Books
  • Furious Lullaby (Crab Orchard Series in Poetry)
    Furious Lullaby (Crab Orchard Series in Poetry)
  • Names Above Houses (Crab Orchard Series in Poetry)
    Names Above Houses (Crab Orchard Series in Poetry)
  • A Face to Meet the Faces: An Anthology of Contemporary Persona Poetry
    A Face to Meet the Faces: An Anthology of Contemporary Persona Poetry

  • Requiem for the Orchard (Akron Series in Poetry)
    Requiem for the Orchard (Akron Series in Poetry)

Anthologies

Oliver's work can also be found in the following anthologies.

  • Tilting the Continent: Southeast Asian American Writing
    Tilting the Continent: Southeast Asian American Writing
  • Asian American Poetry: The Next Generation
    Asian American Poetry: The Next Generation
  • Language for a New Century: Contemporary Poetry from the Middle East, Asia, and Beyond
    Language for a New Century: Contemporary Poetry from the Middle East, Asia, and Beyond
  • From the Fishouse: An Anthology of Poems that Sing, Rhyme, Resound, Syncopate, Alliterate, and Just Plain Sound Great
    From the Fishouse: An Anthology of Poems that Sing, Rhyme, Resound, Syncopate, Alliterate, and Just Plain Sound Great
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Entries in The Lit Pub (3)

Fiction SE & Lit Pub Launch

A part of my "Labyrinth" series appears in Fiction SE. I'm in great company, too! Yay, Jeannine Hall Gailey! Yay, Ron Carlson!

 

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Also, my review/endorsement of Shane McCrae's MULE is live on the Lit Pub. Buy the book. It's exquisite.

New work in Copper Nickel and Other Thoughts

I'm grateful to have received my contributor's copy of Copper Nickel Issue 16.

I'm with some great company: Ruth Kocher, Gary L. McDowell, Keith Montesano, Paisley Rekdal, Steven Schroeder, Christian Teresi . . . Thrilled!

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Spent the day working at my desk--I managed to write my review/endorsement for The Lit Pub.

I printed out a copy of Post ____________Subject, which came out to a whopping 92 pages. I also pieced together the "Nocturnes" manuscript which wound up being around 57 pages after I included the "Camera" poems. The "Camera" poems feel clumsy in the manuscript at the moment, and I'm not sure what I need to do to ease them in a bit more gracefully.

I also managed to write the poem you see below (at least for now).

I also found the time to send off two poetry submissions. I need to get on top of my submissions because the work's starting to pile up.

What I didn't do: I didn't clean the house. I didn't go to the gym. I didn't leave the house.

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Got a call from the bank today. We're in the process of applying for a construction loan. Unfortunately we're not approved for the amount we'll need to build a garage, so there's one bummer that happened. We SO need a garage. Our kids are pushing us out of our house . . .

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Raining. Raining heavily.

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Current Spin:

Understandings

Spent some time with Shane McCrae's Mule this morning, and it broke my heart. I'll be writing a review/endorsement of it at greater length, for The Lit Pub later this month. I'll say a few things about it--syntactically, it requires some close listening, but shouldn't all conversations that are worthwhile?

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Concerning my own work, I spent all morning watching Sportscenter and thinking about my "Nocturne" manuscript. I've come to a certain limit of understanding about the project. I've come to the realization that the "Camera" prose poems that I had written are not a part of the labyrinth sequence at all. Nor are they a part of the "Dear Empire" series. Rather, they are collaborations with the "Nocturne" series. I've realized this as I've continued to work on more ekphrastic poems dealing with the grotesque and the monstrous.

Pouring over photography books like The Body, A Morning's Work, The Bone House, and a lot of Rosamund Purcell's pieces, I've pieced together some correlation between the earlier war "Nocturnes" and what's taking place in the newer work. And somehow, the "Camera" poems seem to be the transitional scaffolding necessary to make this manuscript "go."


Now, I have to contemplate just how they'll coincide in sequence, which is a whole other narrative. In many ways these poems have been a meditation on control. And what I mean by that is that the ekphrastic writing process can be dominated by the image and so the writer must exert their own control on the work. What captivates me about writing in this mode is my struggle to reiterate the image's action without duplicating the image too faithfully.

My understanding of the ekphrastic is that the written work should never be an imitation of the influence. An attempt at imitation will always result in the written work's failure.

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Speaking of homage . . .