Deborah Poe appeared in Issue 40 with “Goodbye Parakeet” and “The Storm.” Both poems move quickly among image, memory, sound, and loss. Their language keeps returning to the physical world—house, bird, weather, sea, color, body—while cadence and association make those objects unstable.
Deborah Poe in the historical archive
“Goodbye Parakeet” follows memory through flashes of writing, motion, voice, and disappearance. “The Storm” builds a charged visual field from weather, figures, landscape, warfare, and grief. the archive’s guide to imagery in poetry offers a broader context for reading poems in which visual pressure carries emotional and intellectual weight.
Cadence and recurrence
Poe’s the historical archive poems also depend on recurrence, shifting sentence lengths, and abrupt tonal turns. Their movement gives sound a structural role even when rhyme is absent. the archive’s guide to sound devices in poetry continues that formal question through rhythm, repetition, consonance, assonance, echo, and sonic expectation.
Books and cross-media work
Poe’s books include keep, the last will be stone, too, Elements, Our Parenthetical Ontology, and the verse novella Hélène. Her visual practice includes video poems and handmade book objects, extending poetry into forms where text, image, sequence, and material design share the work.
A contemporary poetic practice
The movement between page, image, sound, and object places Poe within a broad field of contemporary poets whose work crosses conventional boundaries of lyric, visual art, performance, and book form.
Further reading
Deborah Poe’s website provides current biographical and bibliographical information, including her books, teaching history, video poems, and handmade book objects.