An unsentimental and at times disquieting first collection, the poems of About Crows excavate self, family, race, location, sex, art, and religion to uncover the artifacts of a succession of traumas that the speaker does not always experience firsthand but carries with him to refashion into some new importance. This is a book of half-states, broken affiliations, and dislocation. The speaker leads the reader through the fragments of a flooded town that grows increasingly elusive the more one looks for it; through a succession of Seoul "love motels" that further displace the outsider to unclaimed margins transformed into sites of creative invention; through "galleries" of artwork, where movement, color, and image are renewed through ekphrasis; and through the world of the metatextual long poem "The Cult Poem," where good and bad moral binaries tangle into a rat's nest of our best and worst spiritual ambitions. The poems and sequences of About Crows are marked by their artistic balance of the sublime and the profane, of polyphony, syntactical complexity, clashing images, cagey humor, and unsettling sincerity, all trying desperately to connect.

Finalist, 2022 Housatonic Book Awards Craig Blais’s Moon News, a finalist for the 2021 Miller Williams Poetry Prize, deploys the sonnet form to treat subjects as diverse as Gregor Samsa, SpongeBob SquarePants, and the cosmos. Here the form’s capaciousness is engaged to full effect. Blais, who turned to the sonnet as a method for focusing on the present in the early days of his recovery from alcoholism, confronts personal demons, loss, and the possibility for healing. These aren’t your grandmother’s sonnets—though you might find her pea soup recipe or sex tape in this remarkable second collection.

Inscriptions is a collection of poems inspired, in part, by the twenty-four poem opening section of Walt Whitman's 1892 "Death-bed" edition of Leaves of Grass, entitled "Inscriptions." The poems of direct address in the first section appropriate and reimagine the traditional inscriptive poetic mode in a series of "For..." poems. In the second section, the "Jalopy Sonnets" explore the physical practice out of which the inscriptive mode emerged--particularly its modern day incarnation of signage and advertising--through the incorporation of found language from various public sources. The third section inscribes place, real and imagined, physical and dream-state, unified by place names and GPS coordinates. Throughout, the poems share an "avant-pop" aesthetic that values both experimentation and accessibility equally.