Praise / ReviewS / Interviews

Antibody by Elane Kim

"Fluorescence becomes a metaphor for exposure, for the way grief glows under examination." Leah Choi, The Harvard Crimson, "‘Antibody’ Review: The Body as Archive"
"Gilstrap creates an immediate interest in a unique locale, these bridges that span the Ohio River. We see and feel the concrete, the rust, the graffiti, the wildlife—both flora and fauna—, the tragedies, the heartbreak, the confusion. And, as singularly interesting as the Ohio River is, Gilstrap gives us a reason for the setting in this collection. There is heartbreak, there is tenuous love, there is an off-the-page possibility of healing and regrowth. The bridges, then, assure us that they are places too, not just to be traversed, but to be acknowledged and dwelt upon for a time. They’re not just for walking over." Paul Luikart

Field Notes by E.G. Cunningham

"Do we contemplate the field on its own terms, for ourselves, or do we rely on the speaker to make sense of what we behold? At the same time, without great care, '[t]he field transforms looking to wanting…a steely want left over from some internal destruction.' It is unresolved, compulsive, godlike, ready for battle, and it 'extends forever.'" Susan L. Leary, Another Chicago Magazine
“…this collection has all the joys of ecopoetry without its singular focus, making environmentalism feel intertwined with the speaker’s emotional life.” mk zariel, The Seattle Star
"[In] this rich and fecund poetic exploration...the presence of death in life, appear[s] like a pearl inside an oyster, forms a recurrent theme in [Dallis's] work." Beth Brown Preston, Sinister Wisdom: a Multicultural Lesbian Literary & Art Journal
“Rich and sensuous, Dallis’s debut, Encounters For the Living and the Dead, weaves together ekphrasis, clear poetic imagery, and the eternal sounding of the sea to create a portal through which reader becomes witness, and prosaic contains holy.” Christina Linsin, South Florida Poetry Journal
“...what truly made the collection’s repeated image [of the oyster] shine to me was its subtlety. Undertones, images, and evolving relationships unite the poems, give the collection its resonance and structure, haunt the progression with a natural, flavorful, and aromatic trail, but also give way to the speaker’s journey, thoughts, and perspective.” Lillian Durr, Dogyard Mag

Your Mother's Bear Gun by Corrie Williamson

“Flora and fauna take center stage in award-winning Central Montana writer Corrie Williamson's third book of poetry.”
Will Briggs, Editor, Central Montana Poet Explores Natural World in New Book, Lewistown News
“Williamson’s Your Mother’s Bear Gun is a journey of landscape and memory, of finding the glitter among the broken landscapes of our lives. It is a guide on creating beauty and safety despite a world that could and often does harm because, as Williamson writes in 'Adaptation,' 'that’s how you veer to live.'” Amanda Auchter, Rhino Poetry

Pastoral, 1994 by Joe Wilkins

finalist for the 2026 Stafford/Hall Poetry Award (Oregon Book Awards)
“...how carefully Wilkins tends the people and the land, land he describes in 'Genealogy' as a place where 'I rode in the pickup bed / I sat on a chain little bits of dry shit & straw / wheeling in the roadwind in one distance / mountains in the other distance.'” Christina Linsin, South Florida Poetry Journal

A Geography That Does Not Hurt Us by Carla Sofia Ferreira

“Even in the face of a hyper-politicized educational climate, which has placed more scrutiny than ever on what teachers say and do, Ferreira’s book unapologetically presents the poet-teacher as a vibrant, several-dimensional, multilingual singer of the many sorrows and joys of life, and in particular of the education it has in store for all of us. The book is a record of many different ways to make sense of the world in verse, and dazzles as much for its pluralism as for the emotional, formal, and imagistic precision of its poems.”
“...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.”
“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

“Edelman treats weighty subjects and complex emotions with masterful nuance, using questions and the comments of others to fill in the dotted outlines and white spaces between the mostly short, often staggered lines of these spare, resonant, abstraction-free poems. Despite the weightiness of their concerns, these poems are never heavy-handed or moralistic, and Edelman’s speaker is humble and honest about her role in a world of damage, injustice and inequality.” Rebekah Wolman, Psaltery & Lyre
“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