Recent Entries:

  • May 4th, 2013

    Sally Ball’s second book of poems begins with modesty as its mien. Addressing a nuthatch, the speaker poses “no threat” because she loves “to make no difference here.” She goes on: “My throat like yours -- / rapid little tremor, / heart-freight, air.” As slight presences show up here and there, Ball’s tone signals a desire to accommodate and be one of them.

  • April 22nd, 2013

    For a good laugh and a sigh, Carlos Rojas likes to repeat a piece of advice he got from Jose Manuel Lara (1914-2003), the founder of Planeta, Spain’s biggest media empire. “Carlos, you and the likes of you are a bunch of pedantic dudes, who know just about four things,” said Lara. “Therefore you believe that readers should know at least two things in order to resemble you.

  • April 15th, 2013

    Welcome to the Seawall’s semi-annual poetry feature. This season, seventeen poets write briefly on some of their favorite new and recent titles. This multi-poet/title feature is posted here in April and November. The commentary includes:

    Joel Brouwer on Lake Superior by Lorine Niedecker (Wave Books)
    Brian Teare on The Weeds by Jared Stanley (Salt Publishing)

  • April 14th, 2013

    It is said, as if it were obvious, that James Salter has structured his eight books of prose fiction around spikes of erotic arousal.

  • April 7th, 2013

    What does it mean to think and live aesthetically in the post-industrial, globalized world?

  • March 31st, 2013

    Brian Teare’s fourth book, Companion Grasses, is both a field trip and a search-and-rescue mission. It identifies parts of a natural world with a discriminating intensity inspired by writers like Gary Snyder and Rebecca Solnit. But it also seeks and gathers the words that not only specify one’s freed experience of that world, but also enact it. The going isn’t always easy.