2026Old Hollywood, the “New Odessa.” Review of Boris Dralyuk, My Hollywood and Other Poems. By Eloise Grossman. Poetry Of/At Scale. Review of Medrie Purdham, Little Housewolf. By Izzi Holmes 2025 Ethical Consumption and Irreparable Damage. Review of Anita Lahey, While Supplies Last. By Sara BelmoreBecause Now There Is a Child: What Motherhood Can Teach Us About the Climate Crisis. Review of Claire Wahmanholm, Meltwater. By Avryl BenderThrough the Veil and Back. Review of Randy Lundy, Field Notes for the Self. By Natalie CoSlow Dance in Deep Time. Review of Madhur Anand, Parasitic Oscillations. By Jackson PinkowskiGorging on Sound: Stephen Kuusisto’s Auditory Poetic Imagination. Review of Stephen Kuusisto, Only Bread, Only Light.By Mathilda Stock 2024 Who Has Access to the Archive? Review of Mai Der Vang, Yellow Rain. By Miranda PateSuspended in Amber. Review of Caroline Bird, The Air Year. By Izzi Holmes 2023 Gardens of Love and Loss. Review of Danielle Legros Georges, trans., Island Heart. By Mathilda Stock The Prismatic Spaces between Lines. Review of Gillian Sze, Quiet Night Think. By Mackenzie Pereira Odes to Mourning Footsteps. Review of Jenny Boychuk, Antonyms for Daughter. By Izzi Holmes An Infinite Emergence. Review of Jessie Jones, The Fool. By Natalie Co Shifting Perspectives of the Pastoral in Karen Solie’s “Mole” and Mark Tredinnick’s “Tereticornis”. By Jackson Pinkowski
