Boris Dralyuk
No breakout leads—a prisoner of reruns
on local stations high up on the dial:
a stray recurring role, a guest appearance
on Perry Mason. Later, Rockford Files.

Her second act? Pure dullsville in Van Nuys.
Chablis with ice. A Chevy dealership
gone belly up. Her paunchy husband's lies:
a broken marriage. Then a broken hip.

None of that matters, if you ever catch her
singing "How High the Moon"—silvery, misty—
on that one show . . . She isn't any match for
the stainless Julie London or June Christy,

but through her gauzy voice, as through a sieve,
spare notes of heaven reach you from afar.
For those two minutes, she'll make you believe:
Somewhere there's music. It's where you are.
from the book MY HOLLYWOOD / Paul Dry Books
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"The Poet's Nightstand with Kiki Petrosino"

"But in The Renunciations, nothing in language remains fixed: apologies fold back into denials; letters fill up with secrets; and violent histories become divine oracles for an exploratory speaker. This work shows me how to reckon, really reckon, in poetry. Kelly builds capacious, energetic structures to hold language as it emerges from the most devastating wounds of human experience."

via POETRY SOCIETY OF AMERICA
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Cover of the book, Wild Fox of Yemen
What Sparks Poetry:
Felicia Zamora on Threa Almontaser's The Wild Fox of Yemen


"I keep returning to 'Heritage Emissary.' The work of this poem cores me. The couplets mimic tensions throughout the entire book with the push/pull of play and intense difficulty juxtaposed. The pluralities of being for multilingual individuals become verb—as in 'When I Arabic my way/ towards them'—and we continue to see the stitch/wound paradox for the voice in, 'I long to play a song that doesn't terrorize,/ a song that's understood.'"
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