humor, intimacy, ekphrasis, aleatory form, and the fluid social energies of contemporary Scottish poetry.

Maurice Burford’s two Issue 37 poems, including “Like Gamma-Ray Guns You Can’t See In The Forest” and the Ted Berrigan dedication “Montana, do you ever sing to the moth on my chest.”

Louis Bury is an art critic, writer, and professor whose work connects constraint-based writing, Oulipo, poetry, criticism, visual art, ecology, and experimental form.

Stephen Carey’s compact poem turns a motorcycle commute into a study of motion, cold air, muted sunrise, and the sudden intimacy of scent.

Sten Carlson is a Pittsburgh-based poet and teacher whose work connects lyric intimacy, collaboration, music, memory, ecology, and literary community.

Lindsay Coleman’s poems turn instructions, formulas, gaming language, persona, and online subculture into comic procedures for making literary form visible.

Shira Dentz’s poetry uses fragmentation, typography, sound, research, prose, image, and musical structure to turn the page into an active field of perception.

Annie Won is an American poet whose work connects mind, body, page, collaboration, medicine, sleep, movement, spatial form, and the experimental possibilities of lyric attention.

Desmond Kon Zhicheng-Mingdé is a Singaporean poet, editor, interdisciplinary artist, and teacher whose work moves among poetry, hybrid form, visual art, philosophy, and literary experiment.

Joe Atkins is a poet and critic whose documented work connects media, war imagery, digital life, intimacy, collage, technological language, and experimental poetry.

Christopher Barnes is a Newcastle-based British poet and interdisciplinary artist, winner of a Northern Arts Writers Award and author of Lovebites.

Luis Cuauhtémoc Berriozábal is a Mexico-born California poet whose books include Raw Materials, Make the Water Laugh, Peering into the Sun, and Make the Light Mine.

Lisa Beskin is an American poet, critic, and teacher whose first collection, My Work Among the Faithful, won the Blue Lynx Prize.

Justin Chin’s preserved poems from Issues 4, 24, 27, and 38, with context on grief, persona, performance, queer Asian American identity, humor, and bodily experience.

Dustin Luke Nelson’s “Selective History” poems place parallel chronologies beside one another, turning dates, omissions, cultural memory, and historical scale into poetic form.

Zachary Gray Sanderson’s Pomegranate Philosophy turns fruit, domestic fantasy, consumer space, awkward analogy, and comic metaphysics into a sustained meditation on love and language.

Daniel Picker’s Poppy’s Walk follows a spring walk with a dog through train tracks, fields, broken glass, transformed land, birds, ball games, and the layered memory of an ordinary route.

Justin Roberti is an American writer, journalist, producer, and former poet whose career has moved from literary and fine-arts work into media, technology, gaming, and cultural writing.

Stephen Boyer’s writing and performance connect queer nightlife, ghosts, music, public poetry, collective archives, New Narrative influence, desire, precarity, and experimental literary community.

Joseph Chapman’s [These poems have been illusory] joins philosophical doubt, a dark pool, bodily origins, and 1950s creature cinema in a compact poem with an unusually expansive footnote.

Theodore Worozbyt is an American poet whose work joins memory, narrative intensity, sound, surreal image, family history, and the music of spoken language.

Allen Qing Yuan is a Canadian-born poet whose work connects family memory, Chinese cultural inheritance, river landscapes, place, and imaginative transformation.

Fani Papageorgiou’s poetry connects desire, refusal, travel, ancient writing, domestic objects, repetition, aging, and the emotional force of what language leaves unresolved.

Jeff Pearson is an Idaho poet whose work explores mental health, place, family memory, hospital experience, maps, religion, landscape, and the unstable geography of personal crisis.

Peach Power is represented here by “Seventeen,” a long associative poem of family memory, adolescence, landscape, desire, religion, self-invention, and changing forms of identity.

Simon Perchik was an American poet whose untitled lyrics use image, memory, grief, stone, weather, touch, and associative movement to create a highly personal non-narrative poetics.

J. A. Tyler is a Colorado writer, poet, teacher, and novelist whose books include Only and Ever This, The Zoo, a Going, and Inconceivable Wilson.

Rex Leonowicz is a poet, performing artist, and community organizer whose work explores queer memory, public space, disappearance, racial hostility, survival, and empathy.

Kyle Harvey’s “Hyacinth” and “Thirteen Ways of Looking at an Orange” use myth, grief, anaphora, seasonal return, color, object, quotation, and numbered sequence to explore changing acts of attention.

Jim Jenkins’s archival work moves from Ocean Beach and wetsuit imagery to urban night, broken bottles, emergency lights, sea clouds, and the silent moon above a noisy street.

George Kalamaras is a Greek American poet and former Indiana Poet Laureate whose work joins surreal image, animals, ancestry, Eastern thought, memory, and linguistic experiment.

Jami Kali’s Elephant Wish, Hot Days, and Water move through stormy canals, domestic fire, tributaries, wordplay, dark comedy, and compressed surreal images.

Michael Levell is a Denver-area poet and teacher whose chapbook Green River Road uses collage, cut-up, erasure, chance, and traditional composition.

Maung Day’s poetry connects Myanmar history, surreal image, political violence, Buddhism, technology, performance, translation, ecological thought, and the unstable language of collective disaster.

Holly Day’s poetry uses animals, domestic scenes, absurd situations, vulnerability, observation, and comic pressure to expose the strangeness of ordinary life.

Roberta Feins’s three Issue 41 poems—“Floor Begged for a Dog,” “The Medicine Cabinet,” and “Cuisine of the Mother Country”—with context on family memory, gender, food, and inheritance.

Corey Wakeling is a poet, translator, and scholar whose work joins experimental language, performance, translation, modernism, ruins, cross-cultural reading, and contemporary literary practice.

Nick Whittock and Tim Wright’s collaborative work “d r o m o,” preserved from Issue 40.

Timothy Yu’s poetry and criticism connect Asian American literature, parody, avant-garde poetics, race, diaspora, literary history, and the politics of poetic form.

Changming Yuan is a Chinese Canadian poet, writer, editor, translator, and publisher whose work explores language, migration, visual form, parallel structures, and cultural memory.

Sara Adams is a poet and teacher whose work uses found text, erasure, mistranslation, constraint, humor, and linguistic play to remake everyday language.

Lauren Beck’s vowel-driven sequence explores univocalic constraint, sound, lexical pressure, comedy, and how restricted alphabets redirect syntax and meaning.

Namita Krishnamurthy’s surviving poems use silence, clothing, syntax, fast food, lice, humor, intimacy, and everyday metaphor to examine how feeling becomes suddenly visible in ordinary life.

Michael Schiavo’s poetry connects formal experiment, found language, ancient Chinese translation, digital and handmade publishing, sonnet pressure, lyric compression, and editorial community.

Chelsea Smart’s complete Issue 40 poem “Raining 101,” preserved with its vineyard, storm, road, ambulance, petals, fog, and night imagery.

Russel Swensen’s two Issue 40 poems from What Happens Next—“Braxton” and “Erik”—with context on his later books Santa Ana and The Magic Kingdom.

Deborah Poe’s poetry moves through image, cadence, weather, memory, grief, visual practice, and book form, with “Goodbye Parakeet” and “The Storm” at its center here.

Julien Poirier is a Bay Area poet and editor whose work connects collage, sound, politics, travel, everyday speech, experimental narrative, and independent publishing.

Oscar Schwartz is an Australian writer, journalist, and poet whose work explores internet language, digital culture, technology, identity, and the changing forms of contemporary literary life.

Alison Strub’s poems address Mendel, Asclepius, John Clarke, Hippocrates, blindness, heredity, surgery, diagnosis, and the vulnerable body.

Clyde Kessler’s “Murray Eldon” from Issue 40, with context on factory labor, family memory, winter landscape, rural Virginia, and his work as a poet and naturalist.

Josh Bauer’s Sarasota, FL revisits a young love through second-person address, Florida light, ocean imagery, a synchronized photograph, an apartment note, and the persistence of memory.

Lucy Biederman’s poetry and prose use documentary collage, retail language, archives, literary history, found text, and public space to examine how language organizes everyday life.

Emily Carr’s poetry uses tarot, bodily detail, marriage, Liberty as a speaking figure, and surreal image to test how private feeling acquires symbolic form.

Patrick James Dunagan is a San Francisco poet, critic, editor, and librarian whose work joins daily notation, long sequence, Bay Area literary history, collaboration, and close attention to poetic lineage.

Dylan Fettig’s Egg, Sort of; The Future of Our Malls; and Unclear on the Concept mix pseudo-science, ecology, retail decline, media paranoia, absurd logic, and compressed surreal prose.

Piotr Gwiazda is a poet, literary scholar, and translator whose work connects translation, migration, empire, political history, time, memory, and Polish-American literary exchange.

Emily Hunt’s poetry and visual art connect daily observation, drawing, photography, labor, love, family, technology, grief, and the pressure between reality and surreality.

Paolo Javier and Del Ray Cross collaborate in “Cellular Clause,” a poem of stammer, correction, technological language, wordplay, fractured syntax, and shared verbal improvisation.

Michele Pagen’s “Poem” from Issue 2, a brief lyric of blood, nerves, exposed circuits, noise, thought, and mental overload.

Camille Roy’s poetry and prose connect queer life, work, class, desire, violence, memory, New Narrative, and experimental form across books including “Honey Mine.”

Derrick Tyson’s poetry and visual art connect photography, dream imagery, perception, experimental language, image-making, and the book “Isolated Lightships.”

Chris Vitiello is a Durham-based poet, writer, critic, performer, and Poetry Fox, author of Nouns Swarm a Verb, Irresponsibility, and Obedience.

James Wagner is an American poet whose work explores homophonic translation, linguistic dislocation, sound, philosophical inquiry, and experimental poetic form.

Kemel Zaldivar’s White Trash Haiku, Ararat, and Slip ’n Slide move through satirical Americana, animals, violence, biblical resonance, repetition, summer heat, and compressed comic-surreal imagery.

Nicholas Grider is a writer and artist whose work moves among short fiction, poetry, visual art, photography, procedural writing, performance, and experimental book forms.

Kaya Oakes’s writing moves from poetry into cultural criticism, memoir, religion, feminism, abuse, forgiveness, and the institutions that shape public and private life.

Elizabeth Hughey’s poetry connects Birmingham, documentary material, memory, public language, place, family, and historical pressure across books including “White Bull.”

Travis Jeppesen is an American writer, artist, poet, novelist, and art critic whose work crosses poetry, fiction, criticism, visual art, performance, and object-oriented writing.

Scott Keeney’s poetry joins lyric compression, literary encounter, comic deflation, chance, fragments, and the afterlives of poetic tradition across books and imagined meetings with poets.

Elena Knox’s poetry and media practice connect bodily force, gender, persona, robotics, sound, speculative technology, and the unstable boundary between bodies and systems.

Ash Bowen is an American poet whose work explores grief, memory, belief, rural menace, scientific imagination, and the pressure of formal restraint.

Christine Kanownik is a poet whose work joins bodily vulnerability, horror, dark humor, spiritual unease, grief, and formal misdirection.

Stephen Kirbach is an American poet and critic based in Asheville, North Carolina, whose work includes poetry and criticism on Allen Ginsberg and political poetics.

Jon Leon’s preserved poems from Issues 21, 23, and 26, including “Machine Talk,” “Sunset Cove, 1957,” and two sections from Diphasic Rumors.

Wanda O’Connor is a Canadian poet, writer, actor, and academic whose work connects open-field poetry, desire, classical literature, feminist poetics, ecology, and place.

James Penha is a poet, fiction writer, editor, and educator whose work connects Indonesia, New York, queer memory, exile, family, myth, and current-events poetry.

Barry Schwabsky is an American poet, art critic, editor, and teacher whose poetry books include Trembling Hand Equilibrium, Book Left Open in the Rain, and Opera: Poems 1981–2002.

Sara Wintz is an American poet and editor whose work connects long-form poetry, twentieth-century history, walking, gender, social identity, public data, performance, and independent literary culture.

Nada Gordon’s two Issue 23 poems, “Coney Island Avenue” and “SHEEPNOSE,” with context on Flarf, Brooklyn, urban language, collision, satire, and excess.

Olivia Cronk’s “Fire Escape” from Issue 23, with context on its urban fire imagery, folklore, compressed lyric movement, and her later experimental books.

Andrew Slattery’s early poems “The Pig in the Pool” and “Crossdress” use comic narrative, vivid image, costume, color, secrecy, and transformation to build sharply staged scenes.

Rob Stanton is a poet and critic whose work connects experimental form, ekphrasis, sonnet practice, compression, collage, political attention, and contemporary British and American poetry.

Mark Young’s long poetic practice moves through collage, music, weather, memory, scientific language, literary history, visual poetry, collaboration, and deadpan conceptual systems.

Glenn Bach’s three preserved Atlas Peripatetic poems from Issue 23, with context on walking, sound, place, landscape, and the evolving Atlas project.

Taylor Brady’s poetry connects labor, markets, bodies, urban space, musical organization, political pressure, collaboration, and long syntactic structures.

Jason Bredle is an American poet whose work combines surreal humor, tonal collision, narrative velocity, and the strange pressures of ordinary life.

Todd Colby is an American poet and visual artist whose seven poetry books include Riot in the Charm Factory, Tremble & Shine, Splash State, and Brilliant Juice.

Amy M. Conger’s Jen turns a sequence of women’s names into a compact study of sound, spelling, repetition, transformation, and the unstable borders of personal identity.

Josef Kaplan’s poetry moves through spatial fragmentation, conceptual lists, economic language, digital circulation, literary institutions, and the social conditions surrounding contemporary poetry.

Ruth Lepson’s poetry connects music, dream, photography, feminist literary culture, aging, color, observation, and the expressive possibilities of sound and image.

Leigh Phillips’s surviving poems use repetition, domestic pressure, friendship, dating, popular film, numerical pattern, and long syntactic movement to examine intimacy and social expectation.

Rositza Pironska’s poetry connects Bulgarian and international short-form traditions with silence, rivers, ducks, dream geography, maps, translation, boundaries, and concentrated visual attention.

Meg Hamill is a California poet, educator, and arts administrator, author of two poetry collections including My Roots, My People and Executive Director of California Poets in the Schools.

Melanie Hubbard is a poet, scholar, and teacher whose work connects Emily Dickinson, manuscript practice, erasure, thought, emotion, material texts, and experimental American poetry.

Diana Magallón’s solo appearances across Issues 22, 26, 30, and 41, including five surviving experimental poems and three recorded works of visual art.

Mark Pawlak is an American poet, editor, and educator whose work connects documentary method, travel, labor, everyday speech, local history, memory, and literary community.

José Luís Peixoto is a Portuguese poet, novelist, and playwright whose work joins memory, family, rural life, popular culture, mortality, and formally playful lyric writing.

Heather Brinkman’s four preserved poems from Issue 26, presented with context on their musical vocabulary, compressed syntax, desire, and fractured lyric movement.

Letitia Trent and Zachary Trent’s collaborative poem “Intersection” places two family crises side by side, using parallel narrative, childhood memory, illness, addiction, and care to create a divided but connected field of experience.

Jennifer Willoughby is a Minneapolis poet whose debut collection Beautiful Zero won the Lindquist & Vennum Prize for Poetry.

David Baratier’s Issue 26 poem, with context on his poetry, small-press work, and the social and cosmological scale of “Poem in which I am the center of the extant universe.”

Sandy Florian’s poetry and prose transform myth, recollection, etymology, geography, violence, creation, and philosophical inquiry through hybrid forms and lyric intensity.

Michelle Greenblatt’s poetry joins repetition, memory, trauma, sexuality, collaboration, visual intensity, and experimental form across books and long sequences.

Jonathan Pickering’s surviving poems use distorted spelling, translation anxiety, refrain, historical allusion, hypnosis, instruction, parody, and sound-driven mutation to make language visibly unstable.

Boyd Spahr is represented here by four paired-text poems that transform passages from nineteenth-century fiction through juxtaposition, repetition, coincidence, and constrained reading.

Bernard Henrie’s “Chinese Movies” poems use intimate objects, painting, food, travel, domestic space, and spare visual detail to make small scenes carry emotional pressure.

Gaston Ng is a Singapore poet whose collection Patchwork and Cigarettes explores intimacy, memory, urban life, technology, and contemporary relationships.

AnnMarie Eldon’s poetry connects digital file forms, sacred relics, sexuality, family, saints, war imagery, fractured syntax, and the collision of private intimacy with public violence.

Cameron Conaway’s Issue 27 appearance placed within a career spanning poetry, investigative journalism, martial arts, public health, and books including Malaria, Poems.

Scott Glassman’s “jewel case: H5N1” from Issue 27, with context on disease, migration, medical language, technology, intimacy, and his experimental poetry.

John Tyson’s Value Village turns a faded work shirt into an emotional artifact, using repetition, spacing, labor, smell, and thrift-store material to stage memory.

Jeremy P. Bushnell is a novelist, writer, teacher, and visual-poetry collaborator whose work moves among fiction, procedural writing, games, collage, and experimental literary form.

Ryan Daley is a poet, translator, critic, editor, and teacher whose work has appeared in Jacket, Harvard Review, COMBO, GlitterPony, and other literary publications.

Julie Doxsee’s poetry uses dream logic, unstable perception, bodily memory, thresholds, surreal landscapes, and shifting relations between care, mortality, and language.

Steffi Drewes’s poetry joins sound, bodily image, performance, improvisation, fashion, city space, and unstable lyric logic across books including “Tell Me Every Anchor Every Arrow.”

Beth Lifson’s surviving poems use repetition, idiom, travel, hotel rooms, Japan, bicycles, bathing, loneliness, and radical compression to test how a limited vocabulary can generate changing emotional states.

Christian Peet is a writer, editor, teacher, and independent publisher whose work connects poetry, hybrid writing, travel, translation, and the small-press culture of contemporary literature.

Ken Rumble is an American poet whose work connects geography, history, public language, sound, collage, associative motion, and experimental literary community.

A critical profile of Dan Beachy-Quick, tracing lyric attention, philosophy, translation, ancient Greek poetry, sound, memory, and the art of reading.

David Huntsperger’s Mechanical Fiction #4 fuses carburetor vocabulary, animal imagery, workshop danger, airflow, combustion, and allegory into a dense industrial poem.

Miriam N. Kotzin’s nine-word poem turns crowd, word, hoard, hearth, heard, herd, bulls, eye, and said into a compact chain of sound, semantic drift, and verbal pressure.

Sasha Laczkowski’s “Randomness Roxanne” turns comic word substitution, surreal narrative, beach imagery, and abrupt tonal change into a compact poem with a dark final turn.

Lance Phillips is an American poet whose work explores the social body, anatomy, language, landscape, cultural memory, fragmentation, and experimental forms of autobiography.

Michael Rerick’s poetry connects sculpture, geometry, public space, materiality, chess, gravity, rust, architecture, and the visual intelligence of objects arranged in motion.

John Sakkis is an Oakland poet, editor, and translator whose work moves through sound, bodily language, travel, displacement, collage, games, family, and contemporary Greek poetry.

Brian Whitener’s poetry and scholarship connect experimental form, finance, Mexico and Brazil, translation, communal politics, art collectives, memory, technology, and social crisis.

Thérèse Marie Bachand’s surviving poetry connects divided time, computer data, bodily vulnerability, spatial typography, helicopters, sequence, and the fragmented perception of contemporary life.

Dustin Williamson is a poet and small-press publisher whose writing uses fragments, sound, broken syntax, comedy, urban speech, and compressed lyric movement.

Shane McCrae’s “Threshold,” “Poem About a Car Made of Words,” and “A Short Note Explaining the Long Wait” move through marriage, loneliness, bodily threat, absurdity, and escalating desire.

Jessica Mercado is a poet whose work moves through urban memory, dream, travel, desire, fragmented address, associative image, and the changing emotional geography of city life.

Adam Strauss’s “Answering Unchecked” uses repeated words, sonic pressure, semantic mutation, and compact verbal structure to turn language itself into the poem’s central drama.

Ellie Claire Wood’s Come Round for Tea turns intimacy into an interior landscape of flowers, water gardens, buildings, music, screens, appetite, violence, and unsettling domestic possession.

Arlene Ang’s “First Name: Laron” turns whitewashing, attraction, domestic labor, newspaper language, and a falling drop of paint into a scene of suspended desire.

Daniel Borzutzky is a Chicago poet and translator whose work confronts political violence, borders, bureaucracy, economic power, disappearance, and the language institutions use to organize human lives.

Brad Flis is a Canadian-born poet whose work brings historical collision, political pressure, visual art, collage, and experimental form into an exacting contemporary poetics.

Nicholas Manning’s poetry connects European cities, modern intimacy, sincerity, rhetoric, historical memory, mirrored language, lyric convention, and the unstable performance of feeling.

Alex O. Bleecker is an American poet and teacher whose work connects response writing, sound, repetition, contemplative image, performance, and small-press literary culture.

Julia Bloch is a poet, scholar, and editor whose work explores queer desire, California landscapes, lyric subjectivity, popular culture, reproductive time, and contemporary poetics.

Francis Curran is represented by a documented contribution titled Two Poems. This profile preserves the verified literary record and its place in contemporary poetry.

M. Mara-Ann is a poet and performance-oriented writer whose Containment Scenario joins spoken text, ecological source material, visual disruption, footnotes, and theatrical reading.

Michelle McMahon is an American writer whose poetry and experimental fiction connect memory, adolescence, altered perception, family life, speculative everyday worlds, and the unstable border between ordinary experience and imagination.

KL Monahan is a poet represented in the magazine’s Issue 28 and in the mid-2000s small-magazine poetry record.

Jason Koo’s poetry connects family, Korean American identity, place, humor, long-form lyric, teaching, and the community-building practice of Brooklyn Poets.

Amanda Laughtland’s poetry connects postcard compression, found text, travel, visual composition, handmade zines, teaching, and direct small-press circulation.

Farid Matuk is a Peruvian-born American poet, translator, and teacher whose work explores migration, citizenship, race, family, visual form, and the political life of the lyric line.

A critical profile of Catherine Meng, tracing repetition, associative movement, unstable definition, dream geography, and books from Tonight’s the Night to The Year of the Big Wind.

Kate Schapira’s poetry and climate work join weather, place, language learning, public listening, ecological crisis, care, community, and collective response.

Tim Shaner is a poet, essayist, editor, and teacher whose work connects ecology, labor, memory, war, development, found material, and literary community.

Kristine Snodgrass’s “PI (again)” sets repeated phrases against decimal sequences, family images, color, surreal association, and numerical pattern.

Dan Thomas-Glass is a San Francisco poet, educator, critic, and editor whose books include Daughters of Your Century, The Great American Beatjack Volume I, Kate & Sonia, and 880.

Annette Hakiel’s Issue 28 appearance set within a poetry career culminating in the 2026 collection Anthropocene Love Poems from dancing girl press & studio.

Malaika King Albrecht is an American poet and editor whose work connects memory, loss, healing, family, repetition, comic language, and relational risk.

Nico Alvarado-Greenwood and Michael Comstock appeared together in the twenty-eighth issue under the surviving title Two P, a collaborative archival record shaped by two documented poetic careers.

Robyn Art is an American poet whose work joins fractured syntax, feminist pressure, bodily imagery, narrative overlap, cultural debris, and experimental form.

A critical profile of CAConrad, tracing (Soma)tic poetry rituals, ecology, grief, queer experiment, major collections, and the embodied practice of attention.

Rebecca Hazelton’s “Write Yellow” turns imperative syntax, egg and moon imagery, division, grief, and absence into a compact poem where procedure carries emotional force.

Kelle Groom’s poetry and memoir move through water, grief, motherhood, addiction, memory, birds, place, and the difficult work of surviving experience without simplifying it.

Heather June Gibbons’s Issue 20 record for “Border Town,” with context on Her Mouth as Souvenir, the Agha Shahid Ali Poetry Prize, and her work across poetry, essays, and teaching.

Karyna McGlynn’s Issue 20 appearance set within a career spanning performance, visual art, Hothouse, and 50 Things Kate Bush Taught Me about the Multiverse.

Paolo Javier is a Filipino-born New York poet and artist, former Queens Borough Poet Laureate, and author of O.B.B., Court of the Dragon, and True Account of Talking to the 7 in Sunnyside.

Brendan Lorber is a Brooklyn poet and editor whose work joins political unease, humor, everyday language, editorial process, and the social life of contemporary poetry.

Alvin Pang is a Singaporean poet, writer, editor, translator, and scholar whose work crosses lyric poetry, prose poetry, multilingual practice, urban experience, and literary community.

Lisa Radon is a poet and artist whose work moves among publication, artist books, performance, installation, object, and visual form.

Sarah Rosenthal’s “Riff or Rift” and “My Nudity Blows the World Apart” turn ordinary speech, rooms, desire, interruption, social roles, and bodily exposure into volatile prose-poem scenes.

Hazel Smith is a poet, performer, new media artist, musician, and scholar whose work connects sound, performance, electronic literature, linguistic invention, and intermedia practice.

Angela Ball’s appearances in Issues 5, 7, and 20, set within a long career in American poetry extending through the 2026 collection Steeplechase.

Mark DuCharme, poet and author of Here, Which Is Also a Place and Thousands Blink Outside, with an archival appearance in Issue 20.

Brandon Shimoda is an American poet and writer whose books include The Grave on the Wall, Hydra Medusa, The Desert, Evening Oracle, and The Afterlife Is Letting Go.

Lauren Shufran is a poet and literary scholar whose work connects poetic form, war, queer politics, Shakespeare, Renaissance literature, meter, and contemplative practice.

Kenneth Tanemura, a writing and rhetoric lecturer at the University of Central Florida, is represented in the archive by Foretellings, a poem title shaped by anticipation, omen, consequence, and future time.

A critical profile of Ange Mlinko, tracing the poet’s use of perception, association, image, sound, verbal play, and lyric compression.

Murray Moulding’s poetry connects landscape, work, travel, memory, family, weather, and the American West through plainspoken narrative and exact physical detail.

Ron Winkler’s Issue 35 appearance under “th,” with translation credited to JD Schneider, set within a career spanning German contemporary poetry, translation, major literary prizes, and later books including Unterwegs in der Verformung.

Peter Nickowitz’s writing moves among poetry, cinema, playwriting, screenwriting, queer family narrative, dialogue, framing, scene, and the dramatic pressure of bodies in space.

Lawrence Rinder’s Chapter 3 from Revenge of the Decorated Pigs, preserved from Issue 35.

Sabine Scho is a German poet, writer, translator, photographer, and visual artist whose work joins poetry, zoology, architecture, image-making, museums, nature writing, and the ethics of looking.

Katharina Schultens’s poetry brings money, scientific vocabulary, technical systems, bodies, networks, myth, anger, institutional language, and analytic precision into intense contemporary lyric forms.

David Trinidad’s poetry turns pop culture, punk music, friendship, glamour, elegy, autobiography, and metropolitan memory into a vivid documentary lyric of American cultural life.

Jan Wagner is a German poet, translator, and critic whose formally exact poetry transforms ordinary objects, animals, landscapes, and historical scenes through wit, rhyme, variation, and close observation.

Jan Volker Röhnert’s poetry and essays move through cities, travel, landscape, translation, walking, and close attention to how places become literary form.

Ulrike Almut Sandig’s three bilingual poems explore homeland, forgotten names, rural landscape, estrangement, memory, and the shifts created by translation.

Thien Tran’s th, translated by JD Schneider, turns two letters into a poetic threshold shaped by sound, abbreviation, translation, typography, incompleteness, and the physical movement of language.

A critical profile of Stephanie Young, tracing love, music, labor, housing, Oakland, collaboration, and the hybrid poetics of Pet Sounds.

Steven Alvarez’s “translations from the social” recomposes speech, data, desire, memory, and ghosted address through repetition, variation, and fragmented syntax.

Eric Amling’s poetry and visual art use collage, luxury imagery, pharmaceuticals, architecture, fashion, celebrity, and design to examine value and contemporary desire.

Carl-Christian Elze is a German poet and writer whose work joins bodily intensity, animals, natural science, fear, love, mortality, grotesque humor, and linguistic estrangement.

Daniel Falb’s poetry moves through geology, climate, political systems, paleontology, planetary time, technofossils, conservation, and the unstable scale of human life.

Johannes CS Frank is a German poet, translator, editor, and publisher whose work connects innocence and complicity, war poetry, multilingual writing, literary translation, independent publishing, and Berlin’s contemporary literary culture.

Wayne Koestenbaum is an American poet, critic, novelist, artist, filmmaker, performer, and scholar whose work joins queer aesthetics, opera, collage, visual art, cultural criticism, and bodily candor.

Norbert Lange is a German poet, translator, editor, and essayist whose work brings poetic tradition into contact with permutation, sound, translation, historical language, and formal experiment.

Sara Larsen’s poetry brings punk, Riot Grrrl, feminist history, collage, polyvocality, myth, revolutionary memory, bodies, landscape, and collective resistance into charged experimental forms.

A critical profile of Shane Allison, tracing queer memory, Black gay experience, repetition, collage, and books including I Remember, Slut Machine, and Sweet Sweat.

Three poems by Nico Bleutge from Issue 35, with English translations by Catherine Hales.

Jennifer Blowdryer’s writing connects punk performance, slang, satire, journalism, street observation, music, and the changing vernacular of San Francisco and New York.

Jenny Boully’s writing joins poetry, essay, footnote, omission, literary theory, memory, desire, and book architecture in hybrid forms that make absence visible.

Peter Covino’s poetry connects queer desire, Italian American memory, family, migration, language, translation, and lyric form across books including “Cut Off the Ears of Winter.”

A critical profile of Duriel E. Harris, tracing body, sound, citizenship, performance, major poetry collections, editorial work, and experimental form.

Ricardez belongs to the broad field of contemporary poets whose careers developed through little magazines, independent presses, readings, and literary communities outside large commercial publishing. …

Xu Smith’s surviving poems Bread and Dollar Chinese use food, smell, digestion, memory, gallery space, embarrassment, class, and social judgment to examine how private appetite becomes publicly legible.

Stan Apps’s poetry and essays connect Flarf, collage, public rhetoric, internet vernacular, satire, political language, song, criticism, and independent literary culture.

Lindsey Boldt’s poetry, performance, plays, songs, and editorial work connect weirding, humor, bodily multiplicity, Bay Area transit, improvisation, theatrical voice, and small-press literary culture.

Otto Chan’s surviving poems use color, typography, insects, botanical images, movement, humor, white space, and spatial arrangement to make language visibly active on the page.

Arpine Konyalian Grenier was an Armenian-American poet and scholar whose work joined diaspora, multilingual memory, science, music, exaptation, fractured syntax, silence, and experimental form.

Ben Mirov’s poetry uses sentences, collage, loops, urban fragments, music, memory, ghosts, machines, and repeated verbal units to build restless forms from ephemeral experience.

Catherine Paquette’s poetry connects long-form sequence, darkness, visual composition, gender, performance, repetition, identity, and the theatrical pressure of language arranged across time.

Ron Czerwien’s “L(B)ean” and “chaos shirt” transform catalog descriptions into visual poetry through extraction, broken words, white space, and spatial reading.

Tom Laverty’s Saginaw Song turns a Michigan place-name into a lyrical field shaped by geography, sound, repetition, civic memory, movement, and the musical possibilities of naming.

John Moore Williams works across visual poetry, asemic writing, digital composition, collaboration, and machine-inflected language, where text remains readable as sign and image at once.

Eric Baus, Noah Eli Gordon, Nick Moudry, and Sara Veglahn form a collaborative American poetry network shaped by shared authorship, small presses, sound, editorial work, queer literary memory, and experiments in collective composition.

MTC Cronin is an Australian poet whose extensive body of work explores love, law, language, sequence, bodily experience, philosophical inquiry, and experimental form.

Sandra Simonds is an American poet, novelist, critic, and teacher whose work explores desire, labor, motherhood, class, pleasure, violence, form, and the pressures of contemporary American life.

Rachel Abramowitz is an American poet whose work connects surreal domesticity, grief, animals, visual spacing, appetite, transformation, literary study, and the strange persistence of the dead in ordinary life.

Jim Dunn’s poetry and editorial work connect Boston literary communities, alphabetic constraint, cadence, compression, humor, small presses, and the preservation of John Wieners’s writing.

Eddie Watkins’s Emblematic Thimble and paired 2 Poems contribution bring together handwork, protection, symbolism, fingertip scale, repetition, craft, serial form, and the poetic force of small objects.

Jake Adam York’s poetry joins elegy, musical recurrence, historical memory, and civil-rights witness, with “Still” and “Blackbird Bye Bye” opening onto his larger body of work.

John Colburn’s poetry moves through folklore, surrealism, visionary states, hybrid forms, humor, death, Midwestern experience, improvisation, and the political possibilities of enchantment.

Christopher Mulrooney was a poet, translator, photographer, film critic, musician, and editor whose work joined compression, cross-media attention, literary translation, cinema, and independent publishing.

Jumper Bloom’s two archival appearances include the striking title Magician: Lighter Fluid to Blame, a compact record of spectacle, fire, explanation, accident, and comic causality.

John Schertzer’s poetry and hybrid writing use surreal association, unstable systems, comic logic, fragmented continuity, and shifting relations between language and the sensate world.

D.A. Powell’s early poem joins boyhood memory, secrecy, danger, pirate and Peter Pan imagery, broken syntax, and repeated belief in a lyric of play and vulnerability.

Cassie Lewis’s poetry connects landscape, weather, migration, music, memory, postcards, color, friendship, and the emotional geography linking Australia with the United States.

Dylan Willoughby’s poetry connects music, photography, Welsh heritage, disability, chronic illness, handmade books, performance, landscape, and the sonic possibilities of lyric form.

Maw Shein Win’s poetry brings family memory, Burmese American experience, objects, spirit, the body, domestic space, vulnerability, and resilience into formally inventive lyric structures.

Andrew Lundwall is an American poet and independent editor whose work connects fragmented syntax, night landscapes, bodies, digital literary culture, collaboration, small presses, and surreal urban imagery.

Michael Farrell is an Australian poet, critic, editor, scholar, and visual artist whose work joins collage, sound, parody, typography, popular culture, literary history, and formal experiment.

William James Austin’s carrie concentrates a poem’s threshold into one lowercase name, opening questions of intimacy, address, identity, typography, memory, and lyric portraiture.

Anne Babson is an American poet, librettist, playwright, and teacher whose work connects myth, music, religion, gender, regional identity, and contemporary public life.

Charles Bernstein is an American poet, essayist, editor, and critic whose work explores language, sound, typography, humor, difficulty, public speech, and radical form.

Eric Raanan Fischman is an American poet, teacher, editor, and organizer whose work connects contemplative practice, rhythm, humor, spacious form, collaboration, and literary community.

Harvey Goldner’s work from Issues 24 and 27, with context on Seattle, desire, satire, street life, sexual comedy, and the poet known as the Bard of Belltown.

Marty A.S. is a documented contemporary poetry contributor whose surviving publication record provides a durable starting point for further literary research.

Clark Coolidge is an American poet and jazz musician associated with Language poetry and the New York School whose work explores sound, syntax, improvisation, and the material qualities of words.

A critical profile of William Corbett, tracing memory, landscape, friendship, literary community, visual art, Pressed Wafer, and the conversational life of his poetry.

Phil Crippen’s I Killed Myself in a French Foreign Film uses recursive phrases, near-homophones, art-cinema parody, and comic excess to turn sound into structure.

Solidad Decosta’s two Issue 24 poems—“where (I) lost (my)” and “the new transgression”—set within a continuing practice across poetry, performance, music, film, and radical multidisciplinary art.

Jonathan Hayes is a Bay Area poet whose surviving work joins domestic objects, flowers, cold light, music, skating, urban experience, and compressed surreal imagery across five archival appearances.

Aby Kaupang is a Colorado poet whose work moves through bodies, disability, grief, faith, care, neurodivergence, collaboration, domestic space, and formally adventurous lyric structures.

Mathew Timmons is an experimental writer, editor, publisher, and interdisciplinary artist known for The New Poetics, CREDIT, Joyful Noise, and Insert Blanc Press.

Patrick Duggan is a poet whose work moves between long sequences, prose poems, compressed postcard poems, memory, personal voice, and the literary culture of San Francisco.

Deja Earley’s “Housewife for Halloween” and “The Unfortunate Marriage” use a plunger, carnival performance, laundry, Sun, Moon, stars, and domestic comedy to build sharply compressed scenes.

Mark O’Hara appears in the thirty-second issue under the surviving title Woods. The poem body is absent, leaving a precise archival record of author, title, issue, and the landscape word that framed the work.

Bruce Covey is an American poet, editor, and teacher whose work brings love, digital vocabulary, found language, lists, categories, sequence, humor, and experimental form into energetic contact.

Anna Eyre’s poem “Ligeia,” preserved from Issue 21 of the historical poetry archive.

Mama-K appeared in the thirty-second issue with a visual-art entry originally represented by four image files. The files are absent, leaving authorship, format, and publication context as the surviving record.

Eileen Myles’s poetry, fiction, and art writing use vernacular first person, New York literary community, sexuality, politics, observation, and the rhythms of a working life.

Siel Ju’s “Sofitel,” “Shutters,” and “Fairmont” use hotel rooms, accident, lost objects, manners, desire, appearance, and unstable intimacy to turn interiors into fields of social reading.

A critical profile of Janet I. Buck, tracing lyric memory, illness, mortality, family, small-press publication, and her award-winning poetry collections.

Crag Hill’s visual poetry connects typography, page space, ecology, the Columbia River, dams, public language, experimental publishing, and literary education.

James Grinwis’s poetry moves through image collage, landscape, strange machinery, animal life, disjunction, narrative fragments, and the intuitive logic of unexpected connection.

Anne Boyer is a Kansas poet and essayist whose work brings labor, gender, illness, care, capitalism, refusal, literary form, time, and ordinary material life into intense relation.

Erica Miriam Fabri’s Issue 29 poems “The Blood of the Fish” and “The French Quail,” with context on visual art, desire, fidelity, Dialect of a Skirt, and her 2025 collection Morphology.

Nicole Gervace’s four Issue 21 poems—“The south social,” “The Country Violets,” “Near the Mississippi,” and “Family Matters”—with their stark crossings of violence, flowers, landscape, and domestic life.

Kevin Connelly’s Cold Dissed in Colchis turns homophones, mythic names, punning chains, and phonetic mutation into a poem that advances by listening.

David Hadbawnik’s poetry and translation connect dramatic persona, comic animal consciousness, Virgil, medieval literature, sonnet practice, performance, and experimental form.

Anthony Hawley is an American poet, writer, critic, and interdisciplinary artist whose books include The Concerto Form and Forget Reading.

Michael Robins’s poetry connects formal restraint, couplets, stillness, fragmented narrative, weather, illness, public spectacle, memory, and dense figurative images.

Brien James Dawson is a poet whose surviving work turns city heat, jazz, blues, movement, desire, family intimacy, and fatigue into rhythmic urban poems.

Jal Nicholl is an Australian poet and writer whose work uses precise objects, natural history, architecture, humor, and surreal transformation to make the ordinary newly unstable.

A critical profile of Cynthia Sailers, tracing visual culture, landscape, prose poetry, psychological pressure, and the associative poetics of Lake Systems and Rose Lungs.

A critical profile of Leslie Scalapino, tracing time, perception, serial form, inter-genre writing, collaboration, visual structure, and O Books.

Simon DeDeo’s early poems use shorelines, toys, cities, acceleration, writing, measurement, and separation to examine time, selfhood, and the systems language creates.

Jen Hofer’s four Issue 29 poems, with context on roads, harbors, bicycles, translation, geography, memory, and the moving field of attention.

Vincent Katz is a poet, translator, curator, and critic whose work joins city walking, landscape, translation, visual art, daily observation, and the New York poetic tradition.

A critical profile of Kevin Killian, tracing New Narrative, pop culture, Jack Spicer, Poets Theater, Small Press Traffic, and his posthumous collected poems.

Jack Kimball is a Boston-born poet and editor whose work moves through collage, media language, fractured syntax, comic pressure, and the afterlives of Language poetry.

Magdalena Zurawski is a poet and novelist whose work joins lyric attention, memory, queer experience, language, embodiment, and experimental narrative form.

Timothy Liu is an American poet and editor whose work explores queer desire, intimacy, grief, sexuality, faith, literary memory, and compressed lyric form.

Tim Botta’s Issue 29 poems “Science,” “Paranymph,” and “Channel,” with the Issue 20 record of “Generation Y” and context on his poetry and book Vegan Horsewhip.

Michael Magee is an American poet, scholar, and editor associated with Flarf, author of Morning Constitutional, MS, Mainstream, and My Angie Dickinson.

Chris Stroffolino’s four historical issue appearances, including the complete “Blue Flute” and “In Memory Of My Rock Band,” set within a career spanning poetry, criticism, performance, and music.

Emily Brungo’s poetry turns markets, food, repetition, urban movement, and bodily geography into dense structures of sensory attention.

Debrah Morkun’s poetry connects polyphony, ritual, Lithuanian song, urban experience, spiritual practice, performance, ancestry, voice, and the layered pressure of experimental language.

Matthew Johnstone’s Issue 38 poems move through landscape, roads, weather, animals, broken syntax, memory, and an explicit address to Jack Spicer.

Stephen Vincent’s poetry and visual practice join walking, public space, political language, photography, publishing, Sappho, and image-text composition across more than five decades.

Chinedu Jonathan Ichu’s Light in His Smile, River Euphrates, and Famine in Place of Bread move through maternal love, sacred water, generational burden, hunger, violence, and collective memory.

Jaimie Gusman’s poetry connects island space, hybrid form, bodily memory, visual arrangement, queer writing, and small-press experimentation across books including “Anyjar.”

Larry Kearney’s poetry joins jazz, urban perception, repeated phrases, memory, weather, and the San Francisco literary community surrounding White Rabbit Press and Jack Spicer.

A critical profile of Rodney Koeneke, tracing history, public language, contemporary speech, major poetry collections, collage, rhythm, and cultural memory.

D.W. Lichtenberg’s two Issue 38 poems, “Four Dudes in a Hot Tub: The Poem” and “Fuck the Identity Poem,” with context on his book The Ancient Book of Hip and Bay Area literary work.

Blake Lynch’s A Dream in Which I Share a Danish with Walter Grimley moves through Paris, Minneapolis, Morocco, television, war imagery, Lake Harriet, snow, and a deliberately unstable geography of memory.

Scott Metz’s Seven “Contemporary Haiku” compress blue light, factories, windows, crows, blood, leaves, mosquitoes, and shifting perception into seven sharply cut poetic moments.

Michael County is a Boston-area poet and editor whose work connects Three Deckers, neighborhood architecture, local music, independent magazines, readings, urban memory, and the small-press literary culture of New England.

Dale Jensen is a Berkeley poet whose work connects Surrealism, cut-up composition, public history, satire, Bay Area readings, small-press culture, memory, and the unruly life of language.

Daniel Donaghy is an American poet and professor whose work connects Philadelphia’s Kensington neighborhood, working-class memory, family, race, labor, violence, tenderness, elegy, and the material history of ordinary lives.

Glenn Ingersoll’s poetry uses sequence, ordinary speech, associative movement, place, memory, and small-press practice to build a patient contemporary lyric.

Curran Nault’s The Poets and Random Thoughts move between collective literary identity and the loose motion of consciousness, using naming, plurality, attention, fragment, and self-reflexive poetic language.

Jon Cotner and Andy Fitch are writers and collaborators whose work turns walking, conversation, transcription, urban observation, and improvised dialogue into literary form.

P. Edward Cunningham is a writer whose surviving poem Over blends ghosts, romance, black humor, urban estrangement, and prose-poem narrative.

Susie DeFord’s poetry, film, and music connect Brooklyn, dogs, waterfront industry, photography, documentary attention, women’s stories, punk energy, urban change, and memory.

Joe Bussiere’s surviving poems connect cinema, Chris Marker, Tokyo, machines, memory, Catullus, desire, classical adaptation, repetition, and the unstable patterns through which love becomes language.

Two poems by Dion Farquhar, with a brief author note and preserved Issue 38 texts.

Yu-Han Chao’s three Issue 39 poems—“Cat Torso,” “The Eye of the Poem,” and “Webcam”—with context on her poetry, fiction, Taipei upbringing, and later books.

Alex Crowley’s two Issue 38 poems, “m/” and “To The World,” with context on music, poetry criticism, Brooklyn readings, and his work as a poet and editor.

Melissa Eleftherion is a Brooklyn-born poet, librarian, and visual artist in Northern California, author of field guide to autobiography, gutter rainbows, Suture, and Malocchia.

Aaron Belz’s poetry uses deadpan timing, pop culture, advertising language, literary allusion, absurd premises, and comic logic to turn ordinary speech into contemporary lyric pressure.

Dan Brady’s poems from “Sonnets to E——” use repetition, love address, tonal shifts, and the pressure of the sonnet tradition to explore devotion, doubt, bravado, and self-questioning.

F. Alexander Chambers is a poet whose documented work examines agriculture, land, political economy, history, and American identity through satire, collage, and documentary attention.

Sylvia Chan is a poet, educator, and activist whose work connects music, disability, family history, Chinese American identity, foster youth, and documentary witness.

Bobbi Lurie’s poems from Issues 19 and 39, with context on domestic observation, open landscapes, grief, visual art, and her books from The Book I Never Read to it’s only a dream. — be enchanted.

Brian Ang is an experimental poet and editor whose work joins theory, sound, political vocabulary, technology, performance, sentence sequence, and assemblage.

Amanda DeMarco is an American writer, translator, editor, and publisher based in Berlin whose work moves through translation, collecting, childhood perception, objects, language, and associative lyric thought.

Eric Ellingsen is an artist, poet, teacher, and landscape practitioner whose work connects poetry, walking, public space, translation, performance, and experimental perception.

Jeff Harrison is an American poet whose work moves through prose poetics, historical fragments, repetition, allusion, invented documents, surreal transformation, and the mutable sentence.

Haley Larson is a poet, media artist, and professor whose work connects collage, digital media, travel, visual arrangement, fractured syntax, and experimental form.

Michael Pontacoloni’s poetry connects Connecticut rivers, urban infrastructure, childhood memory, animals, water pressure, play, physical strength, and the precise transformation of ordinary objects.

Kris Raido is a poet whose surviving early-2000s work includes Film Fight and For Teeth, short lyrics marked by bodily imagery, conflict, and emotional compression.

Mg Roberts’s work from “No T(h)ere” joins body, race, motherhood, memory, medical language, violence, and inherited story through numbered fragments and visual breaks.

Kit Robinson is an American poet, writer, translator, and musician associated with the San Francisco Language poets, author of Quarantina, Thought Balloon, and The Messianic Trees.

Meg Ronan is an American poet whose work connects tarot, constraint, symbolic systems, reading, care, illness, performance, and experimental composition.

Grzegorz Wróblewski is a Polish poet, visual artist, playwright, and essayist based in Copenhagen whose English-language books include Kopenhaga, Zero Visibility, and Dear Beloved Humans.

Jay Marvin was an American poet, writer, visual artist, and radio host whose work connected small-press poetry, spoken voice, urban life, class, outsider art, fiction, broadcasting, and literary performance.

Nick Piombino is a poet, psychoanalyst, and essayist whose work joins aphorism, experimental poetics, collage, performance, blogging, visual collaboration, and decades of literary exchange.

Claudia Grinnell is a German-born poet and teacher whose work connects weather, Louisiana, mortality, public language, time, landscape, irony, and sudden changes in ordinary life.

Katina Douveas is a spoken-word poet whose surviving archive work turns New York transit, Coney Island, repetition, grotesque comedy, speed, and performance energy into a deliberately excessive urban ride.

Alison Fenton’s Graduation turns a ceremony of completion into a literary threshold shaped by achievement, separation, memory, anticipation, public ritual, and uncertain beginnings.

Dawn Sueoka is a poet, hypertext writer, and archivist in Hawaiʻi, author of Little Uglies and interactive literary works including Phenomena.

John Mercuri Dooley’s poetry and criticism connect dream logic, typography, photography, spatial language, repetition, multimedia performance, visual books, and the instability of ordinary perception.

Antonio Facchino’s surviving poem Decline in Industry connects surgery, machinery, freight, dream, thermodynamics, weather, fatigue, and bodily vulnerability through a fractured industrial lyric.

David B. Goldstein is a poet, critic, translator, and scholar whose work connects prose sonnets, collage, objects, food, travel, translation, early modern literature, and the material life of language.

Christine Hamm’s poetry brings animals, fairy tales, gender, violence, addiction, family, surrealism, prose poetry, and feminist literary history into dark, compressed narrative forms.

Halvard Johnson is an American poet whose work joins sonnet form, wit, variation, travel, repetition, narrative surprise, and decades of experimental practice.

A critical profile of Wanda Phipps, tracing desire, city life, performance, major poetry collections, Yara Arts Group, and translations of Ukrainian poetry.

Cedar Sigo is a poet and member of the Suquamish Nation whose work joins lyric collage, literary history, visual art, performance, quotation, music, and experimental form.

Randy Thurman is an artist, musician, composer, poet, and writer whose work moves among image, sound, found objects, surreal transformation, and altered perception.

Eric Lindley’s “and Television” studies stage scenery, cameras, performers, television history, public recognition, and the physical machinery behind screen spectacle.

Laura M. Nesbit’s “Two Poems” uses pairing itself as a formal structure, inviting attention to sequence, contrast, echo, and the changing relation between two works.

Bette O’Callaghan’s poetry belongs to a performance-centered practice shaped by live reading, humor, voice, and the recorded poem “How I Got Religion.”

A critical profile of Julian Talamantez Brolaski, tracing rhyme, queer and Two-Spirit poetics, major books, country music, and literary tradition.

A critical profile of Peter Davis, tracing direct address, comic self-exposure, literary life, and the books Hitler’s Mustache, Poetry! Poetry! Poetry!, TINA, and Band Names & Other Poems.

Oliver de la Paz’s poetry connects family, migration, archival form, disability, music, memory, and procedural structure across books including “Names Above Houses” and “The Boy in the Labyrinth.”

Sarah Gambito’s postcard poem turns moths, glass, light, garden space, and self-recognition into a compressed lyric of desire, exposure, distance, and address.

Rachel Gray’s “When she awoke” begins at the instant consciousness returns, making waking itself a threshold charged with memory, change, and uncertainty.

Kevin Griffith’s prose poems use classroom language, odd facts, domestic scenes, mortality, family, wordplay, and comic logic to make everyday knowledge strange.

Alexander Jorgensen is a writer, visual artist, and educator whose documented practice moves among poetry, image, international teaching, place, language, and the crossings between literary and visual composition.

Susan Denning is a poet and editor whose work connects bodily metaphor, sharp material imagery, literary community, and the contemporary poetry of the Pacific Northwest.

Amy Garrett-Brown’s Issue 36 appearance, set within a literary and teaching career that includes poetry publications, George Mason poetry awards, and later work in writing pedagogy.

Eva Tseng’s “Four Poems” creates a compact quartet in which order, variation, recurrence, and tonal range become part of the reading experience.

Mike Young’s “Eat Your Mercury” turns local news, advertisements, public notices, wildlife, violence, retail culture, and civic language into a restless collage of Northern California life.

Helene Achanzar’s postcard poem imagines “The Story of Yes” as an endlessly reread book, using yellowed pages, highlighter, dust, solitude, and assent to make one word a changing lyric object.

Hosannah Asuncion is a poet whose work moves through loss, place, memory, sensory attention, and Asian American literary communities.

Joseph O. Legaspi is a Filipino American poet and Kundiman cofounder whose work connects migration, family, queer desire, home, animals, transit, and lyric intimacy.

Sherman Alexie is a Spokane/Coeur d’Alene poet, fiction writer, performer, and filmmaker whose poetry connects storytelling, family memory, humor, grief, popular culture, and formal experiment.

Louis Armand’s “Preparations for Winter” and “Watching Cut Flowers Die” turn domestic objects, cold weather, nocturnal machinery, and passing time into a poetry of pressure, fatigue, memory, and survival.

Robert J. Baumann is an American poet, publisher, and literary bookseller whose work connects found language, digital interfaces, repetition, collage, and small-press culture.

Lucas Bernhardt is a poet and editor whose Issue 36 contribution presents four translated hexagrams from the I Ching, joining poetry, translation, divination, and literary editing.

Christopher Cheney’s “Mother Ghazal” and “Karla Ghazal” use the ghazal form to move through family, stars, home, danger, and surreal domestic imagery.

Marisa Crawford’s “Valentine’s Day” gathers sorority emblems, attic space, names, fabric, bodies, rumor, letters, hearts, and tactile image into a dense lyric field of desire.

Aaron Crippen is a poet, translator, and teacher whose work connects contemporary poetry, Chinese literature, visual form, translation, and cross-cultural composition.

Ricky Garni is an American poet, writer, graphic designer, and composer based in North Carolina, author of dozens of books of poetry and prose.

Christoph Girard’s “Confederate,” “Plein Air,” and “Dunny” use eleven-line collage, public speech, war vocabulary, painting, weather, and exterior space to create abrasive lyric pressure.

Suzy Saul’s surviving poetry uses cars, rafts, blackouts, weeds, animals, technology, intuition, fear, humor, silence, and sudden wonder to test how ordinary objects carry emotional pressure.

Stephanie Scarborough’s writing connects sonnet form, recipes, zines, cartoons, music, short fiction, humor, pop memory, and the handmade energies of DIY literary culture.

H.E. Mantel is a poet and writer associated with the name Haro-Halola, independent literary publishing, public poetry projects, and a compact four-poem portfolio.

Sara Mumolo’s four “Brain in a vat” poems use philosophical argument, bodily sensation, scientific language, weather, terror, and fragmented syntax to test the grounds of perception and proof.

Debbie Yee’s “Clean-Up” joins fog, noon light, hydrangea blue, remembered eyes, Chinatown, family speech, and an ordinary food errand in a compressed lyric of movement and memory.

Eli Halpern is a writer and Brown University Literary Arts graduate whose Issue 36 poetry moves through domestic scenes, comic distortion, seasonal change, everyday language, and associative surrealism.

Jukka-Pekka Kervinen is a Finnish poet, writer, composer, programmer, and visual artist whose work uses algorithmic procedure, electronic sound, generative text, microtonality, and visual form.

Eric Wertheimer’s poetry and cultural history connect landscape, risk, insurance, value, empire, industrial residue, animals, memory, and the material systems through which American life becomes legible.

Brian Dean Bollman is an American poet whose surviving work connects sound play, domestic objects, childhood, family narrative, plant life, fractured diction, desire, and the tactile pressures of experimental lyric.

Tim Lane’s documented work Cashmere & Dynamite brings tactile softness, explosive force, material language, the ampersand, and compressed poetic tension into a single memorable title.

Christopher Davis’s Love moves through trembling shoulders, daisies, white stallions, bone, bright sentences, white noise, laundry, patchouli, weed killer, and the unstable theater of language.

Samantha Giles’s poetry brings documentary material, bodily vulnerability, state violence, redaction, unstable syntax, memory, and collective responsibility into formally exacting experimental structures.

Trevor Landers is a New Zealand poet whose work connects Taranaki, whakapapa, Māori and Irish inheritance, rivers, colonial history, place names, memory, resistance, and postcolonial imagination.

Didi Menendez’s poetry, visual art, editing, and publishing connect intimate speech, historical figures, portraiture, digital culture, collaboration, and the handmade social life of literary magazines.

Francis Raven is a poet, novelist, critic, and interviewer whose work connects appetite, water, philosophy, serial culture, collaboration, literary criticism, experimental form, and the sensuous life of ideas.

)ohnLowther’s “Stoppages” uses clipped words, gaps, Duchamp, role-playing, art history, biology, and spatial interruption to make absence part of the poem’s structure.

Barbara Johnson’s The Jump and Sheepdung Estates Poopy Poem move between kinetic compression and scatological satire, using motion, status language, bodily earthiness, exaggeration, and comic collision.

Kristin Hatch is an American poet whose work joins service-industry language, grotesque comedy, appetite, bodies, melodrama, media memory, and experimental lyric form.

Carl Annarummo is a Boston-area poet, artist, editor, and publisher whose work connects The Soft War, collage, handmade chapbooks, visual art, ephemera, small-press culture, and the material life of poetry.

Chris Murray is an American poet, editor, teacher, and critic whose work connects experimental poetry, public rhetoric, literary criticism, small-magazine culture, Austin, and the social life of language.

Chuck Stebelton’s poetry connects birds, field observation, natural history, Upper Midwest landscapes, printmaking, literary community, and site-specific attention.

Laurie Duggan’s complete “A conscious citizen” from Issue 17, alongside his Issue 36 appearance and a career spanning Australian poetry, visual culture, documentary form, and books through The New Weather.

Denise Duhamel’s work from Issues 12, 17, and 24, including “Möbius Strip: True or False” and “INDEX OF SOME OF WHAT SHE ATE,” with context on form, appetite, memory, gender, and popular culture.

Jennifer Dannenberg’s surviving titles return to postcards, dreams, seriality, distance, numbering, compressed address, and the small portable forms through which lyric speech reaches another person.

The archive preserves J. Marie Wilkinson’s title The Dream of 1000 Cats. Its surviving evidence opens a literary field of dream, animal imagery, multiplicity, folklore, collective imagination, and surreal scale.

A critical profile of Ronald Palmer, tracing queer poetics, gender, sound, fragmented form, film, family memory, Logicalogics, and Brother Nervosa.

Leigh Radtke’s at max ebb and the archived title The Bond Between a Father and Daughte move through depletion, tidal rhythm, kinship, attachment, memory, and the changing pressure of human connection.

Susanna Kittredge is a Boston-area poet and teacher whose work connects appetite, bodily texture, sunlight, future time, humor, sound, workshop culture, and close attention to ordinary experience.

Andrew French’s surviving early work uses collage, compressed syntax, cultural fragments, visual disruption, and abrupt juxtaposition to turn public language into a dense poetic field.

Kathy Lou Schultz is an American poet, scholar, professor, and multidisciplinary artist whose work joins experimental form, the sonnet tradition, prose poetry, collage, and Afro-Modernist literary history.

Julie Kizershot is an American poet and writing professor whose work connects Naropa’s experimental tradition, outrider poetics, gender, visual culture, multiethnic American literature, rhetoric, and the teaching of writing.

Susan Landers’s poetry connects New York transit, catastrophe, resilience, neighborhood history, Dante, translation, sidewalks, waterways, and the close observation of urban public life.

Thomas Fink is a New York poet, critic, teacher, painter, and editor whose work explores hybrid speech, verbal collision, finance, social language, collaboration, poetic form, and experimental community.

Alex O’Neil’s two surviving poems from Issues 1 and 2—“A Quarter Moon” and “boy or girl”—with their moonlight, longing, childhood, gender, play, landscape, and memory.

Mark Lamoureux’s “Lapsang Souchong” uses cold, glass, skin, color, reflective surface, distance, and slowed movement to create a restrained field of bodily perception.

Angelo Monaco’s three surviving poems from Issues 1 and 2—“Animal Soup,” “The Cat Show,” and “Use”—with their animals, objects, damage, appetite, containers, and transformations.

A critical profile of David Braden, tracing poetry, playwriting, travel, teaching, literary community-building, and his writing life in Taiwan.

TC Tolbert is an American poet, editor, and educator whose work connects embodiment, trans poetics, intimacy, attention, landscape, collaboration, and spatial form.

Joseph Torra’s poetry and prose connect Boston streets, Chinese poetry and Taoist thought, American vernacular, work, friendship, long-form sequence, editing, and literary community.

Michael Caldon’s Freedom moves through tree forts, rebellion, speed, flashing lights, broken glass, surrender, outlaws, morning sun, and the unstable exhilaration of crossing limits.

Anthony Madrid is an American poet known for ghazals, rhymed quatrains, surreal association, and a contemporary reworking of inherited poetic forms.

Steve Tills is the author of Rugh Stuff, a 2009 poetry collection that turns golf terminology, scoring, ritual, sound, humor, and social language into an extended field of verbal play.

Gautam Verma is an Indian poet whose books In Ladakh, Tombs, The Lines, and Days Dreams join travel, meditation, visual art, mortality, and the expansive possibilities of the long poem.

A critical profile of poet Dana Ward, tracing associative form, pop culture, feeling, performance, This Can’t Be Life, and The Crisis of Infinite Worlds.

Arisa White’s “Yoga” transforms childhood injury, bodily memory, breath, family, motion, and healing into a lyric meditation on release and continued usefulness.

David Highsmith is a San Francisco poet, bookseller, photographer, and literary organizer whose work connects poetry, serial form, bookselling, archives, and small-press culture.

Geof Huth’s visual and textual poetry explores letters, invented words, handwriting, archives, minimal forms, and the point where reading becomes seeing.

Marie Larson’s poetry connects ecology, parasitism, damaged bodies, evolution, heredity, myth, scientific language, and hybrid nonhuman perspectives.

Avery Burns’s appearances in Issues 4 and 31, including three complete poems from aether, set within decades of Bay Area poetry, readings, and small-press community work.

Anna V.Q. Ross’s poems from Issues 1, 2, 5, and 10, including “After Our Agreement by the Gas Station,” “Styx,” and “In the Year of the Snake,” with context on her later books and awards.

Kirby Wright is a Hawaii-born poet, novelist, playwright, and creative nonfiction writer whose books include Before the City, Punahou Blues, Moloka‘i Nui Ahina, and The Queen of Moloka‘i.

J.M. Barnaby’s What We Live For examines grief, movement, reinvention, memory, intimacy, and the unstable sense of permanence that follows loss.

Josh Wallaert’s surviving poems turn Noah Webster’s 1828 dictionary into found poetry about anatomy, illness, speech, pain, historical definition, selection, and the strange authority of reference language.

Editor and publisher Paley served on the editorial staff of the University of Richmond’s literary magazine The Messenger, including work as prose nonfiction editor. She …

Joshua Butts’s Issue 32 record for “Retrospective,” with context on rural memory, Ohio landscapes, his poetry collection New to the Lost Coast, and his work as a teacher and academic leader.

Luke Humphries appears in the thirty-sixth issue under the surviving title (humphries), a compact parenthetical work whose punctuation and self-reference remain the archive’s reliable evidence.

Ian M. McCarty is a poet associated with experimental writing, fragmentary form, speculative language, and collaborative literary publication.

Michael Montlack is a New York poet, editor, and professor whose work connects queer life, family history, portraiture, humor, popular culture, desire, and chosen kinship.

Matt Reeck’s literary work connects poetry, translation, scholarship, and world literature across French, Hindi, Korean, Urdu, and English.

Daniel C. Remein is an American poet, scholar, editor, and translator whose work connects medieval literature, translation, sound, technology, embodiment, and experimental poetics.

Ryan B. Richey’s archived record includes Five Poems, from baby, and the collaborative from Hannis Pannis with Chris Lin, spanning sequence, fragment, performance, pop culture, art-school scenes, music, and shared authorship.

Bill Berkson was an American poet, art critic, editor, curator, and teacher associated with the New York School and the literary and art communities of New York and San Francisco.

Philip Metres is a poet, translator, essayist, scholar, and peacebuilder whose work examines war, migration, refuge, documentary language, translation, and the ethics of listening.

Mark Navarro is a poet with University of Michigan roots whose work explores attention, theft, desire, literary self-consciousness, form, and the relationship between poem and reader.

Cat Tyc is an interdisciplinary poet and artist whose work moves through text, video, performance, installation, broadcast, transmission, objects, memory, labor, and collaborative media.

Sean Reagan’s appearances across Issues 10, 13, and 33, including the complete poems “Salt” and “Resisting amnesia,” with context on love, winter, attention, and rural New England.

Russell Jaffe is a poet, performer, editor, and teacher whose work explores interactive poetry, audience participation, small-press culture, humor, and the social life of performance.

Michelle Noteboom is an American poet and translator based in Paris, author of Edging, Roadkill, The Chia Letters, and Landskips.

Lanny Quarles is a poet and multidisciplinary artist whose writing combines surreal collage, visual imagination, popular culture, grotesque comedy, and experimental language.

Paul Siegell is a poet whose work joins concrete and visual form, live music, Philadelphia, humor, mental health, and experimental language.

A critical profile of Kiely Sweatt, tracing short forms, origin of, Pornography, Prostíbulo Poético, translation, performance, and literary community.

Mike Topp is a New York poet and editor whose short poems and prose pieces use deadpan humor, compression, absurdity, lists, instructions, and sudden shifts in logic.

Ian Davisson is a Philadelphia poet, editor, and co-founder of Radiator Press whose work is rooted in the city’s independent poetry and small-press communities.

Melissa Dickey is a poet, writer, and teacher whose books explore intimacy, ordinary life, sequence, bodily experience, attention, and the complicated relations that bind people to one another.

Gina Myers’s poetry brings labor, debt, illness, grief, politics, friendship, music, Saginaw, Philadelphia, and the daily pressures of late-capitalist American life into a direct lyric register.

Roger Pao is an American poet, attorney, and educator whose work connects magic, light, law-school spaces, Asian American literary context, memory, pedagogy, institutional life, and the persistence of poetry across professional worlds.

Lesle Lewis’s poetry gives the sentence unusual freedom, moving through New Hampshire landscape, humor, grief, domestic life, weather, animals, abstraction, and associative surprise.

Bill Luoma is an experimental poet whose work combines sound, meter, mathematics, scientific language, popular culture, networks, and comic verbal play.

Kevin McFadden is an American poet whose work uses anagram, sound, constraint, historical language, wordplay, and formal pressure to make letters generate argument.

John Rubio’s Me and the Insanity places a first-person speaker beside a vast abstraction, using colloquial grammar, personification, intimacy, repetition, and tension to make disturbance feel present.

Thomas Downing’s Aphrodisiac concentrates desire into one charged word, opening a field of appetite, scent, taste, touch, mythology, bodily response, ritual, and sensory imagination.

J. E. June’s A Restful Odor joins smell and repose, giving calm a physical atmosphere shaped by breath, rooms, memory, bodily perception, association, and quiet sensory attention.

Christina Strong is an American poet, designer, editor, and publisher whose work connects political language, collage, visual spacing, public rhetoric, gender, and independent publishing.

Joseph Victor Milford is an American poet, professor, editor, and interviewer whose work connects maximalist image, sound, Southern geography, myth, meta-poetry, literary conversation, and exuberant linguistic experiment.

Sheila E. Murphy is an American text and visual poet whose long practice spans prose poetry, collaboration, visual composition, serial form, ghazal, haibun, sound, and abstraction.

David Prater’s poetry connects travel, elegy, Australian literary culture, editing, self-publishing, Whitman, multilingual movement, and three decades of transnational writing.

Barbara Jane Reyes is a Manila-born, Bay Area-raised Pinay poet and educator whose work explores diaspora, gender, colonial history, family, myth, language, and Filipino American cultural memory.

Charlie Rossiter is an American poet and spoken-word artist whose work connects road travel, performance, poetry therapy, Chicago and Albany literary communities, public radio, memory, and the lived geography of American roads.

Adam Clay’s poetry explores memory, grief, landscape, parenthood, cartography, perception, cyclical time, and the ways ordinary experience returns in altered forms.

Roberta A. McQueen’s paired contribution Two Poems preserves a two-part literary frame shaped by sequence, adjacency, contrast, echo, pacing, and the interpretive space created between neighboring works.

A critical profile of Guillermo Parra, tracing his poetry, translations of Venezuelan writers, literary history, and work across poetry and fiction.

A critical profile of Dipti Saravanamuttu, tracing Statistic for the New World, Language of the Icons, The Colosseum, migration, social justice, conversation, and literary theory.

A critical profile of Eileen R. Tabios, tracing the hay(na)ku, visual and procedural poetry, transcolonial form, and a prolific body of poetry, prose, art, and publishing.

Ognjen Smiljanic’s Tortu Hartisti works as a compact verbal object shaped by cadence, consonants, repeated vowel patterns, graphic balance, naming, and the physical presence of language.

kari edwards in Issues 13, 14, 16, and 24: repetition, identity, sound, political pressure, and the radical poetics behind a major experimental body of work.

Chad Parenteau’s appearances across Issues 14, 17, 29, and 39, with poems on family pressure, space travel, memory, and change, set within his Boston literary career.

Michael Carr’s The Greatest Prawn on Earth turns a small marine creature into a comic superlative, opening a field of hyperbole, mock epic, spectacle, scale, animal imagery, and exaggerated praise.

Albert Flynn DeSilver’s writing joins poetry, photography, memoir, meditation, teaching, and the disciplined attention through which perception becomes literary practice.

A critical profile of Del Ray Cross, tracing short lyric forms, San Francisco, Cinema Yosemite, Lub Luffly, postcard poetry, and the long-running Anachronizms project.

Daniel W.K. Lee’s poetry brings queer desire, migration, Asian American memory, family history, cities, intimacy, language, and the body into compressed lyric structures.

Larry Sawyer was an American poet, editor, essayist, fiction writer, teacher, and curator whose work connects sound, disjunction, Chicago literary culture, surreal image, public speech, collaboration, and independent publishing.

Patrick Whitgrove’s Everyday Umbrellas turns a familiar object into a poetic field of weather, shelter, repetition, public movement, portable architecture, color, and ordinary urban choreography.

William Allegrezza’s literary practice connects poetry, editing, scholarship, teaching, collaboration, contemporary American writing, and the small-press cultures that sustain experimental work.

A critical profile of Dodie Bellamy, tracing New Narrative, sexuality, feminism, the body, collage, hybrid prose, and San Francisco literary culture.

Mark Peters’s Two Hundred Blonde Videos and Sexy use accumulation, media language, repetition, visual type, attraction, blunt diction, and cultural saturation as compact engines of poetic excess.

Lisa Beatman’s poetry connects family memory, vernacular speech, factory labor, adult literacy, immigrant experience, humor, and compressed observation.

Her poetry often draws energy from found language, recurrence, abrupt shifts of register, public speech, and the sonic pressure created when familiar phrases are displaced …

Sueyeun Juliette Lee’s poetry brings Korean American memory, homeland, sound, geography, color, weather, bodily sensation, and diasporic perception into dense associative lyric fields.

Christopher Rizzo’s poetry and critical practice connect investigative poetics, class, capital, gender, ethnicity, collage, collaboration, visual culture, and independent publishing.

Todd Swift’s poetry connects cinema, popular culture, transatlantic identity, Canadian and British literary traditions, modernism, confession, editing, and public literary life.

Andrew Felsinger’s “the newish brutalist” from Issue 19, with context on VeRT, New Brutalism, collaborative poetry culture, and his Issue 14 appearance.

Alli Warren’s poetry brings social speech, labor, desire, public space, money, friendship, and political pressure into a mobile contemporary lyric.

Rob Cook’s poetry brings urban pressure, damaged pastoral, surreal transformation, black humor, work, desire, extinction, music, and bodily crisis into a volatile lyric field.

Jack Shadoian’s Self-Manicure and paired 2 poems contribution bring together hands, grooming, self-directed care, surface, precision, repetition, miniature ritual, and the formal relation between neighboring works.

Todd Shalom is an American artist, writer, and performer whose work connects poetry, sound, walking, public space, participation, visual art, performance, and the collective experience of cities.

Pete Leed’s Engineering Cobalt Roses joins design vocabulary, metallic color, flower geometry, cultivation, constructed beauty, technical imagination, and the compression of a striking poetic title.

Barbara Blatner’s appearances in Issues 15 and 18, including the complete poem “write,” set within a career spanning poetry, verse drama, music, and books including The Still Position and Living with You.

CL Bledsoe’s poetry and fiction bring Arkansas, farm labor, class, family, grief, fatherhood, absurdity, economic pressure, and working American life into a prolific cross-genre body of work.

Dana Teen Lomax’s poetry, film, editing, and activism connect money, documentary evidence, self-archive, gender, class, race, montage, relation, and experimental cultural practice.

Anthony Robinson’s poetry brings rural Oregon, grief, family, illness, friendship, humor, literary allusion, food, landscape, and exact attention to ordinary life into a generous contemporary lyric.

Matthew Wascovich is a Cleveland writer, publisher, artist, and musician whose work connects poetry, punk, collaboration, small-press culture, visual art, sound, redevelopment, and the city’s underground literary history.

Ed Barrett’s poetry connects Boston history, prose-poem narrative, crime, public memory, digital media, hypertext, classical inheritance, and the shifting architecture of information.

Ken Bolton is an Australian poet, editor, and art critic whose discursive poetry joins everyday observation, conversation, music, visual art, place, humor, and the movement of thought.

Rochelle Hope Mehr is a New Jersey poet whose work connects linguistic error, Sylvia Plath, public memory, spiritual questioning, everyday speech, independent magazines, and the emotional pressure of contemporary history.

C. E. Gatchalian’s writing brings queer Filipino diasporic identity, theatre, poetry, memory, beauty, family, race, trauma, performance, and cultural inheritance into a cross-genre literary practice.

Yuri (Riq) Hospodar is an American-born poet whose work connects comic surrealism, small-press culture, travel, queer literary history, food, autobiography, linguistic play, and decades of experimental poetry.

Jane Joritz-Nakagawa’s poetry brings migration, open form, gender, illness, disability, Japan, collage, voice, landscape, and transcultural literary practice into a radically flexible poetics.

Lewis LaCook is an American poet, musician, and digital artist whose work connects lyric poetry, collaboration, hypermedia, generative systems, electronic sound, place, and networked writing.

Michael Rothenberg’s poetry and literary work connect memory, ecology, friendship, editing, public poetry, and the international network of 100 Thousand Poets for Change.

A critical profile of Tom Hibbard, tracing associative experimental poetry, criticism, translation, and the books Ghotki Crater and Place of Uncertainty.

Amy Kalvig’s Memorial Day places private feeling inside a shared calendar of remembrance, opening a field of grief, ceremony, names, absence, seasonal return, family memory, and collective ritual.

A critical profile of Aaron Kiely, tracing repetition, memory, the body, The Best of My Love, Torch, and the origins of the Boston Poetry Marathon.

Adriana Grant’s poetry turns roadside image, weather, found language, seasonal speech, visual composition, and acts of selection into compact fields of movement and association.

A critical profile of Australian poet Jill Jones, tracing urban perception, open form, sound, movement, and books from Screens Jets Heaven to How To Emerge.

Jason Earls’s poems from Issues 16 and 19, including the complete “Mauve 103” and an untitled companion poem, with context on mathematics, logic, and experimental writing.

Mike Bucell’s poems use color, gravity, weather, touch, and metamorphosis to turn ordinary scenes into concentrated structures of memory and desire.

Morgan Lucas Schuldt’s three poems use prayer, conditional syntax, desire, bodily image, invented compounds, repetition, and spatial fracture to create a restless lyric field.

A critical profile of Robert Glück, tracing New Narrative, Margery Kempe, About Ed, I, Boombox, queer literary history, memory, desire, and experimental form.

David Larsen’s Staggered uses a title of interrupted motion to open questions of rhythm, imbalance, delay, sequence, bodily movement, temporal disruption, and the formal possibilities of uneven progression.

A critical profile of Uljana Wolf, tracing false friends, translation, translingual writing, etymology, sound, and the poetics of linguistic crossing.

Marcus Slease is a Northern Irish-born poet and writer whose books include The Green Monk, Play Yr Kardz Right, The Spirit of the Bathtub, and Rides.

Chad Sweeney is an American poet, translator, editor, and professor whose books include the Nightboat Prize-winning Little Million Doors.

A critical profile of Sam Witt, tracing perception, sound, loss, ecology, lyric intensity, and the development of his poetry across three books.

Juliana Spahr’s poetry connects ecology, collective address, politics, repetition, literary community, and experimental form across books including “This Connection of Everyone with Lungs” and “Ars Poeticas.”

A critical profile of Brent Cunningham, tracing long-form poetry, philosophical play, satire, Bird & Forest, Journey to the Sun, Hooke Press, and Bay Area small-press culture.

Jordan Davis’s poetry brings everyday language, associative movement, comic disjunction, New York literary culture, criticism, and the influence of Kenneth Koch into a restless contemporary lyric practice.

K. Silem Mohammad is an American poet and professor associated with Flarf, found language, collage, anagrammatic constraint, iambic pentameter, comedy, and literary remix.

A critical profile of Elaine Equi, tracing short forms, deadpan humor, performance, urban language, popular culture, and the compressed architecture of her poetry.

Eleanor Johnson is a poet, critic, and Columbia professor whose work joins geometry, ekphrasis, medieval poetics, comedy, bodily metaphor, recursive logic, movement, and formal experiment.