Overtime, Joseph Millar's first book of poetry, both traditionally elegiac and formally unexpected--aims at the overlap between art and the everyday grind of work and single fatherhood. Here we find poems of loss and grief, alongside poems of working-class celebration that hum with the sound of wind in the ladder racks and miles of telephone wire. Overtime is a book of poetry whose chief concern is not art for its own sake but rather the artistic visions the everyday struggles of life provide when paid the right attention. A poet deeply sunk into William Carlos Williams' American Grain,...

These poems are freighted with longing and doubt but they are never naive. Passionate, unflinching family stories and personal loss are here, and yet the will to love breaks all molds.

Sadoff's subject, as Jon Anderson once remarked, is sadness . . . rendered with intelligence, accuracy, and poignancy.

Good Hope Road is one of those rare books of verse that combine lyricism with the momentum of narrative, a concern for dailiness with a willingness to embrace wildness. Like Joyce's Dubliners, the twelve poems of the opening sequence, -Apartments, - reflect a wide panorama of contemporary urban consciousness. Dischell's subjects are wronged lovers, thwarted citizens, an idealistic veteran, bickering relations--all with their entangled, fractious alliances. In -Household Gods, - the book's second section, Dischell presents dramatic monologues whose scenes are the shore, the city, and the...