The ( bi-monthly ) American Poetry Review is quickly becoming the shining bosom of Vanderbilt's periodical section.
Arielle Greenberg has a nice article on innovative 'African-American poetries,' in which the terrific works of Shane McCrae, Harmony Holiday, and Ronaldo V. Wilson are held up for perusal. I could not think ** of more agile poets of the type, that engage race dynamics ( alongside, and most prominently, sexual, political).
Greenberg mentions "the hyperextended line," a term to describe "the opposite from fragmentation." With relation to McCrae's writing ( Mule, Cleveland State, 2011 ) his use of the 'hyperextended line' is composed of ( and, arguably, is accomplished most affectively via ) syntactic fragmentation. His lines go, punctuation barren, on refracting a more legitimate poetry. A refracting line, an Hejinian line, built seamless of pushings, drifts that overlap, rescind, emerge, ( in large part / his line breaks are superb in their capacity to propel / from that hyperextension ). I am merely echoing Arielle, she goes at the line more in A Broken Thing: Poets on the Line. Arielle has that poetries that are complex and challenging are those most grand at her attentions. Her article, "Revelatory and Complex," does a bunch of that to me.
Plus, I witnessed a motorist give someone the finger today. The event was stitched to the solo in David Vandervelde's "Jacket"
