If Jackson’s slim but astonishing oeuvre thus far boasts a leitmotif, it’s the (often male) doubles who embody some iteration of the dichotomy of the radical and the bourgeois—the guy who goes all in for life and love, and the guy who hedges his bets.

The three looked at the king like, wait, what the heck are you saying, and then they were given seven days to deliver the very heck in question: a real container for awe.

I’m interested in men who are struggling to communicate what they feel because they have no language for how they feel.

Then I realized “Damn, that’s fucked up” and ruminated, chewed on grass like a lilac cow in the Alps.

Wo’s is a drag poetics, intentionally unearthing all the unexamined bits of personhood, nature, and language itself in a sizzling burst of sequins.

“We can break the fourth wall. We’re writers—we do that.”

“I’m not that kind of writer,” I said.

Our ideas and definitions of awe are in many ways about an experience of something “greater” than humanness; something to be fearful of. I don’t know that I have experienced actual awe. I’m also not sure I believe that it is something to seek.

People will think what they think of Detroit. Some will take the time to explore, to hear the joyful voices and music and birdsong that twist through its streets. Some will never give it a chance.

chog an experience in eppy set: {x},{x} smeers to {yyyyyy}, concresscing, cryssle (CR) to cemend (CM). i positt a numbmur (n), it hings

These languages are kin; overlapping in vocabulary and structure, but diverging in pronunciation: Ukrainian, it is said, is more melodic.

To feel joined in a collective that knows how personal and heartbreaking a cultural betrayal can be, and to share the feeling of being met where one is, at odds with surrendering, disappointed it isn’t another way.

I keep meaning to write a poem about something really smart.

A certain kind of glamor resides not just in possessing a void like the great emptiness—which lends the person who holds it an air of depth, impenetrability, and mystery—but in one’s reaching for destructive, impulsive, or obsessive remedies to fill that void.

A kind of reading that doesn’t just describe what happened in a story, but actually performs it. The only way to read the story is to play it, and the only way to play the story is to do it, to completely embody it.

Awe is a kind of surprise that resists pity or cynicism. It is not relative or subjective. It’s an active and dynamic process that cannot be separated from its twin concept, wonder.

Whatever answers are to be found lie in the blank space around them, that looming, claustrophobic blankness. Snow. Shame. History. Monstrosity. The steaming, stinking heap of it. Carson lets it answer for itself.

I am taken by the unique vibration his work strikes deep in my organs, how different these internal resonances are from how DeLillo is regularly discussed in the contemporary landscape—how his work makes me feel, to be blunt about it.

I suspect that everything I do or say after 11 pm is lunatic. Panic about it at 5 am. In real life a police officer shoots a man twenty times in his own backyard. Is there someplace else to stand? No. (Shaved pubes.)

To begin with “klang” is inherently onomatopoetic: you get the primary sound and also its “klang,” you get the signification and its associative resonance. So many of Tranströmer’s poems are about listening, or even living, in a kind of sonic aftermath.

Since a certain amount of funding is potentially coming from grants, donors, and (hopefully) the press’s Board of Directors, there are more variables to consider.