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Heather Winterer explores the intimate territory between desolation and consolation, offering a poetry that translates the distances between spiritual endings and beginnings, between an “after what it used to be” and “an arrival.” The work enacts the model of St. Ignatius Loyola, encouraging the collapse of lines between creation and creativity, time and space, the Christian and Christ, the self and the other. The voice of these poems moves exuberantly through various forms, resisting predication and celebrating its own multiplicity. With lyrical dexterity and humor, Winterer invites us into her world, a world of tangible absences and presences—where the Mojave Desert and the city of Las Vegas become the unlikely sites of spiritual encounter. The god of this quirky world appears in cars, apartment buildings, and swimming pools and speaks to us through desert plants and birds. Everything from the outside—natural and unnatural—spills into the poems and they turn whatever they are given into movement away from darkness and loss, toward possibility, potency and grace.
“Kevin Goodan’s poems embody a quiet, incandescent fierceness, fueled by loss, but still able to seek and find a place to dwell, despite the upper level disturbances he encounters in the disappearance of rivers, the uncertainty of—and fissures in—language, the elusiveness of a god, and the diminishment of rural America. These poems are raw and hyper-honest in their regard of a world in which ‘every moment is a landscape / We enter, depart, at the same time.’ ” —Christopher Arigo, author of Lit Interim and In the Archives; “In Kevin Goodan’s Upper Level Disturbances, we are given the ‘whispered home to the lightning’ where ‘the levees sing of snake-grass burning.’ With a steady hand, Goodan unfurls the line into the rough and jagged physicality of the world until the sublime transcends its earthly frame. These are hard-earned poems, brought back to us from a difficult land. They are ‘prayers . . . adorned with rivets of fire’ within which the ‘laws of nature / Determine all the grief one eye can hold.’ Upper Level Disturbances is one helluva good book, and I recommend it highly. ” —Brian Turner, author of Here, Bullet, and Phantom Noise
““Kryah’s lines are full of figurative grace: The images stun and accumulate. We Are Starved introduces an important poetic vision, a surprising and exciting voice.” —Laura Kasischke, author of Space, in Chains and The Raising
“In haunted days more filled with violence than grace, Joshua Kryah has found the sacred, a way to be amazed at how ‘you can move among the world’s misfortune/and still consider it good.’ We Are Starved’s breathtakingly mature poems are fueled by a man’s internal combustion, the tremendous labor it is to live well—to be a father, a lover, a son—in a fallible world. There’s a gorgeous, seeking darkness swelling the heart of We Are Starved, one that marks Kryah as among contemporary poetry’s finest young voices.” —Alex Lemon, author of Happy: A Memoir and Fancy Beasts
“Joshua Kryah is redefining what it means to write spiritual poetry. This is not another book about longings for the spiritual; this is a book of offerings to the spiritual. These poems answer the plea of Yeats’s spirits (‘We are starved’) and give them what they crave, depicting the particulars of human appetite and the way each ‘peculiar and appalling hunger’ unfolds. The scope of these poems is dizzying; they echo and glitter and sear as they, against all odds, give us a ‘world [that] is/suddener than any idea about the world.’ We Are Starved is unabashed and unflinching, and it is deeply, exquisitely satisfying.” —Mary Szybist, author of Granted