New Review of After-Cave in Kenyon Review Online & 3 chapters from Sin in Wilderness in YEW

Many thanks to M.P. Jones IV for this beautiful new review of After-Cave in the Kenyon Review Online.

& thanks to YEW journal for publishing 3 chapters from Sin in Wilderness. Here is one of the chapters, "The Way."

also, here are some picture of some borage that I planted -- first in February, and then in April

Another review, New Poem, & After-Cave on December SPD Poetry Bestsellers list!

Rob McLennan wrote a thoughtful review of After-Cave 

My poem "The River" (an erasure from the book-length erasure The Sin in Wilderness) is in the wonderful new issue of 17seconds

&

I'm so excited that After-Cave in on the December SPD Poetry Bestsellers list!

also, I'm *so* into this customer review of After-Cave posted on Amazon.

Two Reviews and an Interview

TWO new reviews in the latest issue of GALATEA RESURRECTS (#23)JOHN BLOOMBERG-RISSMAN ReviewsAfter-Cave by Michelle Detorie(Ahsahta Press, Boise, ID, 2014)&EILEEN TABIOS EngagesAFTER-CAVE by Michelle Detorie
(Ahsahta Press, Boisie, ID, 2014)&A new interview at American Microreviews & InterviewsINTERVIEW WITH MICHELLE DETORIE, AUTHOR OF  AFTER-CAVE INTERVIEW WITH KALLIE FALANDAYS

AFTER-CAVE by MICHELLE DETORIE (1)

AFTER CAVE by MICHELLE DETORIE (2)

I got reviewed!!!

http://www.publishersweekly.com/978-1-934103-54-8

Detorie extracts a poetics "against dying" out of a landscape of ruin and wilderness in this spirited full-length debut. The book comprises three long sequences concerning questions of shelter, destruction, and agency, which, though formally mercurial, remain linked through a single speaker who describes herself as "15. Female. Human (I think)." Materiality becomes a place of confluence for the bodily and the external universe, the man-made and the feral: "we are skin, snow, unpacked/ boxes opened like petals, skin// ... I held a line, a pail, my pockets/ becoming full, the moon/ blood red and lined with fur." The poems remain grounded in the subjective "I" but resist a linear sense of time, leading instead by sensation and image, and sometimes using formatting and typography to invite the reader into an unconventional experience of text, page, and physical book. This sense of play is punctuated by moments of direct assertion. "To insist that something—someone or some being—cannot be imagined is, in fact, its own form of oppression," Detorie writes. Indeed, her poetics struggles against such insistence in service of possibility. Where "The failure to occupy/ breaks apart like soap/ sand salt all/ the things we need/ to name," Detorie wrests a vocabulary of compassion. (Sept.)