Paisley Conrad

Surkan’s poems are varied, precise, and overlapping, formally agile while remaining emotionally grounded.

Schönmaier writes with remarkable clarity and restraint about memory, landscape, music, and duration.

Kellough suggests that poetic work itself might function as disruption.

Ampersands appear everywhere, a desire line through the book.

The book is boldly cosmological, and her imagery possesses a verdant turbulence.

Writing in the immersive second person, Rosso entwines her reader with her unnamed narrator’s experiences.

In these breathless, experimental poems, Haiun plays with textual orientation.

Robin Durnford’s At Beckett’s Grave reimagines elegy not as closure, but as pause.

Sarah’s work embodies the tension between expectation and perception.

This poetry is informed by the lens of observation, but not of the coldly scientific kind.

The poems move like a mind caught between thresholds.