The Next Monsters Reviewed

The Next Monsters has been reviewed in Heavy Feather Review and on The Rumpus. 

In David Peak's review on Heavy Feather Review's website, he begins:

Doxsee’s poems are shattered mirrors; they are fractured, jagged. If you stare at them long enough, you’ll uncover patterns in the chaos, hints of a larger image that was perhaps banished to a new and frightening dimension when the mirror was broken—like the big moment at the end of Prince of Darkness that leaves you feeling unwell. 

Read the rest of the review HERE.

In Kent Shaw's review of The Next Monsters on The Rumpus, Shaw compares Doxsee's collection to sculptures by Carol Brove. He considers how the poems are meant to be encountered, and how they engage and by his reading, even antagonize. 

The style reminds me, actually, of these newish sculptures by the artist Carol Bove. Bove arranges sea shells using metal rods to hold them in place. The whole piece is very severe, and I often feel antagonized by the work. Why? I don’t know. I feel challenged. I feel like there is an excess of control in the pieces. And that’s what I like them for.

Read the review HERE.

Want in on the conversation? Purchase your copy of The Next Monsters today.

FJORDS!

Four poems from Zachary Schomburg's Fjords, forthcoming from Black Ocean in 2012 are featured in the most recent issue of iO: A Journal of New American Poetry. 

                                        ...Everyone  looked
at me with a face that said let’s never speak of
this.  Let’s  not  look  directly  at what  is meant
to   be   loved   in   secret.

from "BUILDING OF UNSEEN CATS"

If you like what you see, you may be interested in a 2012 subscription. For $50 you'll receive Fjords, along with four other choice selections. August subscribers also receive Julie Doxsee's  first two books, Undersleep (Octopus Books) and Objects for a Fog Death (Black Ocean). 

Objects for a Fog Death Reviewed in The Collagist

The speaker in Objects for a Fog Death is not afraid of being unheard, so doesn't need to turn to the reader. The speaker is so unafraid that she even addresses the poem itself....It's as if she is aware of the fourth wall and actually closes herself in it, becoming a part of it, looking for the poem in the liquid "legal pad of words".

Check out Robert Alan Wendeborn's review of Objects for a Fog Death in The Collagist by clicking here! Published by Dzanc, The Collagist is a well-curated magazine with a lot of great work. The review itself is fresh and interesting, and if you haven't read Objects for a Fog Death yet, you'll want to after this review.