Reading Sara Ryan’s Never Leave the Foot of an Animal Unskinned
Within reach from my desk is a small wooden box. Inside is a snake’s skull, the gift of a friend…
Daybook
Distressed Stucco
Wandering through the apartments of Unite d’Habitation in Marseilles, the late critic Robert Hughes noted how deeply architect Le Corbusier…
Meditation and Story
Washing the dishes, I listened tonight to “Carols of the Times,” composer Bob Chilcott’s introduction to the Festival of Nine…
Reading Bill Mohr, Hold Outs: The Los Angeles Poetry Renaissance, 1948-1992
Twice I’ve seen the poet and critic Bill Mohr hold aloft a copy of Laurence Goldstein’s Poetry Los Angeles. Mohr…
Los Angeles Made Wild: Eloise Klein Healy, Artemis in Echo Park
Eloise Klein Healy is one of those writers whose style became associated with L.A. after the 1960s: loose lines, conversational…
Infinity Mirror: Hans Eijkelboom, People of the Twenty-First Century
Hans Eijkelboom is a photographer. In his brief and helpful afterword, the critic David Carrier characterizes Eijkelboom as a modern…
The Awful Mystery of the Divine: Tim Miller, Hymns & Lamentations
Last month, the poet Tim Miller published a large batch of my poems in Underfoot, an online journal he co-edits…
Nine poems up at Underfoot Poetry
A selection from my current project, Naming the Animals, is up at Underfoot Poetry. Thanks to editors Tim Miller and…
Poem up at panoply
Thanks to Andrea, Jeff and Ryn for publishing “Ravenous” at panoply. This is a themed issue, collecting poems around Adam &…
After Auschwitz, Poetry: Ewa Chrusciel’s Of Annunciations
Theodor Adorno warned against poetry after Auschwitz. To write it, he said, is “barbaric” because “critical intelligence … confines itself…
Left Write & Centaur 