1. Blue Year 2017. Poems
Juliana Spahr (7) Ilya Kaminsky (39)
David Mura (11) Sawnie Morris (47)
Barrett Watten (15) Sandra Simonds (48)
Adrian C. Louis (25) Tomás Sánchez Hidalgo (52)
David Buuck (27) Laura Mullen (53)
Joshua Weiner (32) Sesshu Foster (57)
Kim Nam-ju (34) Brenda Hillman (59)

2. Black & White
Claudia Rankine, “Our Whiteness” (73)
Fred Moten, ”Assignment Letter 2” (86)
Tisa Bryant & Douglas Kearney, “A Dialogue on the Movie Get Out" (90)

3. Raúl Zurita. Poetry and Prose
Raúl Zúrita, “Unit 420,” translated by Daniel Borzutzky (106)
“The Dead Poems," translated by Kristin Dykstra (116)
Forrest Gander, review of The Sky Below: Selected Poems (132)
Zurita, “Against Translation,” translated by Kristin Dykstra (136)
Kent Johnson & Robert Neustadt, “CADA” (138)

4. César Vallejo: Brief Prison Memoir and Two Short Stories
Introduction by the translator, Joseph Mulligan (158) “Northwestern Wall” (162)
“The Caynas” (165)
“Beyond Life and Death” (174)

5. Poetry’s Exemplary Subversions
Calvin Bedient, an essay (180)

6. Paintings (color plates)
Enrique Martínez Celaya (225)
Brian Shields (231)

7. Wild in the Semantic Field: poems
Jorie Graham (236) Catherine Wagner (292)
Polina Barskova (240) Shane Book (295)
Joyelle McSweeney (242) Anthony Madrid (301)
Kevin Holden (248) Molly Bendall (306)
Nathaniel Rosenthalis (254) Douglas Puccinnini (308)
Matthew Moore (260) David Need (310)
Tongo Eisen-Martin (263) Martha Ronk (311)
Diana Khoi Nugyen (272) Geoffrey Gilbert (313)
Rae Armantrout (282) Karolinn Fiscaletti (318)
Karen Garthe (289)

8. Rimbaud
Alain Borer, "The Key to this Savage Parade," translated by Mark Irwin (322)

Mark Irwin’s translations of some Poems and Letters (326)

9. A Dialogue on Luca Guadagnino’s movie I Am Love
Karen Garthe & Calvin Bedient (335)

10. Ilse Aichinger
Ilse Aichinger, Bad Words: Selected Short Prose translated by Uljana Wolf and Christian Hawkey (351)
Uljana Wolf, "Translating the Untraceable: On Ilse Aichinger," translated by Sophie Seita (359)

11. Contemporary Chinese Poetry
Dong Li, Introduction by the translator (365)
Song Lin (367) Zhu Zhu (377)
Ye Hui (371) Liu Ligan (381)
Sun Lei (375)

12. Closing Matters: A Short Essay, a Poetry Chronicle and Four Reviews
David Lau: Revisiting the L.A. Riots (391)
David Lau on the anthology Iron Moon, Janice Sapigao’s
Microchips for Millions, & Steven Alvarez’s
The Codex Mojaodicus ( 395)
Tyrone Williams on Eleni Stecopoulos’ Visceral Poetics (400)
Geoffrey G. O’Brien on Alli Warren’s I Love It Though (402)
Mike Sonksen on Kevin Coval’s A People’s History of Chicago (404)

13. Other Art
Front Cover Art by Pierre Soulages:
Peinture, 21 août 1958, 195 x 130 cm (77 x 51 inches).
Oil on canvas, 1958
Courtesy Galerie Applicat-Prazan, Paris,
Photos Art Digital Studio, © ADAGP, Paris 2017
Inside Covers: The Applicat-Prazan Gallery of Paris participating in The European Fine Arts Fair, New York, April, 2017. Photo courtesy of Karen Garthe
.Josef Albers, 105, 320, 344
Scott Helmes, 85, 262
Brian Shields, 46, 350, 375
Robert R. Thurman, 188, 359


David Buuck

Might what makes for better poems be made up for grabs, as a result of, or in response to, what might happen outside the poems, despite them, and not from afterthought or in language only

David Mura

Best, the best, the best second grade vocabulary. A liar. Yugest liar. Can’t believe the lies. Crow Cro-Magnon lies”

Adrian C.  Louis

But America itself has always been a monster. We like to pretend we can’t see that & keep our monstrous nature hidden like a sasquatch in the deepest, dank forest. Now, since the election, small monsters strut upon our sidewalks in broad daylight & all I can do is shake my withered head & join them from time to time

Claudia Rankine

Now looking back I might have handled discussions touching on white abolitionists and civil rights activists differently, but in the moment I was bemused that the student wished me to turn my attention away from the problems of systemic white dominance in order to create a more palatable narrative for her

Tisa Bryant

That’s the thing that makes Get Out truly terrifying: that present absence that is us, our representation and functionality, in a narrative perpetually written and controlled by white people

Raúl Zurita

Thus abandoned to the final spasm of language we lift up blind worlds, empty scenarios and parodies of fullness. What is at stake is not our survival but the possibility of rebirth. Because yes, one can survive death

Ilya Kaminsky

The morning after the deaf boy is killed, the city of Vasenka awakens and refuses to hear the soldiers . . .

     At six am, when soldiers compliment girls in the alley, the girls just slide by, pointing to their ears and shaking their heads. At eight, the bakery door is shut in soldier Ivanoff’s face, though he’s their best customer. At ten, a mailman chalks No One Hears You on the gates of the soldiers’ barracks.

    By eleven a.m., arrests begin

Jorie Graham

The lovers // are taking their time I think. The storm appears above the woods like a radio / left on in an abandoned car. Are they apologizing now, again, to the earth, / are they wishing they could stop and hide ­­– let’s be the lucky ones that don't / go out again – are they standing terrified in their Jerusalem of knowing things, of / things . . .

Alain Borer

We cannot understand Rimbaud’s renunciations (although quite close to his initiatives) if we don't integrate velocity as a structural given, an idiorhythmia: it’s somewhat false to say that Rimbaud abandons poetry: he constantly abandons all his collections of poetry along with their proposed direction, at one time or other in the process, as if he were already anticipating the end, hurrying to do better elsewhere.

Ilse Achinger

Now give me back my willow trees. Smooth down your own fur, give me the willow trees. And take a rest, take a long rest. I will stay close to the edge. I want nothing of the current – except to be spared by it. The middle – gold, red-gold, black-gold. Spared until I’m no longer spared. Give me that

David Lau

Alain Badiou recently wrote that there is a kind of curfew for any discussion of the revolts and revolutions of the heroic 20th century. We need to break that curfew on discussions of the L.A. riots today. To get beyond the frozen racism of the corporate media’s “race relations” discourse, we need movements like Black Lives Matter or the militant wing of the immigrant rights movement – a movement creates new discourse and analysis”

Calvin Bedient

An Armantrout poem produces the void over and over again. That is its originality, its modernity, and above all its interest. This void is the positive of a rejection (never mind the unattainability) of system, even the literary industry of resonance

Submission period: January through March. Email the submission to Poems should be placed in one document and the poet's last name should be prominent in the title, to facilitate finding the document. Avoid PDFs, unless only a PDF will keep the layout in order.

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