THE NIGHTFIELDS OTHER BOOKS BY JOANNA KLINK “In a culture inclined to mistake opacity for depth and stridency for passionate feeling, Joanna Klink has made a body of work at once utterly lucid and breathtakingly urgent. She navigates between those most suspicious extremes, despair and ecstasy, without ever seeming to be a poet dependent on extremes. The extraordinary beauty of her poems, from the beginning, has resulted from a constantly refined attention to the ordinary and the daily. Taken together, her books are an amazing experience: harrowing, ravishing, essential, unstoppable.” — Louise Glück, American Academy of Arts and Letters Award citation Excerpts from a Secret Prophecy Raptus Circadian They Are Sleeping

THE NIGHTFIELDS Purchase Penguin 2020 THE NIGHTFIELDS SELECT POEMS Cancer (Prayer for my Father) On Falling (Blue Spruce) On Surmising Elegy New Year Portrait in Summer from Night Sky from Night Sky REVIEWS “The hushed and meditative poems in this intensely lovely book manage somehow to feel simultaneously old-fashioned and cutting-edge. Amidst the chaotic noise and incessant annoyances of contemporary life, Klink’s poetry carves out a space in which we are reminded what it is like for an individual consciousness to encounter the awesome mysteries of both the outer universe and the inner self. ‘I am unable to / picture anything so whole / it doesn’t crush what’s / missing,’ she writes. And elsewhere: ‘I cannot tell / what is unbearable in me / from what is opening.’ ”—Washington Post , “Best Poetry Collections of 2020” “ ‘There are no / empty hopes. But knowing / what to hope for is steady / work,’ Klink writes. What she hopes for again and again in this expansive, remarkable volume, her fifth, is the ability to see the universe whole.”—New York Times “Klink is a vatic poet, a seer not just of the body but of bodies in relationship to one another, bodies in relation to the natural world, to the universe both inner and outer . . . Perhaps more than any other poet writing today, Joanna Klink is the Romantic poet of our age, and like the great romantic poets, Wordsworth, Keats, Shelley, the narrator of The Nightfields is often walking through her poems, attuned to the silences and quiet murmurings of the world.”—New York Journal of Books “In this collection Klink solidifies herself as a poet of lyric wonderment, angular beauty, and uncompromising vision. There is something of Merwin—and Strand—in Klink’s gestural approach to interrogating the self’s provisionality, with echoes of the deeply emotive, yet coolly delivered poems of Jon Anderson. At the center of Klink’s lyric resides the tension between profound emotional intensity and profound emotional delicacy.”—Poetry Northwest “That grief is proof of love was something I needed to hear every day of 2020, and into 2021, and still and always. I read from The Nightfields most mornings for the vertiginous pleasure of scale, for the sense of intimacy and infinitude, in order to feel my insignificance in the world. Our relative insignificance, our like-it-or-not interconnectedness, Klink reminds us, is not such a bad thing to feel. And besides, it is a fact. Remember: ‘you are the brief errand of what was / given to you in unceasing splendor.’”—Poetry Daily “Whatever we consider authentic ‘being’ to be, poetry can provide a vessel for rejoining it—especially poetry that refuses all but the most direct line to what is essential. This is what Klink accomplishes here in her beautiful fifth book, as she recalls the most elemental and fleeting gifts in our ephemeral lives…Klink’s ability to see deeply into things, whether in the made or natural world, is unusual for a poet who mines emotional experience with such relentlessness.”—Kenyon Review “That clear, lyric voice (sometimes bordering on the austere) in these poems, that quietly observant sensibility, cycles through seasons, through the minutiae of the daily, recognizing that it is work to admit and open to the totality of life…Reading through poem after poem in The Nightfields is like standing at the lip of a clear, cold stream. I don’t know its true depth, and I don’t know how to swim. Night is falling fast, but the voice that beckons me to ford it is strangely reassuring.”—RHINO “Now we can turn to Klink’s metaphysical sequence to get a different sort of visit to the earth work. Her poems do a tricky thing of being at once urgent and geologically slow (every breath and breeze is noticed, but time passes such that copper is ‘greening’ and stars ‘thicken’); the sequence is imbued with depth and color and all the possibilities of a pitch-black night. Before I leave, I should acknowledge my other half a mind: like a dutiful editor, I started The Nightfields at the beginning and found prior to ‘Night Sky’ several exquisite poems about the passage of time (‘Most weeks I am no more than the color of the walls / in the room where we sit’) and the liminal space between seasons (‘The bright key of morning. / The bay fanned with foam’) that make the quotidian nearly as beautiful as Turrell’s monument.”—Paris Review “ ‘When I go toward you / it is with my whole life’—thus Joanna Klink opens her fifth collection, The Nightfields , with Rilke. [...] As we carry forward in her book of hours, Klink builds an understanding with our inevitable disappearance. Though the consciousness of the self disappears, she reminds us that there is a ‘heat born in you / that outlasts you, there are burning / circuits of stars’ and ‘More even / than your own life, you flow from what is.’ [...] Our diminishment is a return to the splendor of our substance.”— Seneca Review “This is not a review of The Nightfields by Joanna Klink. Instead, this is a cento composed entirely of lines from within the collection. With a pencil in hand looking for ways into the world on the page, I noticed over and over that the book is already an analysis of itself. The poems are highly introspective, singularly and collectively. Instead of pointing to this and dissecting it and telling you what I think it means (to me), I invite you to allow the book to speak to you as it spoke (and speaks) to me, to us.”— St. Mark’s Poetry Project “Klink writes with exquisite poignancy, an expansive and stark lyric that has become her signature in this collection. The Nightfields reminds us that ‘to want a simple life / might mean / to have given up / on expectation’ yet the collection offers us of the privilege of Klink’s discerning and sometimes ruthless eye on what it means to live from that expectation, to live fully among the wreckage and the triumph.”— Carmen Giménez Smith “Joanna Klink’s The Nightfields has all the visionary lucidity and incisiveness that marks the true originality of her work. The subtlety of what she sees is matched by a language at once hospitable and unsettling. This book has the fluency of someone knowing and finding their way. These are remarkable poems.”— Adam Phillips “Joanna Klink goes toward poetry with her whole life. To me, she is a landscape poet, who draws more than paints. Her poems contain stars and bone; hope and mercy; meteorology and friendship. Instead of plot, there is subplot, allowing language and feeling to run free. Perhaps there is a spiritual dimension, too, with a pilgrimage through cities and grasslands. In our prosaic age, Klink is a completely original poet—symbolic and vatic—rendering the best poems of her life.”— Henri Cole

THANKS Adventures of the Mind American Academy of Arts and Letters American Academy in Rome, Visiting Artists Jeannette Haien Ballard Irma Boom Bogliasco Foundation Carleton College Civitella Ranieri John Simon Guggenheim Memorial Foundation Harvard University Helene Wurlitzer Foundation Humanities Center, Johns Hopkins University Iowa Writer’s Workshop Lannan Foundation MacDowell Colony Michener Center for Writers Penguin Books Poetry Foundation Rona Jaffe Foundation Trust of Amy Lowell Ucross Foundation University of Georgia Press University of Montana Williams College Yaddo

NEWS & EVENTS Public Art München what is nature to your culture? 2024 © Foto: Tobias Hase Billboard at Lenbachplatz Sandra Schäfer May 29-July 28, 2024 Sarah Lawrence Poetry Festival April 20, 2024 Full details Days of Wonder, November 10-19, 2023 Poetry Workshop at Civitella Ranieri, with Matt Bevis and David Baker No Atmosphere, July 2021 A short film directed by Ashleigh Parsons For the text of the poem “Givens,” click here Rita Dove and Joanna Klink LOGOS Poetry Collective Thursday, October 13, 2020 7-8:15 pm CST See the video “Night Sky” reading hosted by Prairie Lights Books in Iowa City On Wednesday, August 12th, 2020 at 7:30 pm CST, 31 poets and writers read from “Night Sky,” a sequence of 31 poems from The Nightfields . See the video This Loneliness of Hands The poem “Aerial” was featured in The Flight Path Dance Project Virtual Concert in May of 2020 Collaboration with artist Saul Melman, 2019 Reading with Daniel Khalastchi Magers & Quinn , Minneapolis Thursday, May 2, 2024 7 pm

RECENT POEMS Rain, First Morning Two Trees Called Porch Swing You know the clouds spread low On Snowfall

EXCERPTS FROM A SECRET PROPHECY Penguin 2015 Purchase EXCERPTS FROM A SECRET PROPHECY SELECT POEMS Processional from 3 Bewildered Landscapes Terrebonne Bay Elemental Novenary The Graves (So here are the strange feelings) 00:00 / 01:59 REVIEWS “In a culture inclined to mistake opacity for depth and stridency for passionate feeling, Joanna Klink has made a body of work at once utterly lucid and breathtakingly urgent. She navigates between those most suspicious extremes, despair and ecstasy, without ever seeming to be a poet dependent on extremes. The extraordinary beauty of her poems, from the beginning, has resulted from a constantly refined attention to the ordinary and the daily. Taken together, her books are an amazing experience: harrowing, ravishing, essential, unstoppable.” —Louise Glück, American Academy of Arts and Letters Award citation “Excerpts from a Secret Prophecy is a paradoxical wonder: its lean interior cloaks an expansive exterior; its rich solemnity is couched in syntactical and imagistic intensity; its perceptiveness is simultaneously elemental and sublime. Joanna Klink has given us Rilkean elegies haunted by ‘the love you feel for what you lost.’ Her poems illuminate the membrane between loneliness and solitude.”— Terrance Hayes “[Klink] brings with her a signature sound. Her distinct diction portrays scenes that ring out with the clarity of celestial bells. In deceptively simple constructions, she arranges her moons, her deer, her lakes…to bring us new ways of constructing feeling from landscape…She joins a lineage of Romantic poets, from William Blake and George Byron through Wallace Stevens and Elizabeth Bishop, who searched for an understanding of the mind by observing its reflection on the natural world.”— L.A. Review of Books “Joanna Klink is a radical cartographer. Addressing ‘you who once looked out of my eyes,’ she maps the materiality of her body, its microscopic transformations, and ultimate transience. There is a ceaseless sense of sublimation in this collection as the poet oscillates from finely observed details to broader planetary concerns, stitching together a harrowing, ecstatic metaphysics”—World Literature Today “Klink’s fourth collection is a passionate but controlled lyric meditation on time, intimacy, memory, and the increasingly imperiled natural world. Reminiscent of (and drawing on) Eliot’s Four Quartets and Rilke’s Duino Elegies , the poems here announce, ‘I brought what I knew about the world to my daily life / and it failed me.’ Klink (Raptus ) moves through a litany of personal, human, and civilization-level errors toward a future both unknown and unsure. ‘I knew every occasion—the music rising off the piano, / held in the air in plumes of distraction, sometimes rich, sometimes scaled to terror,’ she writes, acknowledging that ‘No one knew what was coming.’ Klink can be grandiose in her use of pronouns, but her poems of longing never lack beauty (‘your hand catching the bone of my hip / filled our aloneness’). Yet, the real stars of the book, and those most moving in their intensity, are her elegies for the nature that sustains us: ‘Even the greenest city may become a reef. / Take nothing more from each other.’ American poetry sorely needs poets willing to address such large topics in a mode like this.”—Publisher’s Weekly “Images (moon, sea, snow) recur, and five different poems are titled ‘The Graves,’ but the unity is mainly a matter of sensibility and tone: a lyric sensibility almost painfully alive to beauty, stretched tight by an intellect that simply will not relax—the tone of some of Laura Riding’s poems of the twenties, or of Jorie Graham’s of the eighties, or of the Rhoda sections in Woolf’s The Waves (which provides Klink’s epigraph).”—Ploughshares “Klink’s new work expresses what Dickinson calls the ‘formal feeling’ that ensues ‘after great pain.’ Like Dickinson, whose most powerful poems seem to occur virtually postmortem, Klink articulates a Keatsian ‘posthumous existence.’ […] One element enlivening Klink’s work is a growing mastery of her art itself.”—Boston Review “Through a collection of poems quiet in tone but unflinching in conviction, Klink explores the complex relationship between the body and solitude. The energy and drive behind each poem is clear, the result of copious thought and time spent with the world. Specifically, Klink brings into the light a new vision […]: one that declines to engage with the last decade or so of media norms, one in which solitude and its perceived isolation are not weaknesses, but rather opportunities for enhanced human connection, self-engagement, and experience.”— Colorado Review “As remarkable as the writing is in ‘Noctilucent,’ there are many other poems equal in power. Two six-page works, ‘Stillways’ and the title piece, are tour de force expressions in which the divide between the consolations granted by interiority on one hand and the desire to transcend the self on the other is set in relief.”—Georgia Review “I have come to Klink’s work since Raptus to find what it is that can be said about the life of loss: what it expresses, what it wants from us, how it might be rendered something like presence, and what if anything can be uttered wholly from within it…I go to Klink’s poems…to be returned to my capacity for sensitivity.”—The Rumpus “Yet with many turns toward the social in contemporary poetry—both in distribution and subject—it may be déclassé to hone in on a personal solitude. Perhaps this is one of the reasons Joanna Klink remains less popular than her some of her peers. The world—a world of war, disease, and oil spills—is filtered through the self. And the self—in the tragic loneliness of this excellent book—is what one is left with.”—Kenyon Review “This is the genius of Excerpts from a Secret Prophecy ; Klink hands her readers fragments, fraying thread, scraps of wool, but when we lift our eyes, we are holding a tapestry.”—The Rumpus “Like her previous work, Excerpts is exacting and intense, and her lyrical mastery is honed with knifelike precision…The poems have an edgy haunting power. It is almost as if there is a ferocity volume that Klink can turn up and turn down throughout the book—her level of control is immense…Her commentary on the planet isn’t driven by politics. It seems to be driven by emotion, and the depth of reaction is compelling to the core.”—Phantom Books

BOOKS They Are Sleeping Excerpts from a Secret Prophecy Raptus The Nightfields Circadian

THEY ARE SLEEPING Penguin 2000 Purchase THEY ARE SLEEPING SELECT POEMS Aubade (Drizzle in the breathing world) Aubade (Summer and winter over the lakes and earth) Aubade (The announcement comes) Aubade (The cold rolls its season) REVIEWS “In Joanna Klink’s poems the limits of consciousness are constantly tried by the seductive enchantments of lyricism; clarity and mystery are not only brought close to each other, often they seem indistinguishable. Everywhere, a forceful, scrupulous intelligence is active—a luminous diction, a range of cadences. Everywhere, the burden of feeling is borne with ease.”— Mark Strand “They Are Sleeping is…so rare for a first collection, with a moving and complex tension between its lines and sentences, an engaging kaleidoscopic sense of diction, and a form of sequence to which the reader awakens and reawakens…Joanna Klink invents a new mythology for those ‘landscapes without particulars’—the unmarked natural spaces and cultural sites gone haywire—that separate what is American from what bears meaning over time.”— Susan Stewart “Joanna Klink is a love poet. Love, like Tarot, is a game of chance where the stakes are souls. Under the sign of the Hanged Man—Le Pendu—true love comes to pass. Crucified upside down like Saint Paul — hero of reversal — the love-visionary turns hazard and sacrifice into finding and benefit. The presence of such poetry makes everyone — all the persons whom its beauty touches — NEW. This is the finding of an unmistakable poet — her gift.”— Allen Grossman “These songs greeting the dawn are lamentations and celebrations all at once, and they epitomize the distinctive harmony that Klink has maintained in balancing extremes throughout this striking debut.”— Boston Review “The lyric spaces of They Are Sleeping are shifting, slippery, plangent and persistent: they want to, but they just can’t sit still…Klink finds refuge in sequences, where she renders settings, characters, and concepts with an unflagging and varied music. They Are Sleeping is a moving and daringly philosophical first collection.”— Rain Taxi “Anyone who remembers reading modernist poets such as Wallace Stevens and T.S. Eliot will find that Klink’s ambitious, intellective poems more than repay the work it takes to enter their world.”— Eugene Weekly “Klink creates a lyrical sea-garden where ‘the wind clicks in the trees,’ a beautiful impressionism of slippery sounds and shifting subjects…Klink achieves resonance and music worthy of accolade.”— Verse “[This is] beautiful writing, sensuous and troubling.”— Colorado Review

RAPTUS Penguin 2010 Purchase RAPTUS SELECT POEMS Some Feel Rain What is (War) Wayfaring Sorting & Wonder of Birds Aerial Feverish REVIEWS “In every generation of American poets, there seems to be one collection which, however gently, however tactfully, changes the tone and sets a new direction. John Ashbery’s Rivers and Mountains was one such, and Jorie Graham’s Erosion was another. I am deeply convinced that Raptus very soon will prove to be among that company. Joanna Klink has moved human relationship into a vatic, visionary place, and we are changed.”— Donald Revell “Joanna Klink’s new work is wrought from a kind of spiritual exactitude. Even through her numinous cortège of aching, a wild kindness keeps the poems aloft. When she writes (of poetry itself) ‘I held it to my throat unabashed,’ you believe her. She does not flinch.”— Lucie Brock-Broido “To say that Raptus is heartbreaking is to tell only half the story. The books is, in fact, uplifting. Here is a poet abiding desire as both the sharp-beaked raptor for whom we are undone into carrion and the radiant rapture that draws us heavenward, that scatters us among the stars. Not only does Joanna Klink aspire to the firmament, she arrives.”— D.A. Powell “In Raptus , Joanna Klink fearlessly inscribes, in consummate lyric art, a bearing of profound loss not often brought to utterance, but she has done so—musically, beautifully, in tensile language, in a vertiginous form all her own that transports us from one consciousness to another. This is a poet who knows which losses are irreparable , and also the suffering that shall not heal, the singing that lifts—washed, unwinged— and is nevertheless heard on every page. Klink is a genuine poet, a born poet, and I am in awe of her achievement.”— Carolyn Forché “[Klink] has a rhythmic dedication, a sense that every last emotional corner will be examined in its own time and a keen focus aimed as much at herself as at others. As it cycles through need and loss, this book illuminates just how inextricable experiences can be from the people with whom they are shared.”— Publisher’s Weekly “These poems are a reckoning, a challenge to the poet and the reader to move through the sharpest pain with honest awareness and remain present in the world during and after. They are brave, startling, and beautiful poems, and Raptus is among the strongest collections published this year.”— Powell’s.com “Klink’s most recent collection, Raptus , places the emotional aftermath of a significant breakup against a background of natural, mainly Western, landscapes. But she has been writing about detachment for years, and her work is a record not only of the ecstasy of engagement with the natural world, but also of the mixed and passionately felt consequences of detachment from a noisier, more chaotic world.”— Boston Review “Part of what makes Joanna Klink’s poems so remarkable is their refusal to rely on the ironic tones and gestures that are stock-in-trade among her contemporaries. In this intensely lyrical book, her third and best, a crisis of faith provides the occasion to commit again to a life of compassion, care, and grace.”— The Week “Transcendence has taken a hard hit over the last half-century or so, leaving few poets willing to brave the topic. Joanna Klink’s third collection, however, masterfully navigates the treacherous zone between the lyric and the all-too poetical…To articulate the ineffable is a bold project, especially given the bittersweet unlikelihood of its success. Happily Klink has the talent, determination, and wisdom to take it on and weather it.”— Boston Review “The poems in this collection are crafted with an artful, lyrical hand, evoking a kind of elegant, spiritual accomplice in their making.”— American Poet “In Raptus , Joanna Klink’s third collection of poems, heartbreak and the end of a long-term relationship extend this original poet’s body of beautiful work with an exactingly pursued sense of the thievery and bravery of aftermath.”— RonSlate.com “Such moments of wonder and strangeness—wonderful strangeness—buoy the book, let it charm us with its insights and quirks…‘The way you hold something in you matters,’ she says. I believe her in this assertion, which could stand as an argument for the book: the way we see the world, the way we process it and keep hold of our understandings…makes up who we are.”— Kenyon Review

CIRCADIAN Penguin 2007 Purchase CIRCADIAN SELECT POEMS Auroras Winter Field Apology Sea by Dusk REVIEWS “In this, Joanna Klink’s remarkable second book, the meditative sounding of the human pang, its need for intimate connection and its contrary need for the clarities of solitude, reminds us that precision is a cutting edge that creates dazzle. With a Dickinsonian desire for a meeting of minds and a reverence for the natural world that is tried by an awareness of mortality and ecological peril, these poems remain alert to the reparations of beauty and song, formally elegant, urgent, and moving.”— Dean Young “Joanna Klink has the audacity to write about the happiness of the ordinary in the language of the ecstatic. Her intensity makes the world visible.”— Linda Gregg “As if her very breathing were integral to landscape, Joanna Klink surrenders utterance and feeling in a place where snow sifts for hours toward the earthline , where mineral winter makes a dull / math of cold inside the bones . Read these radiant poems as notes from a wilderness where human destiny pulses in time with vast circadians at the edge of consciousness, where silence has the eloquence of stars behind the snow / burning in ancient immanence over the field . Here is the real world , the poet insists: the holding in / of all these breaking things .”— Honor Moore “Klink writes love poems to nature…This is beautiful writing, and it’s also very American. Walt Whitman might find something to envy in the way Klink’s more gentle sense of song…tumbles out of simple, individual acts of attention.”— Chicago Tribune “Eliot’s Four Quartets comes to mind, but I think Circadian bears a closer kinship with Rilke’s Duino Elegies via its gorgeous, anguished calls toward the space beyond language, or before it.”— Rain Taxi “These things are the terrible facts of our relationship to the natural world today, and there is, of course, no going back. Still, Klink tells us there is an avenue into the liminal space between essence and image, between our bodies and our emotional connection to the people and world around us. She tells us that there is nevertheless hope. I, for one, believe her.”— New Orleans Review “We are drawn to these poems because they occupy the present and emulate stillness. Paradoxically, it is the inability to maintain that relationship with the present that is the hallmark of their beauty.”— Colorado Review “[Circadian ] urges readers into the responsibility of attention while also warning us that once we open our eyes, we are no longer able to choose the depth in which we will be engaged; the light simply fills them, and we are forced to abandon any measure of how much pain we might witness.”— American Book Review “Klink’s poems are almost devoid of people, and those few who do appear are solitary and distant (even the watermen of ‘Studies for an Estuary’ seem a single entity, moving across the water, their bodies ‘a great space on which an ocean is growing’). But there is the constant presence of a ‘you,’ an addressee who is at once beloved—a friend, a companion—and something more remote, an idea or ideal, a traveler…who is also a spiritual guide, though one who sometimes goes astray and needs guidance. This ‘you’ shifts and wavers, like light or fog or falling snow…Klink is less stylistically indebted to Ashbery, but both [Geoffrey O’Brien and Joanna Klink] share in his depersonalization of the speaking voice. This makes the voice a thing among other things, and animates those objects into which it disperses, transforming them into subjects in both senses of the word…The last thing Stevens demanded of his supreme fiction was that ‘It Must Give Pleasure.’ Both of these books fulfill that condition abundantly.”—Boston Review “The enveloping sounds, the quality of light: something passes through us, a ‘premonition / of drift-design.’ Klink unabashedly can say ‘ancient immanence’ and ‘blackness of our lives’ and ‘a sense of peace so deep’ without sounding at all precious. Although she maps out an agenda for us among her landscapes, Klink is utterly loyal to the freedom she would have us enjoy…This is one of those rare instances when I have to agree with the blurber’s use of superlatives. Joanna Klink’s Circadian is remarkable.”— RonSlate.com “Joanna Klink’s hauntingly stark…luminous second collection, Circadian , urges us to enter or perhaps re-enter a world of patterns grounded in the intrinsic and awakening pulses of circadian rhythms…In a time of increasing ecological concern, political uncertainty, and growing irony and sarcasm, Circadian is a timely collection—one that calls us forward to enliven our senses of internal and external landscapes while providing us with a deep reservoir of hope.”— Indiana Review

BIO Joanna Klink is the author of five books of poetry. Her poems have appeared in many anthologies, most recently Resistance, Rebellion, Life: 50 Poems Now and The Penguin Anthology of Twentieth Century Poetry . She has received awards and fellowships from the Rona Jaffe Foundation, Jeannette Haien Ballard, Civitella Ranieri, the Bogliasco Foundation, the American Academy of Arts and Letters, the Trust of Amy Lowell, and the Guggenheim Foundation. Her latest book, The Nightfields , was published by Penguin in 2020 and a new book is forthcoming in September 2026. She teaches at the Michener Center for Writers in Austin, Texas. info@joannaklink.com

MORE Joanna Klink and Holly Amos on Psychic Longing, Attention and Attunement, and Their Differing Childhood Dinner Tables Kenyon Review Conversations, about “Night Sky” Poetry Centered, Joanna Klink: A Blazing Intensity How I Wrote “Evenings and Days,” The Adroit Journal Interview, The Adroit Journal Behind the Byline | NER Poet Joanna Klink On “Degrees of Gray in Philipsburg” Sonic Bouquets Interview, Black Warrior Review