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“Conoley's sixth collection--which takes its title from a plot-generating system devised in the 1930s by silent screenwriter Wycliffe A. Hill--is a book of many sources (ancient and contemporary, cerebral and tabloid) that all point toward cinema….At its best, the book reads like an exceptional film noir projected onto the mind's eye…Experimental poetry fans and cinephiles will find much that haunts and stimulates.”
--Publishers Weekly, August 17, 2009

“Poetry of the outskirts—‘the old world is still out there, too/where the roads are intraworking.’ By way of open rifts and dazzling disintegrations, Greenfield traces the cracks and fissures of ordinary life in its reach to otherness. The work here is fierce, tender, and precise.”
—Susan Howe

"...beautiful sentences in startling succession."
--Publishers Weekly

“Here is the marvel of putting learning into play,… ‘characters’ emerge out of the text, first as names, than as activities, then like events with personal qualities.” — Carla Harryman

“perfect contemporary pitch”
— Rosmarie Waldrop
“aptly embodies scholarly authority”
— Robert Alter
“elegant & fluid translations”
— Pierre Joris
“This is a book to be treasured.”
— John Ashbery

“His poems are dignified by deftness and quietude, but they’re also great feats of enlargement: they act as conduits, allowing the past and the present to replenish each other. Large also are the pleasures they give their readers.”
--Peter Campion, Poetry Magazine, March 2006

“Avant gardist Kim's fifth book is a diligent inquiry into the relationship between language and power.”
—Publishers Weekly, June 15, 2009

from unincorporated territory [saina] continues Craig Santos Perez’s epic investigation of Chamorro culture, language, and identity. It is by turns ferocious and elegiac, historical and lyrical; it is a book of generations, of sedimentary language, of the ability and power to say “us,” of how a human family might actually be claimed…
-- Aaron Shurin

“Ramke has journeyed toward wholly original aesthetic ground on which his own often fragmentary words share the page, even the line, with passages from obscure texts, definitions, even mathematics… And the new poems here are among Ramke's best.”
--Publishers Weekly, August 17, 2009

“[I]n this mature work, Ramke remains… a stylist very much of his own invention. And amid dizzying reference, brilliant points of emotional clarity and depth shine through.”

“a magnificent collage in which poet speaks to poet, vision looks upon vision, sound resonates against sound. Half the book is Invisible Green, a set of nine brief essays originally published as a column in American Poetry Review. The other half consists of an assortment of readings and homages. . . . And yet the whole is of a piece, a remarkably consistent ars poetica, a gospel intended to renew our faith in poetry and remind us of why we read and write poems.”
--Norman Finkelstein, Chicago Review, Spring 2006

This book is the
Winner of the 18th Annual
PEN USA Award in Translation

“Revell has made these familiar poems no longer familiar, but strange and raw—what a pleasure to be able to discover them all over again!”
—Cole Swensen

This book is the
Winner of the 15th Annual
PEN USA Award in Poetry

“The very first page is so strong it nearly took my head off. […] I am so friggin’ jealous that it’s obscene!”
-- Ron Silliman

“By chance—that is to say, by the happenstance that changes lives irrevocably—are these poems wrought. (What legitimizes happenstance remains in the background.) With Barn Burned, Then Michelle Taransky becomes the worthy winner of Omnidawn’s initial publication of emerging talent.”
--Marjorie Welish, Judge of the 2008 Omnidawn Poetry Prize