In Edward Carson's provocative new work, the poetic moving parts of movingparts confront and breathe new life into what's true and what's not in Aesop's fable The Fox and the Crow, as well as the shifting, often fragmentary ground between what's said and what's not about identity and intimacy in Sappho's lyrics.

Firmly rooted in frostbitten, fire-haunted landscapes that are at once psychological, emotional, and fiercely real, Patrick Errington's first collection traces the brittle boundaries between presence and absence, keeping and killing, cruelty and tenderness.

In New Songs for Orpheus, John Reibetanz updates Ovid's poetry. His words showed him to be a person of deep empathy for natural, animal, and human worlds, and Reibetanz posits that Ovid would be eager to take account of all that we have learned about them in the past two thousand years.

Impulse said preserve the mess of construction, the unbiblical / carnage. This is my excuse for everything. Intensive and extensive, aboutness convenes across geographies and temporalities, in conversation with interlocutors living and dead, real and imagined. Set against a break-up with God, insomniac nights, and smoke-filled skies, this virgule-infused song of negation is by turns wry, performative, and sober. Threads of self-making are juxtaposed with an ever-unfolding present exposing the limits and possibilities of convergence. Marked by digression, asides, qualifiers, and a...