Elisa Gabbert is the author of The Word Pretty and The Unreality of Memory, which will be published in August.
 (May 2020)

IN THE REVIEW

Poems from the Storm

Mamma Andersson: Wood Cut, 2019; from ‘The Lost Paradise,’ an exhibition of Andersson’s work that opened in March at the David Zwirner Gallery, New York City

The Shore

by Chris Nealon

In the Lateness of the World

by Carolyn Forché
In the last chapter of his 2011 book The Matter of Capital: Poetry and Crisis in the American Century, the poet and critic Chris Nealon describes a problem for writers working around the turn of the twenty-first century: “How to name the experience of an extreme, felt ‘lateness’ in capitalism,” …

That Formal Feeling

A.E. Stallings, Athens, Greece, 2011

Like

by A.E. Stallings

American Sonnets for My Past and Future Assassin

by Terrance Hayes
In a recent thread about sonnets on Twitter, the poet and critic Dana Levin remarked that traditional forms “have resurged.” She added, “Why is that? Is it the way it can hold all our screaming?” When we feel helpless, do metrical forms offer the illusion of control? Or are we drawn to tradition itself, because it’s familiar, and therefore comforting?

NYR DAILY

Pandemic Journal, March 17–22

Dispatches on the coronavirus outbreak from Madeleine Schwartz in Brooklyn, Anne Enright in Dublin, Joshua Hunt in Busan, Anna Badkhen in Lalibela, Lauren Groff in Gainesville, Christopher Robbins in New York, Elisa Gabbert in Denver, Ian Jack in London, Vanessa Barbara in São Paolo, Rachel Pearson in San Antonio, A.E. Stallings in Athens, Simon Callow in London, Mark Gevisser in Cape Town, Sarah Manguso in Los Angeles, Ruth Margalit in Tel Aviv, Miguel-Anxo Murado in Madrid, Tim Parks in Milan, Eduardo Halfon in Paris, Anastasia Edel in Oakland, and more.