Romance Language Able Muse Book Award For Poetry

Amy Glynn's Romance Language is a wellspring of culture, nature, natural phenomena, myths, esoterica. A kaleidoscope of sciences and disciplines—spanning archeology, acoustics, botany, zoology, psychology, cosmology, meteorology, mythology—are freely juxtaposed with the bliss of romance gained to longing for the one lost, the celebration of nature and the teeming creatures therein to hope for their enduring sustenance. A logophilic showcase and worthy winner of the 2022 Able Muse Book Award, Romance Language transports the reader into a sensory and cerebral world of the real and imagined, ever reaching for stimulus, wisdom, understanding, and enlightenment. PRAISE FOR ROMANCE LANGUAGE Romance Language thrills to the natural world in all its boggling multiplicity, while reserving a barrage of tart ironies for the fallen humans who inhabit it—the lovers who fail us and those, long gone, we can never let go of. Glynn understands that science is no check to mystery, that we subsist in “an ocean of cadence” that was here before us: “The beginning was music. There was music first.” Her songs channel that original music “of tide, chaos, and rhythm” with such fierceness and sorrow that we are compelled to listen. Their effect is revelatory. —David Yezzi, author of More Things in Heaven and Late Romance: Anthony Hecht The poems in Romance Language consistently, and seemingly without effort, manage a remarkable feat: they’re unfailingly attentive to the situational subtext that underlies each foray, whether into nature, art, or mythology. With their rueful irony and wit, their candor and self-awareness, these poems are not only technically flawless but also insistently, and sometimes tetchily, human. —Rachel Hadas, 2022 Able Muse Book Award judge, author of Love and Dread Amy Glynn has built upon her naturalist’s precision, her musician’s ear, and her talent for unexpected but apt metaphor, with a heightened attention to what we learn in love. Romance Language is as much about language, though, as it is about romance. Glynn is a dazzling word-hoarder and -shaper. With serious wit, she entwines autobiography with the life of other creatures (most beautifully, birds) and knows our own scale in the landscape and seascape. For all her artifice, her plainest truths are the most moving, as when she hopes for a “gift // for seeing as a gift whatever happens / to us.” These poems “happen” to the reader as a great gift, too. —Mary Jo Salter, author of Zoom Rooms and The Surveyors Glynn brings a polymathic sensibility to her writing, conversant in both high and vernacular diction on subjects ranging widely from science and classical literature to current politics and pop culture. The poems—bold, vibrant, mercurial, mysterious, sometimes wickedly funny, and always highly musical—remind me that form is a living, breathing part of our contemporary canon. Whether fixed like the sonnet or ghazal, or nonce, or free verse—these poems are constructed with great passion and precision, and the result is a luminous, powerful, and utterly original outpouring. —Rebecca Foust, author of Paradise Drive and Only ABOUT THE AUTHOR: Amy Glynn is a poet and essayist whose work appears widely in journals and anthologies including The Best American Poetry. She is the author of A Modern Herbal (Measure Press, 2013). She has received the Troubadour Prize, The SPUR Award of the Academy of Western Writers, Poetry Northwest’s Carolyn Kizer Award, and two James Merrill House fellowships, among other honors. She lives in the San Francisco Bay Area.

Stephen Kampa’s World Too Loud to Hear confronts today’s zeitgeist of dark social norms online or off. Our litany of individual and collective shortcomings is laid bare or castigated—as, for instance, with obligations we abhor, avoid, and “can’t wait / to pass down to the upstart generations.” The delivery ranges from straight or subtle to rants and execrations, while the settings range from historic and current affairs to the imaginary, dystopian, sci-fi, or surrealistic. This sui generis collection is fearless in hope, with a sobering take on our acceleratingly fearful national and global trajectory. PRAISE FOR WORLD TOO LOUD TO HEAR: Stephen Kampa’s World Too Loud to Hear is a book about America’s “slow-motion, decades-long cascade / of violence . . .”—gun violence by and against children, violence of tech-driven accelerating change, and violence that permeates almost every aspect of our online lives. These amazing poems manage to be at once outraged and witty, inventive and passionate, nuanced and blunt. I can’t think of another book that captures so completely the lunatic reality of self-destruction. Stephen Kampa is fabulous poet, and this is a fabulous and important book. —Alan Shapiro, author of Proceed to Check Out and Against Translation Stephen Kampa’s World Too Loud to Hear takes on the noise of the twenty-first century with a furious love and attention. The poems in this book lay out our terrible addictions—to gun violence, to scientism, to screens, to empty celebrity, to social division, to anger itself. But they also show us what remains worth saving from those evils: children, magic, and mystery. These poems delight equally in novel syllabic stanzas, calm iambics, and drumming accentuals, and they ratchet up poetic form to the tension of a crossbow, with the same deadly aim. They use change-up rhyme patterns, sonics, wordplay, and narrative drama to keep us tumbling forward, through etymology and child abuse, homage and political hackery, near-despair and struggling faith. And they often arrive at the sort of poetic closure that makes a reader freeze and gasp. —Maryann Corbett, author of In Code and Street View Juggling Horatian and Juvenalian satire with surgical wit and polemical yet coy imbalances, Stephen Kampa’s speakers are the needling social critics, cultural anthropologists, and litigator-jesters. I have not read a collection of poetry that better tackles social injustices and apathies, gun violence, religious hypocrisy, climate change, and our subservience to technology. Kampa shows us ourselves: combing the Almighty WebMD to wrangle with our psychosomatic homunculi, constructing our digital personae and elevating our experiences to impress other inflated personae, and being lured into divisiveness by cartoonish political buffoonery. In this World Too Loud to Hear, Kampa reminds us through his maw-opening critiques and funhouse mirrors that we have lost our benevolence and are becoming untethered from the one objective truth from which we humans can find insights: the natural world. —Adam Vines, author of Lures and Out of Speech ABOUT THE AUTHOR: Stephen Kampa is the author of four collections of poetry: Cracks in the Invisible, Bachelor Pad, Articulate as Rain, and World Too Loud to Hear. He is a winner of the Hollis Summers Poetry Prize, the Theodore Roethke Prize, the Collins Prize, and the Florida Book Awards Gold Medal in Poetry. He has been a resident at Art342 and at the Amy Clampitt House. His work has appeared in The Best American Poetry. He has also worked as a musician and appears on multiple albums from WildRoots Records.

In Kelly Rowe’s Rise above the River, we find a sister powerless to redress her brother’s fall from grace after the trauma of his childhood sexual abuse by a female authority figure. Rise above the River interrogates in a quest for answer, meaning, reason, justice, and mercy—along the way, exploring the conceit of the fallen angel with ekphrases on artwork such as Alexandre Cabanel’s L’ange déchu and Hugo Simberg’s The Wounded Angel. This powerful and emotionally charged collection is the winner of the 2021 Able Muse Book Award. PRAISE FOR RISE ABOVE THE RIVER Lucifer, Ismene, Alexander the Great, “an obscure Civil War hero,” a Florida railroad, “the dead middle of Mississippi,” an apron swaying and twisting on a clothesline—with these figures and images, as well as with letters and visits, memories and dreams, Kelly Rowe enables us to assemble a story that can’t be told directly, to compose a picture that can’t be faced head-on. And the limpid diction and confiding tone of Rise above the River both soften and strengthen a narrative voice that finds many ways to tell the ineffable. —Rachel Hadas, author of Pandemic Almanac In this haunting book of poems, a sister remembers her younger brother, who as a child seemed always to emit a golden light to match his golden boy-soprano voice. Adventurous, imaginative, a lover of trees and water, he was more Huck Finn than angel. Then, as Randall Jarrell once observed, something went wrong. Could it have been innate or could it have been, as the poet suspects, the ill attentions of one of her brother’s teachers, a woman who was never properly called out for her abuse? The lyrical reminiscences of the older sister, as she watches her brother grow in his estrangement, his greed, his inability to feel for others, contrast painfully with these aspects of his life and character. This is a beautifully written book about a man whose fall is irredeemable. The mystery is why. This is a shattering book of poems about lost innocence and beauty. —Mark Jarman, 2021 Able Muse Book Award judge, author of The Heronry From personal recounting and reflection to rethinking classical mythology, this collection presents an eclectic, engaging contemplation throughout, underscored by a haunting and often surprising rhyme that ties us doubly to the moment we are reading. In reading these poems, we are so often starkly surprised by the strong, sure leaps—“Snow falling. / Her white feet. / Her aria.” Sometimes quietly and sometimes loudly, these poems lead us into their important mix. The several reconciliations at the end draw these poems into closing, but in their moment they gift us with a persuasive sense of greater connection to things simply and innately significant—underscored by profound feeling. —Alberto Ríos, author of The World Has Need of You ABOUT THE AUTHOR: Kelly Rowe’s chapbook Flying South on the Back of a Dove was published by the Texas Review Press in January 2019. Her second chapbook, Child Bed Fever, was selected for the 2021 Rane Arroyo Series, and published by Seven Kitchens Press in November 2022. She has recently published poems in journals including North American Review, New Ohio Review, 32 Poems, Massachusetts Review, Salamander, and New Letters. She lives in Flagstaff, Arizona, and works as a volunteer attorney, representing undocumented women.

Carrie Shipers’s Cause for Concern traverses a landscape of assorted disasters—such as overwork and layoffs, the ill-fated explorer, circus mishaps, nuclear disaster and radiation—but at its heart is the personal disaster of spousal illness. While a spouse might avow faith in the sentiment of love in sickness and in health, the practice of such faith might come undone when faced with the reality of the ravages of illness on the stricken body of the beloved, alongside the caregiving mate who “could love/ [her] husband but distrust his body,/ expect betrayal at every turn.” Full of incisive meditations on frailties and fortitude often delivered with visceral honesty, Cause for Concern is spellbinding from start to finish and, deservedly, the winner of the 2014 Able Muse Book Award for Poetry. PRAISE FOR CAUSE FOR CONCERN: Carrie Shipers’s magnificent endeavor aims to control the uncontrollable. In her splendid collection Cause for Concern she gives us her spirited poems—subversively satisfying in our era of cool wordplay. Both her comfort with ambiguity and her sassy candor aid the poet as she writes of a wife who is hoodwinked into a necessary patience—one she both chafes from and rebels against after her husband falls seriously ill. In rhythms that alternate between hope and defeat, the poems track the illness, but also punctuate the couple’s changed world with quirky observations and a scrappy spirituality. (Not to mention a canine companion.) Her poet’s craft, palpable in every arresting line, makes the subtlest turns of vulnerability with enviable poise. —Molly Peacock, 2014 Able Muse Book Award judge, author of The Paper Garden Only a poet of unquestionable bravery and technical acuity could rehearse the quotidian details of a middle class, middle aged existence with such exquisite, irresistible and terrifying honesty. —Kwame Dawes, author of Duppy Conqueror: New and Selected Poems If illness is a country inhospitable to guests, then Carrie Shipers’s second poetry collection, Cause for Concern, is our guidebook, preparing us for what we will find in the waiting room, by the bedside, in the bathroom, or on the skin when the gauze is lifted. These are naked, open poems. They say things that make us wince, as when we look at an incision still puckered and red. Shipers reminds us that our lives must first be prodded and cauterized, if the injured parts are ever to heal. —Jehanne Dubrow, author of The Arranged Marriage

This is the seminannual Able Muse Review (Print Edition) - Summer 2016 issue, Number 21. This issue continues the tradition of masterfully crafted poetry, fiction, essays, art & photography, and book reviews that have become synonymous with the Able Muse-online and in print. After more than a decade of online publishing excellence, Able Muse print edition maintains the superlative standard of the work presented all these years in the online edition, and, the Able Muse Anthology (Able Muse Press, 2010). ". . . [ ABLE MUSE ] fills an important gap in understanding what is really happening in early twenty-first century American poetry." - Dana Gioia. CONTENTS: EDITORIAL - Alexander Pepple. FEATURED ARTIST - Andy Biggs. FEATURED POET - Amanda Jernigan; (Interviewed by Ange Mlinko). FICTION - Andrew Valentine, Terri Brown-Davidson, John Christopher Nelson, Timothy Reilly. ESSAYS - Ron McFarland, N.S. Thompson, Barbara Haas. BOOK REVIEWS - Amit Majmudar, John Ellis. POETRY - Midge Goldberg, Jean L. Kreiling, Sankha Ghosh, Timothy Murphy, Pedro Poitevin, Joseph Hutchison, Pierre de Ronsard, Heinrich Heine, Catharine Savage Brosman, Rachel Hadas, Stephen Palos, Bruce Bennett, Doris Watts, Jeanne Emmons.

In The Borrowed World, Emily Leithauser transforms keenly felt experience and bittersweet memories into poems of impressive craftsmanship. She deftly muses on the dichotomies of, among other things, childhood and growing up, the headiness of love gained and the pangs of love lost, the joys of the nuclear family and the trials when it gets broken up. Although a first book, The Borrowed World is the seasoned work of poet of abundant talent coming into her powers and deservedly, the winner of the 2015 Able Muse Book Award. PRAISE FOR THE BORROWED WORLD: In The Borrowed World, Emily Leithauser’s formal mastery—her consummate knack for writing lines and sentences as crisp and elegant as the Edo prints to which she pays homage—entwines with the sheer immediacy and vulnerability of the poet’s voice. Leithauser portrays the inevitability of loss, in romantic and familial relationships, and yet, without ever offering false resolutions or pat conclusions, she manages to make her poems themselves convincing stays against loss. I mean that this book is made to endure. The Borrowed World marks the arrival of a major talent. —Peter Campion, 2015 Able Muse Book Award judge, author of El Dorado Emily Leithauser’s first collection, The Borrowed World, is an elegant meditation on inheritance, the vagaries of love and loss, familial relations—with all the devastating implosions within—and our relationship to the past filtered through the flawed lens of memory. These are deeply felt poems and Leithauser has a finely-tuned ear for the lyricism of syntax and the enduring rhythms of traditional forms. The Borrowed World is her stunning debut. —Natasha Trethewey, 2012–2014 US Poet Laureate, author of Thrall If her intensely accurate perceptions of the physical world and the beautiful forms in which she sets those perceptions were all that Emily Leithauser gave us in these poems, they would be more than enough to satisfy the hungriest poetry reader. But step by perspicuous step, in poem after poem, she enlarges and encompasses, she broadens and deepens and transmutes perception into feeling, feeling into thought, and thought into revelation. —Vijay Seshadri, winner of the Pulitzer Prize, author of 3 Sections Love poems, family poems, narrative poems: The Borrowed World is a moving and memorable debut which covers a lot of ground but is always rooted in actualities. The poems are very well-made, too, but their equally great distinction is to be well-felt—subtle in their account of the observing “I,” and simultaneously generous and shrewd in their understanding of others. Page by page, they create a series of powerful cameos; taken as a whole, their larger purpose emerges: to register what can be known and (especially) not known about our lives as individuals, and to value what time allows us to enjoy on earth, while admitting the brevity of our stay here. —Andrew Motion, 1999–2009 UK Poet Laureate, author of The Customs House I have read The Borrowed World several times, and each time I find more in it to be delighted and touched by. Emily Leithauser’s art waits for you, and I am sure that you will be as pleased and moved by it as I have been. —Michael Palma (from the foreword), author of Begin in Gladness

This is the seminannual Able Muse Review (Print Edition) - Winter 2015 issue, Number 20. This issue continues the tradition of masterfully crafted poetry, fiction, essays, art & photography, and book reviews that have become synonymous with the Able Muse—online and in print. After more than a decade of online publishing excellence, Able Muse print edition maintains the superlative standard of the work presented all these years in the online edition, and, the Able Muse Anthology (Able Muse Press, 2010). ". . . [ ABLE MUSE ] fills an important gap in understanding what is really happening in early twenty-first century American poetry." – Dana Gioia. CONTENTS: WITH THE 2015 ABLE MUSE WRITE PRIZE FOR POETRY & FICTION — Includes the winning story and poems from the contest winners and finalists. EDITORIAL — Alexander Pepple. FEATURED ARTIST — Léon Leijdekkers. FEATURED POET — Amit Majmudar; (Interviewed by Daniel Brown). FICTION — Paul Soto, Lynda Sexson, Andrea Witzke Slot. ESSAYS — N.S. Thompson, Moira Egan. BOOK REVIEWS — Stephen Kampa, Robert B. Shaw. POETRY — X.J. Kennedy, Wendy Videlock, Kim Bridgford, Peter Kline, Catharine Savage Brosman, Terese Coe, Steven Winn, Jay Udall, Beth Houston, Jennifer Reeser, Leslie Schultz, Ryan Wilson, Max Gutmann, Freeman Rogers, Dan Campion, Brooke Clark, David Stephenson, Autumn Newman, James Matthew Wilson, Athar C. Pavis, Jeanne Wagner, Elise Hempel.

This is the seminannual Able Muse Review (Print Edition) - Summer 2014 issue, Number 17. This issue continues the tradition of masterfully crafted poetry, fiction, essays, art & photography, and book reviews that have become synonymous with the Able Muse-online and in print. After more than a decade of online publishing excellence, Able Muse print edition maintains the superlative standard of the work presented all these years in the online edition, and, the Able Muse Anthology (Able Muse Press, 2010). ". . . [ ABLE MUSE ] fills an important gap in understanding what is really happening in early twenty-first century American poetry." - Dana Gioia. CONTENTS: A TRANSLATION ANTHOLOGY FEATURE ISSUE - Guest Edited by Charles Martin EDITORIAL - Alexander Pepple. GUEST EDITORIAL - Charles Martin. ESSAYS - Michael Palma. POETRY TRANSLATIONS BY - X.J. Kennedy, A.E. Stallings, Rachel Hadas, William Baer, Willis Barnstone, Tony Barnstone, Michael Palma, Dick Davis, Jay Hopler, Ned Balbo, N.S. Thompson, John Ridland, Kate Light, John Whitworth, Andrew Frisardi, Diane Furtney, Teresa Iverson, Julie Kane, Maryann Corbett, Bilal Shaw, Mark S. Bauer, Michael Bradburn-Ruster, Heidi Czerwiec, Claudia Routon, Brett Foster, Catherine Chandler, Terese Coe, Adam Elgar, Rima Krasauskytė, Kent Leatham, R.C. Neighbors, Deborah Ann Percy, Dona Roşu, Arnold Johnston, Maria Picone, Robert Schechter, Wendy Sloan, Jeff Sypeck, Ryan Wilson, Shifra Zisman, Laine Zisman Newman. POETRY TRANSLATIONS OF - Victor Hugo, Arthur Rimbaud, C.P. Cavafy, Fernando Pessoa, Miguel de Unamuno, Catullus, Charles Baudelaire, Francesco Petrarch, Rainer Maria Rilke, Asadullah Khan Ghalib, Horace, Martial, José Luis Puerto, José Corredor-Matheos, Cecco Angiolieri, Delmira Agustini, Heinrich Heine, Christine de Pizan, Nur Jahan, Ayesheh-ye afghan, Jahan Khanom, Reshheh, Gaspara Stampa, Dante Alighieri, Armand Sully Prudhomme, Gérard de Nerval, François Villon, Euripides, Georg Trakl, Nelly Sachs, Tautvyda Marcinkevičiūtė, Gavin Douglas, William Fowler, William Dunbar, Bertolt Brecht, Antonio Malatesti, Giovanni Raboni, Fosildo Mirtunzio (Pseudonym), Zaharia Stancu, Paul Valéry, Tove Ditlevsen, Sor Juana Inés de la Cruz, Giacomo Leopardi, Paul the Deacon, Giovanni Pascoli, Meleager, Lope de Vega, Dovid Zisman.