Harriet: News & Community

A critical essay by Kathryn Nuernberger at Ploughshares covers three new poetry collections.

Lindsay Costello checks out poet and visual artist Jane Wong's current exhibition, After Preparing the Altar, Ghosts Feast Feverishly (now on view at the Frye Art Museum in Seattle) for her latest article...

For The Rumpus, Julie Marie Wade interviews poet Ariel Francisco about "poetic translation, poetic inheritance, accepting rejection" and his new book, A Sinking Ship Is Still a Ship, forthcoming in 2020.

At The Guardian, David Wheatley looks at UK poet laureate Simon Armitage's "own bulging file of commissioned work," collected in Sandettie Light Vessel Automatic (Faber & Faber). 

At the Washington Post, Fleming introduces readers to a new Library of America collection of Herman Melville's complete poetry and recommends picking it up to celebrate the author's 200th birthday.

Declan Ryan reviews Tony Hoagland's The Art of Voice: Poetic Principles and Practice, co-written with Kay Cosgrove, for Los Angeles Review of Books.

At Hyperallergic, John Yau remembers the first time he saw art by Jess Collins: as the frontispiece to Robert Duncan's The Opening of the Field.

We're excited this morning to announce the winners of the 2019 Ruth Lilly and Dorothy Sargent Rosenberg Poetry Fellowships.

Lisa Russ Spaar looks at Rachel Blau DuPlessis's critical work on Barbara Guest as a way to read Gracie Leavitt's undersung, second full-length collection of poems, Livingry (Nightboat, 2018), for Los Angeles Review of Books.