Editing poetry can be tricky, and the work is often misunderstood. Many of the best houses leave the work to the experts: actual poets. But is that the best route? Indeed, as this Telegraph article puts it, “a house’s tone and fortunes can be radically altered depending on the poet in charge of the poems of others.”
Out this week: A Doubter’s Almanac by Ethan Canin; Why We Came to the City by Kristopher Jansma; Cities I’ve Never Lived In by Sara Majka; Hide by Matthew Griffin; The Blue Hour by Douglas Kennedy; Why They Run The Way They Do by Susan Perabo; We've Already Gone This Far by Patrick Dacey; and Perfect Days by Raphael Montes. For more on these and other new titles, go read our Great 2016 Book Preview.
Paul Muldoon raised this season's commencement bar with his address to Bennington College's Writing Seminar graduates. At The Russian Samovar a few months ago, before reading from Maggot, he explained the phrase "cock a snook."
“As adults, we should hold each other’s work to high standards, and our own work to the highest of all. As writers, we shouldn’t settle for a single pale line. But before the poem is written, I say, we should lie to ourselves, the way we lied to that winded child. Before composition, we have to be gods.” Alex Chertok writes about literary pep talks for the Ploughshares blog.