In Raw Goods Inventory, Emily Rosko gives us a poetic inventory in a virtuosic display of voices and accents. The poems come with sharp elbows and knees; they are nomadic, acquisitive, dispersive, and diffractive. More elementally, Rosko's poems contain the scattered bric-a-brac of the imagination, with goods that range from a dud egg to genetic hybrids, from Marian iconography to pigs at a state fair. She offers honest embodiments of anxiety, awkwardness, and boredom, as she also recasts with wit and grace the standard poetic fare: love, death, and disappointment. Idiomatic, raw, and skewed in the best possible way, Rosko's poetry manages to speak to us---with arresting lyric gusto---of familiar things.

Raw Goods Inventory (Iowa Poetry Prize)

Literature & Fiction

Rosko, Emily

Poetry

University Of Iowa Press

In the arena of poetry and poetics over the past century, no idea has been more alive and contentious than the idea of form, and no aspect of form has more emphatically sponsored this marked formal concern than the line. But what, exactly, is the line? Emily Rosko and Anton Vander Zee’s anthology gives seventy original answers that lead us deeper into the world of poetry, but also far out into the world at large: its people, its politics, its ecology. The authors included here, emerging and established alike, write from a range of perspectives, in terms of both aesthetics and identity. Together, they offer a dynamic hybrid collection that captures a broad spectrum of poetic practice in the twenty-first century. Rosko and Vander Zee’s introduction offers a generous overview of conversations about the line from the Romantics forward. We come to see how the line might be an engine for ideals of progress—political, ethical, or otherwise. For some poets, the line touches upon the most fundamental questions of knowledge and existence. More than ever, the line is the radical against which even alternate and emerging poetic forms that foreground the visual or the auditory, the page or the screen, can be distinguished and understood. From the start, a singular lesson emerges: lines do not form meaning solely in their brevity or their length, in their becoming or their brokenness; lines live in and through the descriptions we give them. Indeed, the history of American poetry in the twentieth century could be told by the compounding, and often confounding, discussions of its lines. A Broken Thing both reflects upon and extends this history, charting a rich diffusion of theory and practice into the twenty-first century with the most diverse, wide-ranging and engaging set of essays to date on the line in poetry, revealing how poems work and why poetry continues to matter.

A Broken Thing: Poets on the Line

Vander Zee, Anton

History & Criticism

“First marvel; then record.” This tempered revision of Wordsworth's famous definition of poetry as a spontaneous overflow of powerful emotion recollected in tranquility serves as a useful guide to Emily Rosko's Weather Inventions. The poems in Rosko's third collection capture an enduring sense of wonder in the face of nature alongside the scientific impulse to observe and measure. At turns evasive and earnest, erudite and unguarded, researched and unbooked, the poems in Rosko's Weather Inventions chart humanity's enduring attachments to weather in science and art. Weather is the creative force here, inspiring a search for objective and reflective truths about our lives on this planet.

Weather Inventions (Akron Series in Poetry)

The University Of Akron Press

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