“2016.09,” a poem from my sonnet sequence, is in amberflora.
Poem
“2016.15” in Likely Red
“2016.15,” another sonnet from my ongoing sequence, was published today in the online journal Likely Red.
Reading at Hartwick College on November 16
To welcome me as a new faculty member in the Department of English at Hartwick College, I have been invited to give a reading from my new book, The Shape of Things (Salò, 2017), on Thursday, November 16 at 7:00 pm as part of the Visiting Writers Series. The reading will take place in the Eaton Lounge of Bresee Hall, Hartwick College, Oneonta, NY. One of my students at Hartwick, Chelsea Jacobson, will be reading some poems as well.
“2016.11,” “2016.13,” “2016.20,” “2016.24,” and “2016.25” in HVTN
“2016.11,” “2016.13,” “2016.20,” “2016.24,” and “2016.25,” five more sonnets from my ongoing sequence, are in vol. 3, no. 2 of HVTN. The issue can be ordered for £5.99 here.
“2015.05” and “2015.06” in Epigraph Magazine
Two more sonnets from my ongoing sequence, “2015.05” and “2015.06,” were just published in no. 16 of Epigraph Magazine. A .pdf of the issue can be found here.
The Shape of Things, Forthcoming from Salò Press
I am happy to announce that my second volume of poetry, The Shape of Things, will be published this summer by Salò Press. More details to come.
“2015.17” in The Offbeat
“2015.17,” a poem from my ongoing sonnet sequence, just appeared in volume 17 of The Offbeat.
“2016.01,” “2016.19,” and “2016.23” in Masque & Spectacle
“2016.01,” “2016.19,” and “2016.23,” poems from my ongoing sonnet sequence, are in Masque & Spectacle.
Six Sonnets: 2014.01 – 2014.06
Six more of sonnets from the ongoing project just appeared in Empty Mirror.
Some End of 2014 Links
Nuclear
Matthew L.Wald, “Betting on the Need, Scientists Work on Lighter, Cleaner Nuclear Energy.”
US National and International
Patrick L. Smith, “We Are Fucking Sadists: We Are Not Decent, and We Are Not a Democracy.”
Moisés Naím, “The Cuba Deal: Why Now?”
Dan Froomkin, “Billion Dollar Surveillance Blimp to Launch over Maryland.”
The Hyperarchival Parallax 