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Poetry Book Recommendations of 2014

January 7, 2015

Grave Cavalieri, for the Washington Independent Review of Books, has posted her picks for the fifteen best poetry books from 2014. Here are a few from the list that you might find interesting. Feel free to check out the full list online at www.washingtonindependentreviewofbooks.com.

• Best book of poems: Medic Against Bomb: A Doctor’s Poetry of War by Frederick Foote (Grayson Books)

• Best book on teaching poetry: Singing School by Robert Pinsky (W. W. Norton & Co.)

• Best re-Issue: Skin, Inc. Identity Repair: Poems by Thomas Sayers Ellis (Graywolf Press)

• Best book of poems with photography: If The Tabloids Are True What Are You by Matthea Harvey (Graywolf Press)

• Best essays: Twenty Poems That Could Save America: And Other Essays by Tony Hoagland (Graywolf Press)  

• Best biography: E.E. Cummings: A Life by Susan Cheever (Pantheon Books)

• Best collected poetry: The Collected Poems of Samuel Beckett edited by Sean Lawlor and John Pilling (Grove Press)

Grace Cavalieri records “The Poet and the Poem” at the Library of Congress for distribution to public radio. She has written sixteen books of poems and twenty-six produced plays. She holds the 1993 Allen Ginsberg Award for poetry, the Pen Syndicated Fiction Award, the Bordighera Poetry Award, the Columbia Award, a CPB Silver Medal, and others.

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Category: Contemporary Poetry
This entry was posted on Wednesday, January 7th, 2015 at 12:00 am. Both comments and pings are currently closed.

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  • Editor’s Note

    The number one question our editors receive is—what do the editors and judges look for when judging the contest? The number one answer we give is creativity. Unlike prose, writing composed in everyday language, poetry is considered a creative art and requires a different type of effort and a certain level of depth. Of the thousands of poems entered in each contest, the ones that catch our judges’ eyes are the ones that remove us, even just slightly, from the scope of everyday life by using language that is interesting, specific, vivid, obscure, compelling, figurative, and so on. Oftentimes, poems are pulled aside for a second look based simply on certain words that intrigued the reader. So first and foremost, be sure your poetry is written using creative language. Take general ideas and make them personal. In his infamous book De/Compositions: 101 Good Poems Gone Wrong, W. D. Snodgrass imparts, “We cannot honestly discuss or represent our lives, any more than our poems, without using ideational language.”

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