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.

Graham’s poems do not merely describe images of the near future, Anthropocene industry and loss, but enact its immediacy with energetic bursts of syntax contending with their afterwards, their silence: “—& where // does it go now / when it goes away”