Today's poem is "Dig"
from Now That We're Here

Spire Press

Elizabeth Rees has published over 250 poems in such journals as: Agni, Kenyon Review, Partisan Review, River Styx, Northwest Review, Mid-American Review, and New England Review. She was a 1990 recipient of a Washington D.C. Commission for the Arts grant in Poetry and received a fellowship in poetry from the Montgomery County Council for the Arts (MD) in 1997. In 2002, she won two local contests, The first was from the Arlington County Arts Council (VA) "Moving Words" contest in which one of her poems appeared on buses in northern Virginia. The second was from the Montgomery County Arts Council (MD) "Artists' Benches" contest in which three of her poems were engraved on benches in downtown Bethesda, Maryland. Her poem "Dig" won first prize in SWINK's 2005 national contest and the poem "People of the Word," won second prize in the Ann Stanford contest.

Other poems by Elizabeth Rees in Verse Daily:
January 12, 2006:   "Becoming Involved" " In Golden Gate Park / a woman lies down with a goose...."
July 4, 2004:  "Morning Drive to Ijamsville" "Against overturned cups of rain..."

Books by Elizabeth Rees:

About Now That We're Here:

"There is no one/I can tell who will know what this/ is unless his/ own eyes have seen/it too... This quiet sentiment is articulated in the very first poem of Elizabeth Reesís shimmering new collection Now That We're Here. Yet throughout this book the poet, with her skillful telling, recreates for her lucky readers a world she remains in awe of. What a thrill to see this elegant little form—the minute—wielded by such deft hands. These poems shimmer both on and beneath their bright surfaces."
—Austin Hummell

"Elizabeth Rees offers us a Cantata for Grief, a vessel in which to collect our tears. She realizes that X doesnít necessarily mark the spot where treasure is buried. And like Persephone, her peripatetic search for the way home leads to all things past and future, all things seen and unseen, all things transcendent and truly holy."
—Richard Peabody

"Elizabeth Rees begins Now That We're Here with a poem shaped like a key, and we smile to discover it opens up a collection of road poems—driving to get away or to discover or simply to enjoy the ride. Rees also trusts us with the key to her home as she explores domestic themes—family, love, sex, childbirth, and death. Finally, the key sets the tone: with musical phrasing and rich, figurative language, these poems move from playfulness to wonder to grief to tender resignation without a false note."
—Richard Newman

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