By Lily Cowles

Completely Subjective: Kay Ryan’s “Playacting”

Ideas and actions wear their significance like a brightly colored shirt. With too much repetition, the color fades. Ideas become cliché. Actions become mechanical, rehearsed: playacting.  Kay Ryan’s poem by that name begins with a short excerpt of prose from W.G. Sebald’s Campo Santo, which explains that participants in tribal rituals of initiation or sacrifice…

Completely Subjective: Ada Limón’s “The End of Poetry”

I love poetry, but sometimes it frustrates me in the way it inevitably falls short, language unable to measure up to reality. Good poetry is a good approximation of the real world, but it’s still an approximation. Ada Limón’s “The End of Poetry” rejects that approximation — or, at least, it approximates a rejection (how…

“Elegy with Table Saw & Cobwebs”: Five Questions for Patrick Phillips

Patrick Phillips is the author of three collections of poetry and a work of nonfiction. His 2004 collection, Chattahoochee, won the Kate Tufts Discovery Award, and his 2015 collection, Elegy for a Broken Machine, was a finalist for the National Book Award. He was born in Atlanta, Georgia. Phillips earned his PhD in English Renaissance…

The Great Poem Series: Lucia Perillo’s “Samara”

Lucia Perillo’s “Samara” is a celebration of small and simple beauty. Perillo died at 58 in 2016, shortly after this poem appeared in the 2012 edition of The Best American Poetry. She died from complications of multiple sclerosis, a disease which inspired much of her poetry. Perhaps the awareness that her life might soon come…