Sylee Gore

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Articles

Maximum Summer

2 months ago | poetryfoundation.org | Sylee Gore |Leonora Simonovis Purchase |Leonora Simonovis

The poems in Sylee Gore’s Maximum Summer, each placed in the middle of the page and framed by white space, record the passing of time in the months following the birth of the speaker’s first child. In a strong, lyrical voice, Gore delivers short, image-driven scenes that give an account of the speaker’s physical and emotional experiences as a new mother:Colostrum lacquers my journal. Night isgolden morning. My pages fill with thehours you don’t sleep. My body slumps. A moment makes a day.
“The Present is a Constant Deferment”: Yoko Tawada’s Paul Celan and the Trans-Tibetan Angel

Jul 17, 2024 | wordswithoutborders.org | Sylee Gore |Chiara Marchelli

Japanese author Yoko Tawada’s novella Paul Celan and the Trans-Tibetan Angel, energetically translated from German by Susan Bernofsky, unravels through an absurdist blend of first- and third-person narration. The book follows Patrik, an infirm young Berlin-based Celan scholar who was born in Germany to immigrants from Ukraine.
It's Still Light - The Kenyon Review

Mar 1, 2024 | kenyonreview.org | Sylee Gore |Josephine Miles

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Review: American Inmate | Poetry Foundation

Jan 30, 2024 | poetryfoundation.org | Justin Rovillos Monson |Sylee Gore

American Inmate is serenade and prayer book, confession and caution. These types of speech acts presume—and require—a listener to operate. Justin Rovillos Monson’s gift is to write poems angled both to his intimate listener and his unknown reader. He writes, “LANGUAGE CANNOT ANSWER what we ask of ourselves when we are alone. I’ve damaged people.
Lotería | Poetry Foundation

Oct 15, 2023 | poetryfoundation.org | Esteban C Rodriguez |Esteban David Rodríguez |Sylee Gore

“Flick the cards down quickly,” a screenwriter once advised me. I thought of this counsel as I read Esteban Rodríguez’s Lotería, which takes its name from a popular game of chance in Mexican culture. Each poem takes one card as its title and uses that theme to explore an aspect of the narrator’s life. Written in single-stanza vertical oblongs, the poems evoke portraits, which seems fitting, since many of them sketch an individual in thumbnail narratives.
Beautiful Machine Woman Language

Oct 15, 2023 | poetryfoundation.org | Catherine Chen |Sylee Gore

Catherine Chen’s dense, richly imagined debut, Beautiful Machine Woman Language, considers the commodification of the artist imbricated in capitalist structures. In “Empire Empire,” they describe the extractive nature of creative spaces, in which an artist-in-the-making is forced into a supplicant role: “because I was curious because I could because I wanted the / exposure.” They maintain this role because “I will be the laughingstock if I do not continue. I’ll be starved out and abandoned.
Review: Tell It Slant

Oct 6, 2023 | poetryfoundation.org | John Yau |Sylee Gore

By John Yau A number of the poems in Tell It Slant are pantoums, which is convenient, since so many of John Yau’s lines are too good to read just once.
mahogany | Poetry Foundation

Sep 5, 2023 | poetryfoundation.org | Sylee Gore

By erica lewis nefertiti meant “the beautiful (or perfect) woman has come” i am afraid to be loved the way i really want to be loved to be beautiful when our museum is still a hypothetical space mahogany, the third book in erica lewis’s trilogy, grapples frankly with essential questions of survival, loss, and (self-)love, seen through the scrim of Diana Ross’s music (to which the title nods).
Before We Go Any Further

Aug 31, 2023 | poetryfoundation.org | Tristram Fane Saunders |Sylee Gore

From the homing pigeon in the opening poem to the 13th-century cuckoo in the last, Before We Go Any Further by journalist Tristram Fane Saunders circles themes related to his English heritage, reveling in words with a lightness of touch that deepens here and there into strong emotion.
Hydra Medusa | Poetry Foundation

Jun 27, 2023 | poetryfoundation.org | Brandon Shimoda |Sylee Gore

Building on his Evening Oracle (2015) and The Desert (2018), Brandon Shimoda’s wide-ranging collection, Hydra Medusa, includes lyric poems, essays on the Japanese American experience of US concentration camps during World War II, and diaristic poems on family life and writing. The opening poems palpably occur in the aftermath of great violence. Glitching language flickers over surveilled bodies: “innocence / was emptiness,” “the dead a perfect instrument,” “the living. are late.