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"The creative story shapers of this volume reveal a dynamic Appalachia--people who refuse to follow a fixed pattern or fade into a gray-grained background. The loose parts of creation are held up for our curiosity or dismay. Natural and home territories burgeon with wild growth, and public venues carry unusual nuances, leaving no room for cliché or homogeneity. Most memorable, perhaps, are the expressive personae rising from these pages to enchant, startle, warn, mesmerize, amuse, and inspire. Children, elders, and all folks in-between reflect the evidence of spirits being broken and healed. They survive inside a transformative whirl of rituals, habits, and systemic practices, touched by loneliness, temptation, trauma, amazement, fear, resistance, love, faith. They are wonders. Of course, these pages contain a cryptid or two--and supernatural tensions brew in the margins, where the mysteries of astral planes and bones and death also linger. Appalachian strangeness, it seems, ranges all over the regional map. To carry its stories, we must be still, pausing in our workaday lives to listen, watch, learn." --Sherry Cook Stanforth

"Arranged in four sections named for the seasons, these poems trace a relationship through the arc of a symbolic year, exploring desire and place and identity. Insofar as they express a speaker's state of mind, these are lyric poems. The author says: "These carnivorous lyrics, backhand love poems, and sorta sonnets embody the gut-punch poetic.""--

"I have worked on all varieties of stones and responded to the differences each stone asked for in the way of treatment. But now I no longer work in all stones; I have chosen to express myself in limestone. Its natural gray color does not interfere with the forms. Often a pretty stone such as marble covers up bad forms because people don't really look at the forms that respond to the veining of the crystals in the stone. Limestone, a rough, ragged stone, bears traces of the sea: sea animals are locked into and within the crystal structure. Limestone is American. The hills I was born in are made of this material, and it gives me pleasure to work in Texas limestone. It's friendly, and it reminds me of my roots. Limestone has good tensile strength, allowing thin slab forms to be cut. It has the strength as well to withstand the noxious air of an urban city."

Roger Mitchell is the author of 12 previous books of poetry."'All around us forgotten knowledge stirs, ' writes Roger Mitchell in this soulful collection that reads like Basho's The Narrow Road for the Hudson River watershed. We're riding shotgun, meandering from the Adirondacks to Manhattan and back, meeting funky neighbors and bobcats and the ghosts of the poet's past along the way. Mitchell offers the long view at every turn, measuring time in collapsing barns and 'the wailing of nails drawn slowly out of the barns body.' For as long as I've been a poet, Roger Mitchell has been my guide. I'd follow him anywhere." --Dobby Gibson"In his stunning new collection, Roger Mitchell discovers 'that the hill we stood on / looking off in the distance / for the thing was the thing itself.' Like William Carlos Williams, Mitchell searches for an ever-flowering present in the things of this world and practices deep attention to people, place, and memory. AS WATER MOVES brilliantly charts the fluidity of attention, moving between natural observation, familial recollections, local relations, and compassionate perception. These poems present a riverous map of the psyche, tributaries of thought leading to a larger body of knowing where the observer and observed become one. As Mitchell says, 'The edges of things turn toward each other / as though there were no otherness or kind.' I have been reading Roger Mitchell's poetry for forty-five years and always find in it nourishing streams and wellsprings of human compassion. AS WATER MOVES is his latest gift of a poetics that seeks the fruits of a deep practice of generosity and love."--George KalamarasPoetry.

Winner of the 2023 Wil Mills Poetry Award West Chester University Poetry CenterFOSSIL & WING, Jason Barry's award-winning chapbook of lyric poetry, is loosely structured around the themes of memory and forgetting, love and loss, and the challenges of conceptualizing and articulating what it means to be human. In their sustained attention to sound and image, these well-crafted, emotionally resonant poems explore not only the nature of perception and our engagement with the natural world, but also the--often fraught--relations we have with family members, romantic partners, and the narratives that give meaning to our lives. With a restrained elegance, the poems in FOSSIL & WING stand as a poignant testament to the transformative and revitalizing power of poetry."The paired nouns of Jason Barry's title FOSSIL & WING evoke persistence and flight, death and elevation. Like William Blake, Barry has the gift of thinking in images and opposites, realized in human predicaments--but here, images as vividly contemporary as the 'steam stick' on a bathroom window after a shower, or the weeds on a train track: emblems in a terrain of losses and reflections."--Robert Pinsky"There is a subtle clarity of voice in these poems--the way they create and hold space for the unspoken emotion, the feeling we may not even quite realize that we have. At their best, the poems in FOSSIL & WING use all the skills of poetry--exemplary skill with meter and its often ingenious structuring of formal poetic elements--to create a safe space in which to become more human."--Annie Finch"The sonic and visual precision in Jason Barry's FOSSIL & WING makes for startling discoveries: 'a crush of brittle leaves beneath the stride/and how at certain times, the wind would/shape the fumes into a fox behind our truck/' ('Pruning'). What flies or escapes, winged, of the fossil rock of memory, 'glazed fresh or drawn in rubato light' ('Tracks') is as gorgeous as it is unexpected, I am reminded of Dickinson and Stevens, and an expansive reticence in the lyric tradition which Barry's gifts continue."--Adrianne Kalfopoulou"What is remarkable in Jason Barry's poems is their powerful focus on the details of individual experience, often captured as a tension between tender lyricism and emotional violence, between a certain formal and tonal discretion and a perfect knowledge of the world's cruelty. 'Sensory is synonym for soul, ' he declares, and the work in FOSSIL & WING confirms this formula at every turn."--Karl KirchweyPoetry.

"Poetry: The poems in Steady are narratives, persona poems and portraits, and lyrics. In writing them, the author has tried to hold steady, so steadiness might connect them like a bridge. Steadiness is a quality most appreciated in old age when it becomes more elusive. Anne Whitehouse' narrative poems about Frida Kahlo, Leonora Carrington, Lee Miller, Iris Origo, Ruth Asawa, and Imogen Cunningham are the result of years of engagement with their lives and their works. The separate events of "An Art Story" coalesced into a narrative with overlapping voices. Ideas may come from the author's own backyard or half a world away; from snatches of stories recounted, read, or observed; people known or glimpsed in passing; events of the past resurfacing into the present. Anne Whitehouse continue to find inspiration in cycles of the seasons; the lives of plants and animals; our beloved, fragile earth. The arrow of time moves in one direction. Poetry finds in the music of words and shaded meanings a space for contemplation, with windows and mirrors looking outward and inward, inviting us back"--

A philosophical quest-romance that draws equally from visionary poetry and from modern pop culture.

"Poetry: Learning a New Way to Listen are poems deeply heartfelt yet almost Zen like in resonance in response to the absence of a loved one in one's life"--