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Hyperallergic Weekend: Oct 13th

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A painting by Rick Beerhorst
The current issue of Hyperallergic Weekend has a lot of great stuff. I’ve been enjoying John Yau on Rick Beerhorst and Barry Schwabsky’s wonderfully polemical “Why I’m Not Reading Louise Glück.” In the latter, I love this sentence by Schwabsky, which begins at Point A and ends with Point Z (or rather Point X): “Glück is one of the best-known American poets, a native New Yorker who has won just about every prize and honor available — Pulitzer, National Book Critics Circle, U.S. Poet Laureate — and taught at all the famous places to be taught poetry; better still, as I’ve just learned from Wikipedia, her father helped create the X-Acto knife, a tool I’d recommend to every poet who hopes to carve more precise verses out of the thick and messy matter of our speech.”

I’m also in the mix with a review of Lytle Shaw’s Fieldworks: From Place to Site in Postwar Poetics.

Michael Leong is the author of the poetry books e.s.p., Cutting Time with a Knife, Who Unfolded My Origami Brain?, and Words on Edge. His creative work has been anthologized in THE &NOW AWARDS 2: The Best Innovative Writing, Best American Experimental Writing 2018, and Bettering American Poetry, Volume 3. His co-translation, with Ignacio Infante, of Vicente Huidobro’s long poem Sky-Quake: Tremor of Heaven is forthcoming from co•im•press in late 2019. His critical monograph Contested Records: The Turn to Documents in Contemporary North American Poetry is forthcoming from the University of Iowa Press in May 2020. He has received grants from the Council of Literary Magazines and Presses and the National Endowment for the Arts. He teaches in the School of Critical Studies at CalArts.

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