The personas and poetics of five new books by American women are examined in with an eye toward concealment and of revelation: Matthea Harvey, Katy Lederer, Brenda Shaugnessey, Robyn Schiff, and Karen Volkman.

He was a soldier, a lover, an exile, and a wanderer – he was Ugo Foscolo,and thanks to a new translation, readers will learn he was one thing more: a powerful poet.

“opium” Georgias, “hotwired” Georgias, and “mercury” Georgias, are cataloged and blasted in Andrew Zawacki’s new collection Petals of Zero / Petals of One. But who or what or where is Georgia’s eponym?

Long before he wrote some of the most powerful poems in English, John Milton, as a brainy teenager, wrote verse in Latin. Celebrated translator David Slavitt tells us a little about them.

Karl Parker’s moves are more than merely clever: I-less one minute, present & friendly the next, he darts behind masks and speaks IN BOLD, as our contributing editor discovers in her review.

John Madera reviews Michael Leong’s e.s.p. and recounts the scramble of names, idioms, puns, and wild associations he finds in the poems

As Ingrid Norton reports, the eerie and heartbroken poems of W.S. Merwin’s The Lice continue to resonate thirty years on: whispering, creeping, shaking.

Elinor Wylie has not received the respect of posterity that she herself thought she deserved. John G. Rodwan, Jr. explores the reasons for that neglect, and the poetry that survives it.

Exile, displacement, and polyglot discovery fill the verses of Fiona Sze-Lorrain; Edward McFadden journeys through Water the Moon.

He was everybody’s friend, and his poetry breathes with life even today. He was Horace, and “A Year with the Romans” makes his acquaintance.

Steve Donoghue’s “A Year with the Romans” continues with a look at the obscure Roman poet Persius – and the great new book about him.

Nixon, Bushes, and the War on Terror have been surprisingly good for poetry. Maureen Thorson releases her findings on National Anthem and Dick of the Dead.

From the forbidding North to the torrid South, the poetry debuts of Joshua Harmon and Farrah Field explore the geography of words. John Cotter gives centrality to locality.

Great Britain has finally made a woman poet laureate—and a lesbian no less. As Bryn Haworth reports, when she’s isn’t writing about the Royals, she’s plenty worthy of the honor. Since writing about the Royals is one of the job’s few requirements, what changes might we expect from the post?

Sarah Ruden, the latest and greatest translator of Vergil’s Aeneid, offers a funny and fascinating glimpse inside the classicist’s world in this Open Letters interview.

Poet’s poet Lyn Hejinian has turned poet’s novelist in Lola, half of her new collection Saga/Circus. John Cotter circles its sagacity.

The Finnish national epic, the Kalevala, was compiled in the early 19th century from a much older oral tradition—can it possibly have anything to teach the modern reader? Sean Hughes has some surprising answers.

Virgil’s Aeneid has been attracting translators for centuries, and Sarah Ruden’s rendering is notable in more ways than one. (She calls him Vergil, for one thing, but that’s just the start.) Steve Donoghue regards her efforts in the latest “A Year with the Romans.”

When Jack Spicer was alive, his books could only be had in small editions, in and around the Bay area. Thanks to a new collection, My Vocabulary Did This to Me, that work has finally arrived. Jared White takes us deep into Spicer’s magical, reckless world.

Poetry meets anatomy when Lianne Habinek reads Donne, who, in “The Flea” and other poems, aimed to discover the seat of the soul

John Taggart’s most recent book, There Are Birds, might net him a wider audience, thanks to a personal touch in those trademark cadences. Adam Golaski guides us into Taggart’s songlike sonorities.

C.D. Wright collects her poems from scraps of overheard conversation, wandering memories, newspaper headlines. In his review of Rising, Falling, Hovering, John Cotter surveys the damage suspended in that scaffolding.

The lyric I and the lyric eye are in play and in question in Stephanie Young’s second book, Picture Palace. Elisa Gabbert illuminates its pitfalls and its charms.

It may be debatable whether the most maudit of all the poètes deserves the tribute, but Gaston Frontenac finds the nasty, beautiful Rimbaud well served by Edmund White’s new Rimbaud: The Double Life of a Rebel

Lorine Niedecker knew the literary life in New York, fell for Louis Zukofsky, published in Objectivist magazines, then returned to Wisconsin, where her poems continued growing spare, surreal, and deep. Heather Green reviews what the new collection Radical Varnacular adds to our understanding of her world.

Sharon Fulton reviews Patricia Smith’s Blood Dazzler, a “resonant and devastating” examination of the Katrina disaster and the Bush administration’s failure to contain its fallout.

In the second of two essays, Chad Reynolds adjudges that in The Presentable Art of Reading Absence Wright himself could have stood to evanesce a smidge of his own ego in the course of his “users guide to evanescence”

What defines an anthology? What are the limits of verse? Derek Henderson definitively answers these and thousands of other questions in his detailed and celebratory review of A Sing Economy.

There can be no more obvious target in the literary landscape for our poetry editor than a popularly selling book-length poem. With Sharp Teeth, Toby Barlow has dared to write such a thing, and John Cotter has responded accordingly.

In the first of two essays on Jay Wright’s new Dalkey Archive books, Chad Reynolds describes the work of an old poet not half ready to go under the earth and still coming to terms with what it means to live on the surface in Polynomials and Pollen.

August Kleinzahler is not an old man, yet Sleeping It Off in Rapid City is his fourth Selected Poems. John Cotter explores why you’ll need the old ones too and why you may find yourself with a use for the word “Kleinzahleresque.”

At a poetry reading on the Palatine 2,000 years ago, you’d have spent a week’s pay to hear him read. Today he’s unknown, except to our Steve Donoghue (and a few of our readers, no doubt). Here, after a long time gone, is the Roman poet Tibullus.

Jeffrey Eaton absorbs himself in the weirdly familiar and the familiarly weird worlds of Shafer Hall’s Never Cry Woof and PF Potvin’s The Attention Lesson.

Two poets gather up the treasures of the past, one by tossing them in a pile, the other by building a gallery. Chad Reynolds digs into new books by Amy England and Priscilla Sneff.

John Cotter leads us to the interior of two extremely different books of poetry, Charles Wright’s reflective and naturalist Littlefoot and Frederick Seidel’s garish and weird Ooga-Booga.

Chris Tonelli tackles the wily metaphysics of Zachary Schomburg’s
The Man Suit and Paula Cisewski’s Upon Arrival.

John Cotter guides us through Clayton Eshleman’s translations of the startling, invigorating poetry of César Vallejo, one of the earliest and most underrepresented of the modernists.

Adam Golaski champions the “difficult read” in his review of the poetry of a. rawlings, Christian Bök, and Nathalie Stephens.

Steve Donoghue reviews John Donne: The Reformed Soul, a new “cuss-and-codpiece” biography by the inconceivably youthful John Stubbs

John Cotter looks into new mixed-media books of poetry by Bill Knott and John Yau to discover shades of meaning in the interplay of artwork and verse.

Kathy Rooney makes a close study of the cool-quotient of new books of poetry by Eileen Myles, Matthew Rohrer, and Christian Hawkey.

Elisa Gabbert examines two genre-expanding books of poetry by Jenny Boully and Max Winter.