In her latest collection, Come the Slumberless to the Land of Nod, Traci Brimhall takes on the impossible task of all mothers: she tries to sing us to sleep. But even sleep can’t save us from the violence and chaos of the world. Even in sleep, there is a haunting, a symbolic language which speaks to us of the world we will return to upon waking.
Growing up, one of my favorite shows was My Favorite Martian. If you’re not sufficiently ancient or addicted to terrible — I mean, retro-cool — TV to remember, Ray Walston’s title character looked like a human but had knitting-needle antennae he could raise from the back of his head, plus an aluminum foil spacesuit and other unspecial effects. Bill Bixby, his Hulk days still ahead, spent three seasons in the 60s trying to conceal from the neighbors that Uncle Martin was an alien. Hijinks ensued.
Last spring, GMR celebrated its first twenty-five years with a 400-page poetry retrospective compiled by Founding Editor Neil Shepard. This was also Neil's last issue before stepping down as Senior Editor. To read through this anniversary issue is to marvel at the...
All the parts are in the right places, and they hum industriously as you make your way from page to page.
I’m the green bird staring at your naked morning ass through the window. I think I want to learn Japanese. It’ll help me understand this scenario. I want to learn more about recycling. Then I’ll learn even more about the value of useless things.
Poetry had the feeling that they’d always been holding hands, that they sometimes forgot. Prose had the feeling that when they forgot they forgot on purpose. These feelings they had, they had them, then they had some others.
He stood outside the fitness center and watched the women work out in gym suits and leotards that reminded him of sitcoms from the Seventies. There were many fitness centers in the city where he sometimes worked, but this was the one he stopped at. He watched the men,...
Julie Choffel’s The Hello Delay reads very much like “a cautionary tale” for our current age, one that both warns against and seeks out the anxiety that comes with living in the year 2012.
G.C. Waldrep’s most recent collection, Your Father on the Train of Ghosts (BOA Editions, 2011), was a collaborative project with the poet John Gallaher.
The Winter 2012 issue is here, with a special feature on Eileen Myles, the Neil Shepard Prize winners, and a whole mess of new poetry, fiction, and nonfiction.