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Schneider admits that he has stolen, “Hasn’t everybody?” Of course we have. It’s the justification of the thievery that is of interest in these poems.

It’s freeing to have the knowledge that yes, you can (and should) probably burn most of your writing away, leaving only the good bits.

Within Way’s work, the exploration of experience permits the reader to become intimate with the narrator—night to night, moon to moon. We live alongside her in her kitchen, her bed, within her ruminations and her dreams.

I have been writing since childhood; my obsessions remain: migrations, grief, and auguries.

Emotion needs a stage in which it can show off and discover itself. I want to say that I love how writing allows me to explore difficult things while feeling safe.

I write every day. I recently got back into writing every day after taking a month off of poetry. It was terrible. I couldn’t handle it. I compare it to being away from a lover, only it’s more intense.

Though each poem possesses its own unique demands, themes, and structures, my work is always heavily rooted in human attachments and disconnects…

Philip Gerard’s collection of 14 short stories, Things We Do When No One Is Watching, elicits nostalgia for the 1950’s and 60’s, filling the heart with both happiness and regret for the moments and people left behind.

It’s inspiring to see and hear the voices that are so similar to mine, that have such similar joys and dangers and heartaches.

I think all authors, no matter their fame, remain at high risk of being forgotten today.