October/November 2017 
Against the Laureates of the Lie: Poetic Strategy in the Age of Trump
David Wojahn
If the recent election has reminded us of anything, it is that our language has always been, as Celan puts in one of John Felstiner's brilliant translations of his work, "embabeled."
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Great Patience and Love: On Leslie Marmon Silko
Virginia Barrett
The book embodies the essence of its author, whose ability to be patient with finding and telling the story behind each "word," each precious piece of turquoise found and admired, is filled with love for all of life.
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An Interview with Campbell McGrath
Natasha Sajé
Writing a poem is like smashing diamonds into magic powder, or at least like smashing a bottle and then throwing the glass shards up in the air.
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Ceremony and Discrimination: Two Muscles of Poetry
Tony Hoagland
How could therapy take the place of something like the Navajo Night Chant?
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The Odeon: Or, Singing and Sensibility
Daniel Tobin
The name Odeon comes from the Greek Oideion, which means literally "the singing place," itself from the Greek verb aeido, "I sing."
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Braving the Controller: Charting the Narrative Strategies of Video Games
Julialicia Case
While it can be argued that all kinds of fiction—television programs, films, novels—are a kind of escapism, video games are often seen as escapism of the worst sort, mainly because the literary world seems to assume that nothing of value exists in the digital world of a video game.
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“The Most Extraordinary Thing in the World”: An Interview with Elizabeth Alexander
Claire Schwartz
You can have the wonderful, glorious intimate experience of love, which is one of the most extraordinary things in the world—we crave it, that intimacy—but what is its power? How does it move out? How do you use it as: gas light; shale; natural resource; precious commodity to illuminate?
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