Jan Verberkmoes
have you seen a horse bite a man       the skin splits
wide and clean       where the horse's broad teeth
hit his skull       and for that the man sends a bullet
through the white star of her forehead

when the bullet pops through the star
the horse collapses       headfirst
through one field       into another

daylight guns the horizon into a pink blaze
and I fall through the horse's black star
back into the field where you stood       facing east
calling me over       like you'd found something

daylight guns the horizon       and its vanishing point
collapses into the grass at our feet
you say couldn't  we do this without the horse
without the horizon       without any bodies in a field

but have you seen a horse bury herself
she falls through the vanishing point in her body
and into a field       she digs with her teeth

haven't I       seen this morning before
all pink edges and no stars       and this horse
who was built for running but won't       and this man
trying to lift the night of her head
from the book FIREWATCH / Fonograf Editions
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Cover of Louise Glück's Book, Winter Recipes from the Collective
On Louise Glück's Winter Recipes from the Collective

"That is the gulf between Winter Recipes and The Wild Iris. Winter Recipes does not have that desperate thrust of life in it. It is not edging toward a release of splendor. The poems in Winter Recipes desire nothing except to shed desire, to strip down to some crystalline still point. The poems don't hold even a final flicker of eroticism, and they abandon the safety valve that desire provides. They don't long for seasonal resurrection or down-to-the-wire salvation or even the sputtering consolation of sex."

via THE RUMPUS
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Cover of Mihaela Moscaliuc's Book, Cemetery Ink
What Sparks Poetry:
Karen Anderson on Mihaela Moscaliuc's Cemetery Ink


"'Elegy for my mother's employer' is a case in point: love and precision ('your small frame/and freckled breasts') are shot through with fury ('Six months of this shit's enough'). This boss's flamboyant 'why not?,' is paired with a litany of her abuses....The end chimes with itself—Mother's 'fine,' rings with 'harm' and 'hell of time' and 'dying' and 'native ground' to remake her mother's apparent powerlessness as a calm that reaches beyond the arc of her employer's cruelty."
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