Gabriel Jesiolowski articulates the vacancy within the story of grief in As Burning Leaves, a book-length poem in forty-seven segments.

Read the full review here!

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The lit Pub did a review on Dean Kostos's Poetry style from his various poetry books. It can be argued that all poetry is a negotiation between two worlds. An interior, private jumble of imagery and sound, a chaotic montage, must find the proper words to convey meaning to the world. For a poet who has suffered from severe mental trauma, the task of creating balance and harmony in language becomes even more crucial. -Sharon Olinka

Allison Joseph's, Confessions of Barefaced Woman was reviewed by Robert Sheldon from MockingHeart Review.

Allison Joseph?s new collection Confessions of a Barefaced Woman is a forthright and unabashed examination of the speaker?s personal lives. From past girlhood to her present as an assured and confident woman, this narrator troubles the idea that self-reflection should?or even can?be nostalgic. Impulses here layer upon one another, with later poems informing ones earlier in the collection just as our futures often inform our pasts; a highly aware melding of form and content.

Read the full review here.

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Bigfoots in Paradise, by Doug Lawson, was reviewed by Booklist Online. Booklist Online reviews more that 180,000 books by trusted experts at the American Library Association.

Leah Strauss from Booklist Online says “The characters in Lawson’s vivid story collection harbor quiet regret as they mine the boundaries of their lives and relationships.”

To read the full review click here

The Perpetual Motion Machine was reviewed by Kirkus Reviews. The book is a memoir that tells the story of Brittany Ackerma, the author, and how she would gradually find her way back to a fragile sobriety. The story told in simple language has eloquet silences and chronological ruptures that symbolize the fractured nature of her life and that of her brother. They called it a breif but poinant memoir. Kirkus Reviews is an American book review magazine founded in 1933.

David Mason must feel amazing that American Life in Poetry has choosen his poem The Mud Room. It brings us joy that he was mentioned!

Check it out here

The Audio Saucepan has recenlty included poems by Mark Wagenaar from Southern Tongues Leave Us Shining on the epispde “The Thumped Palm Episode.”

You can listen to it here

Poems by Augsburg’s Max Sessner appear in English in literary magazines in the USA. Translated by Francesca Bell, a translator and lyricist in the USA, who after making contact with Sessner and sending him her first translation was given consent to offer Sessner’s poems to renowned American magazines. The project by Francesca is gaing great momentum and because of this Sessner’s work has been featured in BODY, River Styx, Rattle and Mid-America Review.

You can read the article here.

The American Journal of Poetry features yet another poem by Red Hen author Dean Kostos. The journal praises Dean’s past and recent publications as well as acknowledges awards won by his poetry.

http://www.theamericanjournalofpoetry.com/v5-kostos.html

The ancient masters encounter the modern world in John Barr’s inventive new poetry collection Dante in China, a book that poses a triple threat: entertaining, educational and enlightening.

In a recent review, Sarah Leamy provides a detailed summary of tammy lynee stoner's novel Sugar Land. Describing the book and stoner's characters, Leamy claims, "These characters linger and are quite unforgettable. It’s very much a Southern book in language and with Stoner’s observations that are wry and thoughtful. Sugar Land spans decades in a well-told, easy going manner and I finished the book with a satisfied smile." To read the full review, among other Red Hen titles' reviews, visit Sarah's blog.

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Athens, Georgia magazine Flagpole reviewed Bradley Bazzle's recently published (and first!) novel Trash Mountain as part of a short summer reading list. "With a finely drawn young protagonist, Ben, and a gigantic dump next door to his home . . . [the mountain of trash] is the central character in this book, a multifaceted character that encompasses and compresses all the strands of modern life," reviewer Pete McCommons writes. McCommons concludes, "This is a fine, fun, highly original book. Even though its author is from around here, it’s not an Athens book in subject matter. Rather, it is universal in its reach into the human heart and in its effort to find treasure amid the trash." Read the entire review here.

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In a recent review, Booklist Review‘s Jonathan Fullmer describes Bryan Hurt’s collection Everyone Wants to Be Ambassador to France as “18 amusingly eccentric stories.” Despite containing distinct stories with quite different settings and characters, Fullmer notes that the topic of love persists, writing that Hurt’s collection “deals with young love, misguided love, and failed attempts at expressing love.” Fullmer also acknowledges Bryan’s talented writing: “While heavy on fantastical elements, Hurt’s tales often strike a painfully funny chord and pinpoint striking observations about humanity’s quirky side.” Read the entire review in Booklist‘s next issue.

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In Foreword Review's September and October edition, Hannah Hohman reviews Tammy Lynne Stoner's novel Sugar Land. Summarizing the novel's main plot points, Hohman concludes that "Sugar Land is a raw, spiraling, and hopeful story about a woman who wishes that she didn’t love as she does, and the life she leads in the wake of her self-realizations." Hohman percieves that protagonist Dara's struggles with self-identity are intensified as a result of the novel's 1920s Texas setting. And yet, this is what makes the novel that much more believable and painful. Hohman writes, "Much of what occurs in the novel is difficult to swallow, in great part because the story takes place in a time when Dara’s identity is not readily accepted, even by herself. Still, it’s the novel’s realism that makes Dara’s story so gripping."

Michelle Anne Schlinger from Foreword Review gives an in-depth review of Cai Emmons’ upcoming title WEATHER WOMAN. Taking a close look at characters and plot, Schlinger praises the work of fiction: “The novel may fit the almanac definition of a work of magical realism, but its appeal lies in its deeper truths . . . The novel doesn’t lead with its politics, but it still functions beautifully as an ecofeminist allegory.”