Our poetry is sorted alphabetically by title.


Image of the front cover of A History of Disappearance.

A History of Disappearance follows Marjorie Stelmach as she explores her own personal history of disappearance, and the paths of grief, loss, and the ranges of responses employed to face loss. 
A History of Disappearance works a wonderful alchemy. The ephemeral, that which is always on the verge of disappearing, is recast into a mutable and lasting gold in Marjorie Stelmach’s elegant poems.” –Eric Pankey

A HISTORY OF DISAPPEARANCE, Poems by Marjorie Stelmach

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Image of Absence and Presence front book cover.

In her ninth book, and her second poetry collection with the University of Tampa Press, Lisa Steinman considers both the seen and the unseen as she “meditatively engages the ironies of being,” as poet Maxine Scates has beautifully phrased it. Writer Alice Fulton observes that “In Absence & Presence, Lisa M. Steinman confronts the most unsparing aspects of existence with an intelligence that is nothing short of revelatory.”

ABSENCE & PRESENCE, Poems by Lisa Steinman
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Image of the front cover of After Earth.

After Earth begins in tenderness, in poems written to a child, moves to childhood memories of an adult, through elegies for those who have passed, moves out into the cosmos, reflects on history, taxonomy, natural environments and poetics, then constructs, at the very last, a continuing and moving memento to those pioneers who settled a province out of a wild western landscape. This book carries with it the beloved ghosts of Homer, Hesiod, Virgil, Dante, Pushkin, Tsvetaeva, E. A. Robinson, and Stevens, which lend it genuinely beautiful gravitas…” –Sidney Wade

AFTER EARTH, Poems by Michael Lavers

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Image of Almost Dark front book cover.

Almost Dark suggests the cusp of evening, slender but persistent hopes, or a time about to change. In this new collection, poet Richard Terrill gives us once again the Upper Midwest, his signature subject, but less the cold and snow than the slush of late March and the crispness of mid November. Almost Dark ventures that what we say about our lives can be nearly as important as living them.

“The rich weight of Richard Terrill’s poems is unmatched in the poems of any of his contemporaries. Empires of food, luxury, and time spring forth question after lush question after wise question.”   –Robert Dana

ALMOST DARK, Poems by Richard Terrill

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Image of the front cover of Among the Gorgons

“Like her ‘92-Year-Old Nude Descending a Staircase,’ Michelle Boisseau’s poems are unashamed, gleeful, outrageous, defiant—turning the tables, exposing false vanities, ‘she peers through the viscous/ heat that ego sizzles in.’ Both feral and sophisticated, her poems rock with the music of embodied language and an irrepressible energy, confronting an enormity of loss the way ‘time and a tree/ can shrug a slab of sidewalk off,’ countering grief’s weight with the living force of a fiery, subversive imagination.” –Eleanor Wilner

AMONG THE GORGONS, Poems by Michelle Boisseau

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Image of Ask front book cover.

A Tampa Review Prize for Poetry winner, Julia B. Levine’s Ask attempts to grapple with questions of beauty, loss, damage, and redemption in the context of multiple landscapes, including the environments of abused and neglected children placed in temporary foster care, the wilderness of the Northern California coastline, and the geography of the poet’s own memory.

ASK, Poems by Julia B. Levine

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Image of the front cover of At Once.

Jenny Browne delivers a world At Once, in which things happen—abundantly. From the opening poem, “For the Morning,” from which the book’s title is drawn, through the very last line “but I didn’t want/ to stop here,” At Onceportrays both the far-flung and intimate. With concerns that range from the sudden demise of a morning glory to gymnastics on a train across Kansas, from the death penalty in Texas to Tibetan sky burials, from excess wedding gifts to the shelf life of mayonnaise, these poems are grounded in the human, in the bloom and wither of daily life with all its surprise, mystery, and disappointment.

AT ONCE, Poems by Jenny Browne


Image of Backyard Alchemy front book cover.

““Scrape the iced windshield with a library card,/ doodle love notes on a funeral program,” writes Lance Larson in his fine poem, “Bribing the Lake.” “We improvise and re-purpose, and some afternoons/ prove that the best use of Hegel in leather/ is to prop open a window.” Backyard Alchemy props open any number of unexpected windows in unexpected ways, and many of the poems provide such charming minute-by-minute instances of “improvisation” and genuine “re-purposing” that we’re often taken by surprise by their weight and depth.” –Jacqueline Osherow

BACKYARD ALCHEMY, Poems by Lance Larsen

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Image of the front cover of Bent upon Light.

Bent upon Light illuminates the gap between human reach and human grasp. It is no easy matter to look toward emptiness and reveal its contents. Yet Marjorie Stelmach’s poems cast light from that gap through a spiritual prism refracting and reflecting the ways our words so often fail to fit our world, the ways our dreams suggest landscapes we can’t discover in our waking lives, the ways we convert both nature and art into emblems, omens, or provisional visions that fill us with brief joy before we reach again.

BENT UPON LIGHT, Poems by Marjorie Stelmach

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Image of Black Anthem front book cover.

A Tampa Review Prize for Poetry winner, Black Anthem is a book of meditative sonnets—wide-ranging in their investigations of the body, the psyche, metaphysical hunger and its place in human conflict—owes its emotional power to the speed and focus of small songs taking part in a larger conversation. As Bond puts it, “We made the love song small because long/ orations had more silencing than silence.” In honor and defiance of tradition, these sonnets turn their gaze outward to ask, is not a song more elusive than our story about it? How might our limits quicken and deepen the question of values? Whatever the anthem, as Bond explores it, something of its music is ever larger than its message, its measures more measureless, its window more capacious than its frame.

BLACK ANTHEM, Poems by Bruce Bond

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Image of Black Hole Factory front book cover.

A Tampa Review Prize for Poetry winner. “Whether pursuing a rumor of Bigfoot or considering “the washed-out stars” above us, Black Hole Factory reaches to understand the mysteries that both surround us and are a part of us. Finding resonance in everything from the imagination of Ovid to the reality of plumbing fixtures, Eric Smith’s poems arrive with a “cocktail the color of Windex” in one hand and the skull of a Byzantine horse in the other, creating a collection that always feels both contemporary and timeless. This is exciting work: surprising, poignant, and real.” –Matthew Olzmann

BLACK HOLE FACTORY, Poems by Eric Smith

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Image of the front cover of Calenture.

A Tampa Review Prize for Poetry winner. In this memorable first book, Kent Shaw explores layers of devotion, illusion, and sacrifice in abstract and personal terms. At age eighteen, he enlisted for six years of service in the U.S. Navy. Midway through, his unadulterated patriotism shifted to unanticipated doubt. Calenture—whose title refers to a sickness sailors suffer as they come to believe the ocean is a meadow, try to walk into it, and find themselves drowning—draws upon rich seagoing metaphors to probe faith, change, and delusion. With poems of ocean and spirit, land and love, family and stranger, this book is anchored and buoyed by a sailor’s undeniable longing to experience a great voyage fully and to render it true and whole. 

CALENTURE, Poems by Kent Shaw

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Image of Carslaw's Sequences front book cover.

Lisa M. Steinman takes the title of her new book of poems from the world of mathematics. Horatio Scott Carslaw was an early twentieth-century mathematician who worked on divergent series of numbers that cannot be tidily summed. And while this is something of a problem for mathematicians, it is potentially a delight for poets. Steinman adopts divergent series as “a nicely untidy metaphor for the way we put together linguistic gestures and talismanic anecdotes as means of locating and identifying ourselves and making sense of the worlds we inhabit.” Her book creates a “public space” where a patchwork of various languages and cultural sites resonate with one another, raising such issues as how we define ourselves to ourselves and others; how we can or cannot use public languages to do this; how, most simply, we find things “add up” in multiple, variable ways.

CARSLAW’S SEQUENCES, Poems by Lisa M. Steinman

Image of the front cover of Chair in the Desert.

“Rick Chess’s poetry is a glass through which one sees brightly, openly, gladly, thrillingly; and what one sees is the texture (the grain, the grip, the dazzling whorl) of holiness—holiness not as mere word or elusive meaning, but as experience. Here is the language of life—life conditioned, bound, tangled, yet illuminated and clarified by a transcendent Eye. One reads these shiningly honest lines and feels their blessing.” –Cynthia Ozick

CHAIR IN THE DESERT, Poems by Richard Chess

Image of the front cover of Cherish.

“Steve Kowit’s poetry has been described as a “memorable exhilaration, a singular concentration of language, and a flow of razor-sharp images springing irrepressibly from the author’s humanity” (CHOICE). It is his humanity we celebrate in this, Steve’s last collection. Cherish: New and Selected Poems was receiving its final editorial touches by Steve when he passed away in April of 2015. Steve Kowit—a poet, an editor, a teacher—was the 2007 winner of the Tampa Review Prize for Poetry for his collection The First Noble Truth, and author of other books of poems, including Lurid ConfessionsThe Dumbbell Nebula, and The Gods of Rapture. He was also author of the influential creative writing workshop text, In the Palm of Your Hand: The Poet’s Portable Workshop. “How fine to have in in our hands…the lucid, voluptuous, exuberant poems of Steve Kowit.” –Dorianne Laux

CHERISH, Poems by Steve Kowit


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Image of the front cover of Coming Late to Rachmaninoff.

Writing with a multilayered perspective from the Midwest and middle class at middle age, Richard Terrill portrays the landscape and people of northern Wisconsin, where he was raised, and of southern Minnesota, where he has lived and worked more recently for a dozen years.

Music is at the center of Coming Late to Rachmaninoff, and Terrill’s first collection of poems proves he has an eye for the ironic and the beautiful, an ear for music and the music of our language, and a curiosity about the ways daily experience confounds our most well-meaning gestures and surprises our expectations.


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Image of Count Four. front book cover.

A Tampa Review Prize for Poetry winner. 

“Once in a great while, I encounter a poet whose work rattles me with its force and depth; a poet who speaks with the kind of personal authenticity I recognize no amount of study can teach. Keith Kopka is such a poet. His debut collection, Count Four., moves with extraordinary precision, a hard-won and bloodied humor, and a penetrating quality of mind that never insults the reader with cheap epiphanies. Count Four’s fundamentally punk sensibility is buoyed with a mature, elegiac grace and literary intelligence I find deeply truthful and moving. This is a brilliant book written by a singular poet.” –Erin Belieu

COUNT FOUR. Poems by Keith Kopka

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Image of Dear Stranger front book cover.

Poet Major Jackson refers to the poems in Jenny Browne’s newest collection, Dear Stranger, as “angel-fisted lyrics,” and this evocative phrase captures both the tough and rapturous sides of her work. With poems of memory and narrative, thought and feeling, Jenny Browne has shaped another powerful book. Poet and professor Stephen Burt of Harvard University writes, “Her poems retain the unpredictability not of a roulette wheel or a supernova, but of a quirky, wise friend in another city, one whose reactions surprise us even once we know her well enough to trust her well.”

DEAR STRANGER, Poems by Jenny Browne

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Image of the front cover of Ditch-tender.

“A book of longing and healings. Julia Levine doesn’t conjure as much as coax the magic to happen by itself. The poems lift and move us in currents—shifts, insinuations and splendid runs, delicate textures, depths.” –Dennis Schmitz

“Julia Levine’s poems deal with a world so familiar we are immediately drawn into it. We hear clearly her many voices—daughter, wife, mother, counselor, neighbor, friend. And in this world she finds beauty and sadness inextricably entwined. Wise with life, her lines shine with a strong, tender intelligence rare in recent poetry.” –Robert Dana 

DITCH-TENDER, Poems by Julia B. Levine

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Image of the front cover of Fire Eater.

Kathleen Jesme’s Fire Eater traces complex and ultimately transformative connections between the poet and the landscape of her native Northern Minnesota painted with images of oak, cedar, pine, water, and changing light. In an opening prismatic sequence of poems, she movingly chronicles the Great Fire of 1910 that took a forest and a town, leaving mass graves, darkness, and erasure in its wake. Jesme ventures into that darkness in search of light, as she explores intersections of the fires of her own past and communal memories of the 1910 conflagration. Her deft turns of phrase and language vibrant with restrained passion illuminate a clarifying and disquieting vision. Fire Eater concludes with a tranced evocation of her Novitiate within convent walls, as she explores a deepening access to the interior: “the heart of the woods: a furnace of light.”

FIRE EATER, Poems by Kathleen Jesme

Image of the front cover of For Appearances.

Jordan Smith’s For Appearances charts a territory of loyalty, affection, and loss. Written out of the rural and rust-belt vernacular of the American landscape, these poems deal with the allegiances and attritions of family, culture, history, and friendship. Their sensibility ranges from the heartfelt local color of fiddle tunes and country taverns to the heady dream of matching wits with Christopher Marlowe and the driven narrative of a resentful boy who flees adoption by the Shakers. These poems stretch impressively across an American terrain of thought and feeling often disguised by appearances. From a hitchhiker’s back roads to an acquaintance who dies while working at a shelter for the homeless, Smith’s search is for the singular music—“a crooked tune,” a fiddler might call it—that’s found at the intersection of place and spirt.

FOR APPEARANCES, Poems by Jordan Smith


Image of Genius Loci front book cover.

Lance Larsen’s new poems in Genius Loci reflect his evolving sense of place and his deep insight into the particularities of everyday life. Lance Larsen is a past recipient of the Tampa Review Prize for Poetry and served as the Utah Poet Laureate from 2012 to 2017.

GENIUS LOCI, Poems by Lance Larsen

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Image of the front cover of In All Their Animal Brilliance.

A Tampa Review Prize for Poetry winner. 

In All Their Animal Brilliance is a book of startling, fierce, and inventive talent. Its pages are inhabited by gull and tarantula, fathers and sons, losses and loves—also by compassion and amazement, spiritual and moral contemplation, and a ranging, investigative eye and heart. In their weight, substance, and sheer pleasure, these poems are the real thing.” –Jane Hirshfield.


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Image of the front cover of In Thailand It Is Night.

Winner of the Anita Claire Scharf Award.

“In Ira Sukrungruang’s In Thailand It Is Night, the afterlife is where the streets bustle with the sounds of a backfiring motor and where the surprise of peacocks in the middle of the city fan out their blues and greens despite the strangeness of the paved walkways. Within, Midwest winters are warded off by palpable memories of home whilst the complexities of love and the world are recollections blossoming from the mind as dogs howl “at the bitten moon.” A vast statue of Buddha houses wintering birds in its ears. Their songs are Sukrungruang’s poems which travel the curved path from the brain into the heart.” –Oliver de la Paz

IN THAILAND IT IS NIGHT, Poems by Ira Sukrungruang

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Image of the front cover of Lays in Summer Lands

The beauty of John Willis Menard’s poetry in Lays in Summer Lands stands out today just as it did when first published in 1879. Here, the weight of human experience and observation is transformed into lyrical delights and meaningful insights that continue to resonate generations after their creation.

Willis Menard was a Floridian and the first African American elected to the United States Congress.

LAYS IN SUMMER LANDS, Poems by John Willis Menard

Image of the front cover of Light into Bodies.

A Tampa Review Prize for Poetry Winner.

““I recreated a world/—so real looking—/out of spit and dust,” writes Nancy Chen Long in her powerful debut, Light into Bodies. And she does just that, while bringing light into the human and animal bodies of the universe, as she chronicles the rhythm of her Taiwanese origins and a childhood journey from Okinawa to the United States and into a generative, complex womanhood. Both the fullness and absence of family guide the speaker of these poems into an illumination of voice, all the more courageous in that it inhabits the knife-edge of liminal space. Nancy Chen Long’s poems sing with rage and rage with tenderness, as they lovingly—and deftly—seek the solace of identity.” –George Kalamaras 

LIGHT INTO BODIES, Poems by Nancy Chen Long

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Image of Light Persists front book cover.

Jane Ellen Glasser is the winner of the 2005 Tampa Review Prize for Poetry.

Starting with “The Cormorant,” the book’s opening poem, and reinforced by bird poems that begin each section of LIGHT PERSISTS, Jane Ellen Glasser steers toward the sun and lifts out spirits.  Through nature the poet is put in touch with her inner world in the stillness of a meditation that delights and awakens.  Yet she does not shun life’s difficulties.  At the heart of this book, a transcendental sequel to her first collection, NAMING THE DARKNESS, are poems mourning her daughter Jessica, who died in a car accident at the age of twenty-two.  Glasser courageously addresses loss and doubt as she leads us on an enlightening journey, wide enough to encompass gratitude and joy, blessed by images and language full of grace for eye and ear.

LIGHT PERSISTS, Poems by Jane Ellen Glasser

Image of the front cover of Lines from Neuchatel.

Peter Meinke’s book of poetry celebrates both international experience and local roots. Inspired by a year in Switzerland and first published in St. Petersburg 35 years ago, this handsome edition brings back into print this poet’s first internationally acclaimed and long-out-of-print rare limited edition chapbook with drawings by Jeanne Meinke.

LINES FROM NEUCHÂTEL, Peter Meinke, Drawings by Jeanne Meinke

Image of the front cover of Love Nailed to the Doorpost.

“Love collides with love in Richard Chess’s latest collection, shattering love as a way to understand its mystery and ache. The force behind the collisions is the pressure Chess applies to the Torah and Jewish traditions to help him make sense of his longing and losses; and those in turn to make sense of the tradition. Unflinching, real, and wise. Chess’s poems are worthy of sharing with anyone—all of us—who seek what love seeks in us.” –Emily Warn 


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Image of the front cover of Music for the Black Room.

Elemental, essential, and urgent, Music for the Black Room is made vivid by poems that transport through means both spare—at times, nearly irreducible—and lush. As the world of the everyday edges into the nocturnal, quotidian moorings give way to the surreal. Mistakes of both action and perception—the siren call of delusion and dream—find the fabrication of a psychescape where one thing seems to be another, whether through metaphor or actual error—an inscape of wind, of snow and dirt, where sky looks like water, where water can flame into fire. 

MUSIC FOR THE BLACK ROOM, Poems by Sarah Maclay

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Image of My Husband Would front book cover.

“In My Husband Would, Benjamin Grossberg brings us to the 1990s gay clubs of Houston, to Macy’s Herald Square, and to a family seder with an imaginary daughter. Here, the poet’s parents dance awkwardly and alone at a wedding until he confesses, “I know nothing of love.” Here are all the awkward intimacies of sex, desire, loss, and commitment. Here, the poet imagines his own wedding to “a column of air”—to freedom, to time, to sex. In poem after poem, Grossberg creates that experience, intimate and enthralling, of laying bare a life, of getting us through it with enormous wit, sadness, grace, and complexity. This is a brilliant book, one I will return to with joy and envy.” –Kevin Prufer

MY HUSBAND WOULD, Poems by Benjamin S. Grossberg

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Image of the front cover of Public Gestures.

Matt Yurdana’s first book, Public Gestures, explores the stories, recollections, and half-truths we stand by and rely upon. These poems give us our varied lives one glimpse at a time—a tattooed man’s check-up, a hatchery worker killing salmon, someone dying in a petting zoo—revealing moments at once commonplace and extraordinary. Multilayered and convincing as memories, Yurdana’s poems present the complex nature of emotions in tight and finely crafted language.

PUBLIC GESTURES, Poems by Matt Yurdana

Image of the front cover of Public Land.

“The portraits, elegies, and landscapes in Public Land illuminate these pages with flashes of shadow and uncharted landscapes of electric, existential honesty. In tensile and subtle verse, Matt Sumpter deftly embraces the rhythms of language and emotional experience, gifting us a poetry that, like the forests our speaker turns and returns to, harbors the most ineffable growth… This is vital, arresting work by a singular voice, and I know that I will turn and return to these poems in years to come.” –Lo Kwa Mei-en

PUBLIC LAND, Poems by Matthew Sumpter

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Image of the front cover of Rip-Tooth.

A Tampa Review Prize for Poetry winner. 

“Dennis Hinrichsen writes with the combination of disciplined mind and fearless heart that I crave in poetry. Grief is the recurrent subject of these poems, but just as “Daylight sharpens/ Its immaculate knife,” Hinrichsen hones his unflinching music into revelation. Rip-tooth is a book of ferocious beauty that, like all important art, adds “an edge/ of heave” to the pain it must “expose and protect.” –Lynn Powell

RIP-TOOTH, Poems by Dennis Hinrichsen

Image of the front cover of Rolling the Bones.

A Tampa Review Prize for Poetry winner.

“His poems are both western and universal. It is the landscape of California that serves as the backdrop to the striving for significance that enriched his boyhood in Santa Barbara and was lost somewhere in that territory we call growing up. The poems are modest, straightforward, intensely lyrical, and totally accessible…. This is a humble poetry of great truths and profound emotions that never overstates its concern for the events both in and above the world. It rewards countless readings and never betrays itself.” –Philip Levine, writing in Ploughshares

ROLLING THE BONES, Poems by Christopher Buckley

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Image of the front cover of Separate Flights.

Winner of the Anita Claire Scharf Award.

“Patricia Hooper’s poems sneak up on the reader and stun. I am always amazed at how quietly she moves through natural and domestic landscapes, noticing everything, bringing whatever is small and beautiful into exquisite focus, and then zooms straight to the heart. I read and re-read her, and I recommend her poems to everyone I know.” –Susan Ludvigson

SEPARATE FLIGHTS, Poems by Patricia Hooper

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Image of the front cover of Space Traveler.

“Surely each of us feels like an alien from time to time, fallen into a world that can’t possibly be our own. And who hasn’t looked from time to time at a lover and thought, “We might as well be from different planets”? In this slyly ironic, unexpectedly moving sequence of poems, Benjamin Grossberg takes these metaphors as grounds for aching, comic meditation on what it is to be self and other in this space “we /cross and cross in unmarried vastness,” Space Traveler is an engaging, memorable delight.” –Mark Doty

SPACE TRAVELER, Poems by Benjamin S. Grossberg

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Image of the front cover of Sweet Core Orchard.

A Tamp Review Prize for Poetry winner.

““I want to write a body,” Benjamin Grossberg declares in this brave, unabashed, at times, theological, and utterly exuberant collection of poems. This book is a beautiful orchard, and there is a sweet wild energy at its core.” –Edward Hirsch

“Benjamin Grossberg’s Sweet Core Orchard teems with life. The animal and vegetal world animates and dominates these poems of self-discovery and yearning. Pigs and dogs, deer and horses, beetles, lightning bugs and fruit flies cry out as he composes his human song. Above all these are poems of refuge: from familial cruelty and its mythic history, the specter of AIDs and the terror of loneliness and desire, which moves him from a cramped apartment in the city to a farm where he’s surrounded by apples and angels, a Bible in one hand, a seed catalogue in the other, looking out the window to his newly planted orchard where at his back God leans over the house “on a casual tour/ of the wreck of the world.” –Dorianne Laux

SWEET CORE ORCHARD, Poems by Benjamin S. Grossberg

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Image of the front cover of Systems of Vanishing.

A Tampa Review Prize for Poetry winner.

“These tender, endlessly inventive poems begin in the familiar world, but take us to other realms altogether. Their startling displacements happen so deftly and with such sleight-of-hand that they are nearly invisible. Slowly, as poem after poem reveals “the sadness at the core of every moment,” the reader comes to see the impossible as ordinary, and the ordinary as numinous. Michael Hettich’s authority, which is both modest and absolutely genuine, compels us to follow him into some wild what-ifs, which make for an exciting ride. His elegy for a lost daughter brought me to tears. The quiet magic of these poems is stunning and profound.” –Chase Twitchell

SYSTEMS OF VANISHING, Poems by Michael Hettich

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Image of the front cover of Tasting Like Gravity.

Peter Meinke is the author of sixteen books of poems, three collections of short stories, and several nonfiction books. His poems have appeared in The Atlantic, The New Yorker, Poetry, and many other magazines. He is Poet Laureate of the State of Florida.

Jeanne Clark Meinke is an artist whose work has appeared in books for children and adults, and on the pages of The New Yorker, Gourmet, Yankee, Western Humanities Review, Tampa Review, and other magazines. A collection of her drawings, Lines from Wildwood Lane, was published by the University of Tampa Press.

TASTING LIKE GRAVITY, Poems by Peter Meinke and art by Jeanne Clare Meinke

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Image of the front cover of Tekiah.

These poems search for compatibility between contemporary consciousness and a rich, ancient liturgical tradition. Specifically, they explore the deep feelings of joy and regret, shame and hope associated with the Days of Awe, the Jewish High Holidays, beginning with Rosh Hashanah, the Jewish New Year, and concluding with Yom Kippur, the Day of Atonement. Tekiah refers to the sound of the shofar, the ceremonial ram’s horn that is blown to commemorate the beginning of creation. The sound also recalls the giving of the Torah at Mount Sinai, the destruction of the Temple, and the binding of Isaac, and anticipates as well the reunification of the Jews of the Diaspora. Finally, and perhaps most important, it serves as an entreaty to the Jewish people to perform teshuvah, to return to God.

TEKIAH, Poems by Richard Chess

Image of the front cover of The Elf Poem.

The Elf Poem, or Nine Not Very Golden Rules for Children Who Like to Write Poetry.

THE ELF POEM, Peter Meinke with drawings by Jeanne Clark Meinke

Image of the front cover of The First Noble Truth.

A Tampa Review Prize for Poetry winner.

“The desert landscapes of Southern California and Mexico rise up as characters in this passion play, as do the ghosts of our past: Hamlet, Shirley Temple, Siddhartha, Pat and Dick Nixon, Che Guevara, Odysseus, Eurydice and Dagwood Bumstead. “The world is opulent,” says Kowit, “indifferent….” The passage of time, the freight of our humanness, the unwavering spirit, all are themes Kowit explores and explodes. A wreath of paper flowers framing the face of a dead motorist flashes by but is not lost on Kowit. Nor are the girls of Malibu or the dog pacing the perimeter of a fence. Kowit is by turns furiously political, dangerously so, seriously funny, and quietly humbled by the beauty of the world.    The late Czeslaw Milosz said Kowit sharply grasps our common, mortal fate. We can hear this when he speaks to the Raven. “Forgive me,/ sweet earth, for not being shaken more often/ out of the heavy sleep of the self.”” –Dorianne Laux

THE FIRST NOBLE TRUTH, Poems by Steve Kowit

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Image of the front cover of The Light in the Film.

Drawing on characters from Tosca to Lew Welch to Henry Purcell and on landscapes from Mexico to Hell to Saratoga Springs, Jordan Smith’s sixth collection of poems is a wide-ranging consideration of the world viewed in the light of loss and restitution. As in the work of Charles Ives, celebrated in one poem, these lyrics look for likenesses found in the combination of the unlikely, and they discover, in the do-it-yourself culture of America, a determined, eccentric resistance to time’s erosions.

THE LIGHT IN THE FILM, Poems by Jordan Smith

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Image of the front cover of The Movie of Us.

Kevin Jeffery Clark’s poems have appeared in Hudson Review, Park Review, Yale Review, and in Coming Attractions: An Anthology of American Poets in Their Twenties. This is his first book.

THE MOVIE OF US, Poems by Kevin Jeffery Clarke

Image of the front cover of The Names of Things Are Leaving.

“Smith plays the “devil’s part,” trilling and bending his words like a fiddler slides and rasps on his “devil’s box.” The tune may be loneliness “the crumpled map to the house/ of the homeless” or of those “whose casually forged papers/ Are always in order, because their identity is simply paper/ thin.” The dispossessed—whether people or objects, Smith’s father-in-law’s unexceptional fly rod—find a home in these exceptional poems. Music, music of the lone fiddler, Callas singing Norma, Lotte Lenya—out of these, out of the worry and love notes of family, Smith makes stunning music which draws you in to the dance.” –Karen Swenson


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Image of the front cover of The Occasions of Paradise.

“While art is never a wholly adequate antidote to sorrow, its consolation can be enormous, as they are in John Blair’s beautifully nuanced and perceptive poems. Even as he leads us back through our own disenchantments, his ‘minor ecstasies of will’ remind us of all there is in the world to love.” –Susan Ludvigson


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Image of the front cover of The Old Dominion.

A Tampa Review Prize for Poetry winner.

“Jennifer Key offers in her debut collection a “dominion” of girls and women…whose stories of subjugation, discovery, abjection, power, and qualified hope she renders with an extraordinary mature humor, irony, and tenderness. She moves with gracious force into the complex domain of womanhood, of selfhood, compelling us to heed her fiercely articulated “Old Dominion” with exhilarated attention.” –Lisa Russ Spaar

THE OLD DOMINION, Poems by Jennifer Key

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Image of the front cover of The Second Reason.

“In her new collection of poems, Jenny Browne emerges as a poet of tremendous depth and range. The poems here approach both the details of the domestic life and the strangeness of consciousness with equal attention. The work is musical, spiritual, and physical—the poet serving as an observant linguistic and sensual guide to all the things that matter—love, suffering, and pleasure—with her precise and inventive lines. There is a surprising calm in the wild leaps this poetry makes, as if the poet is at home with the unpredictable and intent upon bringing us there with her.” –Laura Kasischke

THE SECOND REASON, Poems by Jenny Browne

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Image of the front cover of The White Bride.

A book of delirious surfaces riding on obsessive rhythms and a long breath, Sarah Maclay’s second full-length collection, almost entirely prose poems, is composed of sentences as serpentine and sinuous as they are prone to interruption from the fragmented consciousness of inner and external worlds. Inspired by everything from old record covers to mannequins, historical figures, street scenes, music and myth, these dreamlike and inventive poems both extend and echo the sounds and sensibilities of her earlier work.

THE WHITE BRIDE, Poems by Sarah Maclay

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Image of the front cover of Third Temple.

“Playful and erudite, irreverent and prayerful, Rick Chess’s new poems speak to post-modern exile, taking up the timeless Jewish themes of freedom and slavery. Declaring himself “descendant of a fickle, querulous, ragtag crew in Sinai,” Chess honors and re-invigorates tradition with his own “Kaddish,” “Monotheist’s Lament,” “Psalm,” and “Traveler’s Prayer.” He incorporates Hebrew letters and words in one sequence of poems, concluding, “Language Lesson” with the lines: “I am your Hebrew teacher./ My job?/ To give you lessons in strength and grief.” Read Third Temple for its rich musicality and wise meditations on gender, politics, and the requirements of the moral life.” –Robin Becker

THIRD TEMPLE, Poems by Richard Chess

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Image of the front cover of This Disease.

“Barry Silesky’s new collection stands as an array of bittersweet neon elegies—sometimes elegant, sometimes garish, streaming and twisting, blinking on and off and on; sizzling with summer, steaming with winter, city and country, his and hers. A hard won music. And when you finish listening, you know you know something important.” –Robert Dana

THIS DISEASE, Poems by Barry Silesky

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Winner of the Anita Claire Scharf Award.

Visitations is a book of portraits and voices, many voices, all of them vivid and memorable. Rivers speak, weeds speak, and figures from American history tell us their stories. These finely crafted monologues are intimate windows on the past, and the way the past touches the present. Both the atrocities and glories of our world come to life in these poems of witness, lament, celebration, and the often painful mystery of love.” –Robert Morgan

VISITATIONS, Poems by John Bensko

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Image of the front cover of What the Body Knows.

“I have been an avid reader of Lance Larsen’s poetry for years. And What the Body Knows doesn’t disappoint. Filled with assuredness, acuity, and with what Joseph Conrad called “the clearness of sincerity,” these beautifully crafted prose poems take us on a journey to the unexpected. At times transcendent, exultant, but always grounded in the here and now, this is Larsen at his best. A truly remarkable book, an absolute joy to read.” –Robert Hedin

WHAT THE BODY KNOWS, Poems by Lance Larsen

Image of the front cover of White Shirt.

“These are poems of immortality and extinction that can still make you smile…[Buckley] has an exquisite ear for language and a gusty way of blending bravado with humility.” –Library Journal

“Whether he is addressing his departed friend(s)…or the great swell of the Pacific Ocean that haunts his dreams, the voice is always the same, modest and direct. This is a humble poetry of great and profound emotions…” –Philip Levine, writing in Ploughshares

WHITE SHIRT, Poems by Christopher Buckley

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Image of the front cover of Whore.

A Tampa Review Prize for Poetry winner. Whore is haunted by fleeting, mysterious intimations of love, as the poet traces an unraveling in which the lush desolation of the sensory world becomes a mirror of loss. In poems of longing, rapture, heart-wreck, and self-confrontation, when both private and public worlds seem to be on the verge of disintegration, everything is up for questioning and re-examination. Even language itself, that great interlocutor of the psyche, begins to lose its stability. Yet, in the title poem, the result of a trip to the dictionary in search of another word, etymology shocks us into an awareness of contradictions in the ways we try to organize—or orchestrate—desire, contradictions buried in the very roots of language. Judges found the poems in Sarah Maclay’s first book-length collection “spectacular in their execution, in their eagerness to get at what seems to be happening on the other side of our assumptions.”

WHORE, Poems by Sarah Maclay

Image of the front cover of Wild Persistence.

“The world, so carefully and lovingly rendered in Wild Persistence, will not stay as it has been observed—not the spider, not the crows. Nature would be a steady source of comfort were it not for change. Yet the speaker of “In the Clearing” communes with the rich smell of the woods after rain, studying the light: “If I sit still enough/ among the damp trees. Sometimes I see the world/ without myself in it, and—it always surprises me—/ nothing at all is lost.” This is a book of precision and strong image, a richly rewarding collection.” –Julie Funderburk, author of The Door That Always Opens

WILD PERSISTENCE, Poems by Patricia Hooper

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