Kevin Clark

Kevin Clark’s poetry collection Self-Portrait with Expletives (LSU Press, 2010) won the Pleiades Press contest, and his first book, In the Evening of No Warning (New Issues Poetry and Prose, 2002), earned a grant from the Academy of American Poets. Kevin’s recent chapbook The Wanting (2016) won the Five Oaks Press contest. A regular reviewer for our pages in recent years, Clark has also published criticism in the Southern Review, Papers on Language and Literature, and Contemporary Literary Criticism. He teaches for the Rainier Writing Workshop, a low-residency MFA program based at Pacific Lutheran University in Tacoma, Washington.

Georgia Review Archive for Kevin Clark

The Necessary Impossibilities of Poetry (on Terrance Hayes’s American Sonnets for My Past and Future Assassin; Dorothy Barresi’s What We Did While We Made More Guns; Analicia Sotelo’s Virgin; and Kevin Prufer’s How He Loved Them)

Access, Metaphor, and the Challenge of Meaning (on George Bilgere’s Blood Pages; Jorie Graham’s Fast; Marie Howe’s Magdalene; and Adrian Matejka’s Map to the Stars)

Displaced Familiarity: Voice, Then Meaning, in Contemporary Poetry (on Kathryn Nuernberger’s The End of Pink; Joshua Bennett’s The Sobbing School; James McMichael’s If You Can Tell; and Larry Levis’ The Darkening Trapeze: Last Poems)

The Vigil of Astonishment (on The Mercy Seat: Collected and New Poems, 1967-2001 by Norman Dubie)

Poetic Modernism and the Oceanic Divide (on New British Poetry, edited by Don Paterson and Charles Simic

on Break, Blow, Burn by Camille Paglia

The Bedspread at Echo Lake & “Le Secret”

“Even Sincerity”: On the Viability of the Self in Contemporary Poetry (on One Kind of Everything: Poem and Person in Contemporary America by Dan Chiasson; Dark Horses: Poets on Overlooked Poems by Joy Katz and Kevin Prufer; and American Poets in the 21st Century: The New Poetics by Claudia Rankine and Lisa Sewell)

How Well We Know So Little: The Sequence in Post-Postmodern Poetry (on Katie Ford’s Colosseum; Christopher Buckley’s Modern History: Prose Poems 1987–2007; and Rita Dove’s Sonata Mulattica)

All Possible Worlds (on Josie Sigler’s Living Must Bury; Harmony Holiday’s Negro League Baseball; David Clewell’s Taken Somehow by Surprise; Kathleen Graber’s The Eternal City; and Maxine Scates’s Undone)

Canonicity and the New (on Lisa Lewis’ Burned House with Swimming Pool; David Wojahn’s World Tree; Susan Wood’s The Book of Ten; and Yusef Komunyakaa’s The Chameleon Couch)

To Make It New (on Barbara Hamby’s On the Street of Divine Love: New and Selected Poems; Charlie Smith’s Jump Soul: New and Selected Poems; & B. H. Fairchild’s The Blue Buick: New and Selected Poems)

The Wild Unsayable: Magic, Mystery, and Ambiguity in Contemporary Poetry (on Mark Doty’s Deep Lane; Alberto Ríos’ A Small Story About the Sky; Jill Bialosky’s The Players; and Joanna Klink’s Excerpts from a Secret Prophecy)