Dan Chiasson’s fourth collection of poetry is Bicentennial. He teaches at Wellesley.
 (June 2019)


True Mirages

Karen Russell; illustration by Joanna Neborsky

Orange World and Other Stories

by Karen Russell
Karen Russell’s new collection, Orange World, contains eight stories whose weirdness rests largely in their premises. “Bog Girl: A Romance” is a love story about a teenage boy and the girlfriend he finds preserved in a peat bog; “The Tornado Auction” concerns storm ranchers who breed prize twisters, funnel clouds, dust devils, and waterspouts; “Madame Bovary’s Greyhound” focuses on the tragic heroine’s once-enthralled, now blasé canine, beset by a trickle-down version of his owner’s sexual boredom. In capsule form, Russell’s stories pass among readers like gossip or jokes or memes; some of them have become famous for the kernel of tall tale or urban legend they contain.

Vanities & Regrets

C.K. Williams, Princeton, New Jersey, 2009

Selected Later Poems

by C.K. Williams

Falling Ill: Last Poems

by C.K. Williams
C.K. Williams died in 2015, just before the publication of his Selected Later Poems, and before his moving final volume, Falling Ill: Last Poems, saw the light of day. Williams was known as an unsparing chronicler of shames, a tender observer of human misery, a man of refinement somewhat ambivalent …

All the Songs Are Now Yours

Prince performing at a music festival in Rio de Janeiro, 1991

Every Song Ever: Twenty Ways to Listen in an Age of Musical Plenty

by Ben Ratliff
Ben Ratliff’s Every Song Ever is a music appreciation guide for our era of free or very cheap music, instantaneously available everywhere and to nearly everyone, delivered from the cloud to tiny, relatively inexpensive devices that deliver loud, clear, and accurate sound.

Crossing the Invisible Line

Eileen Myles, 1980; photograph by Robert Mapplethorpe, from the cover of Chelsea Girls

I Must Be Living Twice: New and Selected Poems, 1975–2014

by Eileen Myles

Chelsea Girls

by Eileen Myles
Eileen Myles’s new and selected poems are titled I Must Be Living Twice, a phrase that any poet past the midpoint and looking back might utter, surprised to find a fund of work on the page as robust and spontaneous as any “real” life she lived. But Myles’s poems set a bar for openness, frankness, and variability few lives could ever match; and so in her work, the surprise second life is actually the one lived off the page, refracted through decades of Myles’s astonishingly vivid lines.

‘The Knife There on the Shelf’

Elizabeth Bishop, Brazil, 1954

On Elizabeth Bishop

by Colm Tóibín
On Elizabeth Bishop is the Irish writer Colm Tóibín’s exquisite study of the American poet, a book whose modest proportions suggest the personal nature of the connection. Tóibín has written a book he could have carried along with him in the nomadic period this study recalls, when, far from home, …

Comic, Ironic, Grieving

Mark Strand, Joseph Brodsky, Adam Zagajewski, and Derek Walcott in Brodsky’s garden, New York City, 1986

Collected Poems

by Mark Strand
Mark Strand died in November, at the age of eighty, leaving behind his newly published Collected Poems. This seems a bad deal: a man in exchange for a book. But Strand had long explored the feeling of having somehow disappeared into his art, which returned to him a version of …


‘A Vanguard of Friends’

Larry Rivers: Pyrography: Poem and Portrait of John Ashbery II, 76 x 58 inches, 1977

Tibor de Nagy, the iconic midtown gallery, has been celebrating its sixtieth anniversary with a show that doesn’t so much trace its history as distill its early essence. “Painters & Poets” includes drawings, chapbooks, letters and well-known paintings that emerged from the fantastic collaborations between Frank O’Hara and Larry Rivers, O’Hara and Joe Brainard, Brainard and John Ashbery, James Schuyler and Grace Hartigan, among many others. The energy of the poets drove those projects, yet often the painters made them sit still and keep their mouths shut, as we see in the many striking portraits in this show of poets reading, writing, sitting there, spacing out, in every phase of dress and undress. Other times, they inspired one another to produce works—like Hartigan’s series of paintings made in response to O’Hara’s poem “Oranges”—that drew from their complementary strengths. “The strangeness of the collaborative situation,” wrote Kenneth Koch, another mainstay of the group, “might lead them to the unknown, or at least to some dazzling insights at which they could never have arrived consciously or alone.”

The Playful, Grumpy, Over-Literate, Fixated, Flummoxed Brain of Stephin Merritt

Stephin Merritt

The Magnetic Fields is the name Stephin Merritt calls the band he often plays with, when he isn’t playing alone or with several other bands he invented. The core group is Merritt and his old friend Claudia Gonson, who started as a drummer but now plays piano, “toys” (wire whisks, xylophone, sleigh bells—it’s a long list), sometimes sings, and, as her day job, manages the band; plus Sam Davol, a former lawyer who plays cello and sometimes flute and sometimes other things, too; and John Woo, a guitarist who often plays banjo. Merritt himself plays just about everything, including ukelele and a Greek instrument called a bouzouki.