Praise / ReviewS / Interviews

A Geography That Does Not Hurt Us by Carla Sofia Ferreira

"...Ferreira is a musician on the page, her verse offering solace amidst the crises that have overtaken our world while giving readers the beautiful language necessary to find acceptance." Alex Gurtis, Rain Taxi Review of Books "This is a collection of intimacies…between family, ancestors, with terrain and with history." Evelyn Berry, author of Grief Slut, TikTok Review

Dear Memphis by Rachel Edelman

"Through Dear Memphis readers are granted perceptive freedom for bodies at different axis of intersection — personal, familial, cultural, environmental — and how each of these intersections converse with each other." Cody Stetzel, Tupelo Quarterly
"The lyrical quality of the poems does much of this work, but I’d like to name something else: intimacy.I’m enamored by the ways Edelman brings me into the private space where the speaker explores and affirms her sense of self by actively engaging with Memphis, with family and with memory." Carolee Bennet, Reading Notes on Dear Memphis
"Dear Memphis is a book I felt carried into; its poems driven by lyric concerns as much as telling the story of the author’s relationship to place." Erin Hoover, Southern Review of Books

Bullet Points: A Lyric by Jennifer A Sutherland

"Bullet Points reminds me of Penelope, weaving and unraveling in order to keep at bay what society has decided to accept, but which she has not. The poem contains a structure, created by a poet whose mind ranges over a vast array of subjects which thread together to tell a coherent story with coherent criticisms, while also leaving space for the reader’s own connections, imaginings, and outrages." J.D. Ho, Fugue Journal
"I’m so drawn to “Bullet Points,” to its thorny, stark truths about how we bring forth the stories buried inside, whose expulsion from our bodies are both a relief and an edict." Leslie Gray Streeter, The Baltimore Banner
"This compelling and challenging work, existing somewhere in the liminal ground of extended prose poem and fragmented lyric essay, invents a form to capture the experience of trauma." Anne Myles, North American Review
"The lyricism shines when it comes to feeling and attempting to hold the aftershock of the events she has gone through."
Willow James Claire, ANMLY
“…an intricately woven tapestry, slowly unraveled…” Sara Stoudt, Psaltery & Lyre
"Lauren Camp’s poetry is remarkable for its ability to bend time, its unexpected word choices and collage of extreme landscapes, ordinary events and bold feeling statements." Karin Falcone Krieger, Tupelo Quarterly
"It is this intimacy between artist and poet, art and landscape, that shapes An Eye in Every Square. An intimacy that the reader enters as if we are along for the residency, the speaker’s long walks and her exploration into Martin’s life and work, and ultimately her own life—her grief and longings." Heidi Seaborn, The Adroit Journal
"...these are poems of our catastrophic time—of smoke and schism, love and abyss, vigil and disquiet." Richard Oyama, Rain Taxi Review of Books
"Camp achieves a fine balance between independence from, and allegiance to, her subject." Rebecca Morgan Frank, in LitHub's 7 NEW POETRY TITLES TO READ IN JUNE
"This is the idea and purpose [Agnes Martin] and [Lauren Camp] share—the power and expansive possibility of the line, and their devotion to it." Irene Cooper, in EcoTheo Review