Brian Foley's selections:
Objects of a Fog Death by Julie Doxsee (Black Ocean)
These poems find signs of life in their controlled dislocations. Everything here is owned by the poet. In her articulation, everything is legal. Verb that noun! Make it pay.
The Smaller Half by Marc Rahe (Rescue Press)
This summer I was looking for a poem like a sad song, a vulnerability that invigorated the neck hairs to salute while also inebriating you with gloom. I found it here and couldnt be happier.
The Trees Around by Chris Tonelli (Birds, LLC)
The sentient carnival ride is cool, but Chris’ mind at its most bare puts me on notice.
Lake Antiquity by Brandon Downing (Fence)
I thank Fence for ponying up to produce this book. It fucks up every coffee table I try it on with its true awesome. But in truth I cant keep it out of my hands for too long.
Bluets by Maggie Nelson (Wave Books)
Gives Gass a kick in the balls with beauty, worship, and some double dare.
The Redcoats by Ryan Murphy (Krupskaya)
A smart that’s hard to handle, often unlocated and intangible, but in every instance is a distinction of remarkable image and rhetoric.
Selenography by Joshua Marie Wilkinson (Sidebrow)
It’s wild noun country in every room and corner of this book. You just want to live in the line breaks of every part of it.
The Cloud Corporation by Timothy Donelley (Wave Books)
A major language-lover, a good case for devastation.
The Sore Throat & Other Poems by Aaron Kunin (Fence)
An intoxicating obsess that makes you worry that you may use too many words.
Post Moxie by Julia Story (Sarabande)
One of the best readers I've seen this year. Accompanied by a book of poems that drive fast and breathless with scenes that sometimes bust your gut with their strange.
Mean Free Path by Ben Lerner (Copper Canyon)
I gave you my concentration, and you gave no opportunity to escape. Thank you.
The Crackpot Poet by Jeremy Sigler (Black Square Edition/Brooklyn Rail)
This guys’ sees through the eye of some older incredible. Maybe its the one Creeley lost. The quiet, weirder one.
Crashdome by Alex Phillips (Factory Hollow Press)
A single minded immersion beamed in a self conscious strut. Regret movements that architect a self raptured and dissolved by the world. It’s a succulent neurosis, hospitable and giving.
To Anacreon In Heaven by Graham Foust (Minus A Press)
Nothing is free, but this was and its magic.
Triggermoon Triggermoon by Julia Cohen (Black Lawrence Press)
All her active language comes immediate and unexpected, working to reaffirm their acute newness that feels internally honest. It makes you want to take whatever logic she’s on and abuse it.
SELF HELP POEMS by Sampson Starkweather (Greying Ghost Press)
Poems putting the better picture in its place. Its so pleasing to be pushed to tangle with what is pedestrian in a poem, and what is unconventional clairvoyance.
From California, On by Jennifer Denrow (Brave Men Press)
I was party to putting this lil book out, but fuck it, I don’t care. Even if my sworn enemy handed me this, I’d later be liable to thank him for it.
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Brian Foley is the author of the chapbooks The Constitution (forthcoming from Horseless Press, 2011) & The Black Eye (Brave Men Press, 2010). His poems have appeared or are forthcoming in Columbia Poetry Journal, Fou, LIT, Typo, H_NGM_N, Glitterpony, and elsewhere. He edits SIR! Magazine, curates The Deep Moat Reading Series, and co-runs Brave Men Press.