{"id":168987,"date":"2024-12-06T10:00:07","date_gmt":"2024-12-06T15:00:07","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=168987"},"modified":"2024-12-02T17:23:40","modified_gmt":"2024-12-02T22:23:40","slug":"new-poetry","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2024\/12\/06\/new-poetry\/","title":{"rendered":"New Poetry: Margaret Ross, Nora Claire Miller, and Richie Hofmann Recommend"},"content":{"rendered":"
\"\"

Photographs courtesy of Nora Claire Miller.<\/p><\/div>\n

Whenever I open the fridge, the same poem falls off the door: \u201cyou against the green screen, a place \/ without history,\u201d from Tracy Fuad\u2019s collection about:blank<\/em>.<\/p>\n

The poem is printed on a postcard, and it has been falling off my fridge for over a year now. I sometimes think about moving it or using a better magnet. But I like that the postcard can be dislodged easily. Wherever the poem falls, the surface it lands on\u2014linoleum floor, grocery bag, shoe\u2014becomes its own green screen, its own substance disconnected from time.<\/p>\n

Each month, I get two copies of a new letterpress-printed poem in an envelope\u2014one to keep and one to send, according to Kate Gibbel, the editor of the Vermont-based Send Me Press<\/a>. Founded in 2021, SMP only sells two things on their website: postcards, and a bumper sticker that says I LOVE POEMS<\/small>. I\u2019ve sent a few of the duplicate postcards to friends, but I usually forget, so there are two copies of lots of poems around my house. I like to place the postcards situationally. I put a poem by Liam O\u2019Brien on the kitchen table. \u201ccold salt\u00a0\u00a0\u00a0 hot little hand,\u201d I say to myself every time I grab the salt. I have a poem by Micky Bayonne propped beside a lava lamp: \u201cI buried into the fissure, the glow! \/ How could I not be drawn in? Spun down?\u201d There\u2019s also a copy in my car. The fissure, the glow!<\/em> I think often as I drive, my car yelling I LOVE POEMS<\/small> at the world.<\/p>\n

Recently I drove to visit Kate while she was printing. I watched her pick up each metal letter and arrange them on a tray. It takes many hours of work to typeset a poem like this, print the copies on the giant press, and then to cut the postcards, address and stamp each envelope, and mail them out.<\/p>\n

I sometimes ask Kate if she\u2019d ever consider switching to a less tedious way of making postcards. But Kate always says no. Like the poem that keeps falling off my fridge, the time it takes is the whole point.<\/p>\n

\u2014Nora Claire Miller<\/strong><\/p>\n

\"\"<\/p>\n

Enjambment makes music but it can be an instrument of metaphysics too. Read \u201cit was broke \/ Before they made the avenue\u201d and you\u2019re situated in a certain period, \u201cZigzag so you couldn\u2019t cruise\u201d and you\u2019re in another moment altogether. Still, the era of no-avenue endures on that previous line.<\/p>\n

I\u2019m quoting from a new book of poetry by Gabriel Palacios, A Ten Peso Burial for Which Truth I Sign<\/em>, which floats and cuts with vertiginous acuity through stuff piled around the Southwest. In Palacios\u2019s poems, sublime lyric density is a means of perception, a form of infrared. It reveals specificities I want to call enjambed images. I don\u2019t mean descriptions spanning several lines of verse. I mean images that fuse different surfaces and compact time: \u201cMy child\u2019s eyeball strobic in the wide-brimmed hatted \/ death\u2019s head given placard.\u201d<\/p>\n

Time never progresses, it accrues in place (\u201cLike anaphylaxis, additional mornings \/ did ensue\u201d), and Palacios\u2019s verse extrudes the spectral accumulations. I\u2019m moved by how he writes about ancestors, past selves, scarred public space. Two sequences orbit seraphs and holographs, incandescent unphotographs, and imperial nostalgias like the neon ruins of the Spanish Trail Motel. Interacting scales of menace emerge elliptically: \u201cthis creditor \/ in sequined ball cap,\u201d \u201cColonial geometry,\u201d \u201cDumb police,\u201d \u201cSinaloa \/ deathshanty of desiccated shrimp boats,\u201d \u201cA pivotal murder on your mother\u2019s side \/ Changed by the telling.\u201d Thinking in this book is no abstract process; every poem is full of things. Part of the work\u2019s power lies in Palacios\u2019s subtle sense of metonymy, the shrewd and often funny way he glosses details, making us see something sharp and discrete while feeling something vast and ambient. \u201cAirport parking annexes rewild \/ To an amplitude of green Big Paint would call \/ Antiquity.\u201d \u201cAesthetically speaking \/ You smell smoke here.\u201d<\/p>\n

\u2014Margaret Ross<\/strong><\/p>\n

 <\/p>\n

\"\"<\/p>\n

 <\/p>\n

Emily Jungmin Yoon\u2019s first collection of poems explores the intersections of public and personal histories\u2014forging a harrowing art out of the words of Korean \u201ccomfort women\u201d and their narratives of sexual violence during and in the aftermath of World War II. In her second collection, Find Me as the Creature I Am<\/em>, Yoon\u2019s gaze is turned to intimacy. To highlight her interest in our shared \u201ccreatureliness,\u201d she includes a host of nonhuman animals in the poems, often as figures for our animal needs and desires. In the opening poem, \u201cWhat Carries Us,\u201d she writes: \u201cImagine love as a horse. \/\/ Think about us\u2014a distance \/ apart only a flying thing could connect us\u2014 \/\/ standing and pacing, tamed and watching, \/\/ then finally with each other, laughing, \/ as if to collapse, unbridled as wild horses.\u201d Distance and connection, the human and the animal, stillness and transit, joy and collapse\u2014these are the tensions that run throughout the collection. In another poem, occasioned in part by the statement that there is not \u201c \u2018an eco-friendly\u2019 way to swim with dolphins,\u201d the speaker declares, \u201cWe do not have to touch everything we love.\u201d Yoon is an expert at cataloguing horrors: climate change, natural disasters, a ceaseless predilection for violence, racism, and intolerance, the pain of migration. But there\u2019s wonder and beauty here too. The book\u2019s most arresting moments are quiet scenes between people, scenes of parting and of goodbyes, in elegies for grandparents, and in proper love poems. It includes some of the most beautiful wedding vows I\u2019ve ever read, a charming poem about friendship among poets, and another about looking to the constellations, about feeling lonely and small, but being in the world together. Her poems are a space where these realities can co-linger, can be weighed and contemplated. Cynicism never blots out the marvels; the marvels, in turn, never obscure the world of threat we all belong to. They are, in Yoon\u2019s book, part of moving\u2014down the page of the poem, or forward into the future\u2014closer to the creatures we are. \u201cIn all the futures I am capable of prayer for,\u201d she writes, \u201cyou are not alone\u2014you are alive.\u201d<\/p>\n

\u2014Richie Hofmann<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

New collections from Gabriel Palacios and Emily Jungmin Yoon\u2014plus, a press for postcard poetry.<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[68386],"tags":[67827,883],"class_list":["post-168987","post","type-post","status-publish","format-standard","hentry","category-the-reviews-review","tag-featured","tag-staff-picks"],"acf":[],"yoast_head":"\nNew Poetry: Margaret Ross, Nora Claire Miller, and Richie Hofmann Recommend by The Paris Review<\/title>\n<meta name=\"description\" content=\"December 6, 2024 \u2013 New collections from Gabriel Palacios and Emily Jungmin Yoon\u2014plus, a press for postcard poetry.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" 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