Afterglow is written in part from the perspective of the poet’s pit bull, Rosie.
A psychoanalyst and cultural commentator, Jamieson Webster upends academic discourses on a daily basis.
Lamar’s performances evoke a haunted, transcendent act of awakened consciousness and composed virtuosity that b(l)end the conventions of goth rock and European classical music, opera and the avant-garde, and spirituals and free jazz, yielding something that is singularly his own.
Poetry has never been more of a hackneyed product — from tiresome MFA hybrid poems to stale derivations of pop/Net conceptualism to the New New New York School, always proclaiming that its linking of art, gay male cosmopolitanism, and poetics is “new.”
Shown as part of Beverly Hills John, his third show at the Marianne Boesky gallery, John Waters’s video Kiddie Flamingos made us chuckle, which is rare for a Chelsea gallery work. But then, his gallery art has always been funny.
Dorothea Lasky is the Ello of poetry. She gives us poems that are cute and zany, but on a clean, ad-free platform that is friendly, complex, and interpersonally sensitive. She is poetry’s golden mean between radical and legible, romantic and classical, interpersonal and impersonal: in other words, she is uniquely poised to transcend the poetry wars.