Kylan Rice has written a major review essay on Alicia Cohen's Coherer and Joseph Donahue's Dark Church, along with discussions of the work of Verge co-captains John Tipton and Peter O'Leary. Of Cohen's work, Rice writes, she "affirms what we have already known," adding contemplatively, "Demotic augur, cledonomancer, Cohen elaborates on an Eteoclean approach, embracing reading as a kind of fateful being-called..." Whew!
Describing Donahue's Dark Church, Rice writes: "The end of days is that mist that distills over Joseph Donahue’s Dark Church. Be it a mist, it’s still the quality of mist to refract a glow of light. The newest installment of a series titled Terra Lucida, Dark Church unfurls its sweeping personal epic on a lyric scale, but framed at start and finish in impersonal, planetary terms. Donahue maps his lyric consciousness onto the planet, ranging widely over world and spacetime in compressed continuous couplets."
This essay appears in West Branch, a journal edited by the estimable G.C. Waldrep, out of Bucknell University.
You can purchase Coherer here.
You can purchase Dark Church here.
And don't forget the newest Verge title, Tirzah Goldenberg's Aleph.
Tirzah Goldenberg's Aleph is on its way...
Joshua Corey is reading Joseph Donahue's Dark Church. Click here and scroll down. Corey writes, "Donahue pursues a simultaneous visionary poetics; Dark Church is the latest installment in his Terra Lucida sequence, a form of sacred writing, while Red Flash is a more worldly and profane collection of poems touched by wit, indignation, and gnostic fire."
You can order some gnostic fire of your own here: Dark Church.
[Donahue] is a poet of contrasts, “drawn” “to the agony of / contradiction” as well as “dazzled” “by // the ambiguous grace of / light and dark.” He is an explorer of limits, of the mundane and the sublime, an inquirer of what lies between them—and beyond.
Read the whole review here.
Alicia Cohen's Coherer is here!
About Coherer, Jonathan Skinner says:
Alicia Cohen’s measures step delicately into a century littered with “cruel objects made brutal-footed,” countering with airy vowels—a patterned, searching transport of the actual. Her themes are of the cosmological everyday, mingled with philosophical studies as much as of the sweat and honey of house chores, threading by ear “majestic nothing,” “strong slippery real,” and “sweetfat relations.” She is obsessed with calculation yet sworn to the incalculable. Coherer consults a “barbarous atlas” of sorrows, seas swelling with plastic, poisoned households, the suffering of “animal people,” yet hums with incalculable pleasures—“wild dear” children, the togetherness of reinhabitation, a “world of body’s measure.” Sourced in ancient sounds, the poems offer homing signals, echolocations amidst the shifting atmospheres of a changed climate, not around but within “molecule order’s mute mutinous din.”