Poetry
Hold the Line
Contributor
Matt LongabuccoMatt Longabucco is the author of several chapbooks, including Heroic Dose (Inpatient Press, 2019). His book, M/W: An essay on Jean Eustache’s La maman et la putain, is forthcoming from Ugly Duckling Presse. Poems and essays have appeared recently in Mirage, Lana Turner, and The Poetry Project Newsletter. He teaches writing, innovative pedagogy, and critical theory at New York University and Bard College’s Institute for Writing & Thinking.
RECOMMENDED ARTICLES
Death Poems
By Michael McClureAPRIL 2021 | Poetry
Since his 1955 debut at the Six Gallery reading where Allen Ginsberg first read "Howl," Michael McClure (1932-2020) has been one of the most significant and well-known poets in the U.S. Mule Kick Blues and Last Poems, the final book he completed in his lifetime, appears this month from City Lights Books.
The Death Issue
By Alvin HallFEB 2020 | Editor's Message
Death references were so frequent in my life that I found myself wondering: Is this simply a strange coincidental cause of my increased awareness or is it confirmation of the saying that death is always with us?
A Selection of Drain Poems
By Ken L. WalkerMAY 2022 | Poetry
Ken L. Walker has published two chapbooks—Antworten (translations of Georg Herwegh from Greying Ghost) and Twenty Glasses of Water from Diez. He has poems and translations in Boston Review, Tammy, Seattle Review, Atlas Review, and ANMLY. His prose and reviews can be found in The Poetry Project Newsletter, Hyperallergic, and Diagram. He holds an MFA from Brooklyn College, works in advertising, and spends the rest of his time documenting drains.
Robert C. Morgan: The Loggia Paintings: Early and Recent Work
By Jonathan GoodmanNOV 2022 | ArtSeen
Intellectual, critic, and art historian Robert C. Morgan also makes paintings, and has been doing so for most of his long career. The current show, on view in the large, high-ceilinged main space of the Scully Tomasko Foundation, consists of a series of drawings called “Living Smoke and Clear Water”: small, mostly black-and-white works, of both an abstract expressionist and calligraphic nature (early on in life, Morgan studied with a Japanese calligrapher).
