by Nancy Jo Cullen

In 1976, when I was twelve years old, and my father was still desperate to please my mom, we moved into a new house on Wallace Road. Our part of tow...


by Su Croll

Mira saw a man who looked like her father across the tracks in the Lucien L’Allier metro station. He walked back and forth as if he were anxious for...


Two Poems.

by Rich Ives

Hereafter I’m looking for something that isn’t there, and out of the trees the rain comes singing down a bucket of years. Let be, say the whispering...

Two Poems.

by Stephen Brockwell

Eyes —From The Love Songs of J., Serial Killer Love claws your eyes out of their sockets and you press them in backwards with your thumbs to imprint...

Two Poems.

by Suzannah Showler

Notes Towards Something Nearly Allegorical The ground, clay heavy, follows you across the field because you carry it, caught in your tread, grey and...

Two Poems.

by Kristen Orser

How So If it’s Monday, it’s my ovaries, so The book came into the hands. I am sitting in the tongue of an atomic bomb: How should I behave? Digging ...

Two Poems.

by Jaime Forsythe

Saturday Afternoon Collision On one side of the street, a juror checks her watch. On the other, a truck reels into a tollbooth, but no one is hurt. ...


by Heather Davidson

You matured young. Spent too much time in a basement room with sombre pulled shades, where your parents hid the piano like some old persistent wound...



“Something Like a Baffled Scientist”: A Review of Ken Babstock’s Methodist Hatchet.

by E Martin Nolan

Pick a single poem from Ken Babstock’s fourth collection, Methodist Hatchet, and it will most likely be a tangled ball of poetics and argument that very slowly reveals its order, if it does at all. But if you consider the book as a whole, an uneven completeness emerges, with certain phrases or poems standing out as close approximations of a rough coherence. As in previous Babstock offerings, this collection is made up of intensely individual lyrics of no longer than a few pages each. Each poem, then, must be considered in a vacuum at the same time that it is considered in relation to the book’s general thrust. The result is a kind of imperfect fractal relationship between poem and collection, in which each poem could only have come out of this collection, but in which no one poem can be said to represent the whole. Take, for instance, “Light …...