Today's poem is "The Dead"
from back through interruption

The Kent State University Press

Kate Northrup is an assistant professor of English/Creative Writing at West Chester Univeristy in Pennsylvania. Her poems have been published in Painted Bride, Raritan, Michigan Quarterly Review, Northwest Review, The Dark Horse, Quarterly West, Rattle, Louisiana Literature, and Black Warrior Review. She has received many honors including the Pennsylvania Council of the Arts Individual Artist Fellowship, the Greater Philadelphia Cultural Alliance Grant, and the 1995 American Academy of Poets Prize, University of Iowa.

About back through interruption:

"Kate Northrop's elegant, intelligent, wonderfully plotted first book has been born under the sign of the double helix and is governed by that shape. These are poems of being two: woman and man, daughter and mother, sister and sister. Like magnets they are held together by attraction or parted by force of opposition. In these poems, no matter what changes in the cast of characters, what is important is that they are all creatures in, and creations of, a text."
—Lynn Emanuel

"Kate Northrop's poems are drawn ineluctably to the place where passion and intelligence collide—and often they end with passion having fled and intelligence standing alone, surveying 'the way we travel into memory.' But Northrop's intelligence is so coruscating that it possesses all the passion of passion itself. 'I would be judge,' says a woman on the verge of adultery, 'and what was individual / would collapse under the burden / of a story.' But she is wrong. In these dazzling poems, individuals and their stories stand side by side, each making the other glow more brightly than they would alone."
—Andrew Hudgins

"Back Through Interruption is quite simply the most accomplished first book by a poet of Kate Northrop's generation. It reminds me of W. D. Snodgrass's heartbreaking, technically acute Heart's Needle in its range of intellectual richness and honest feeling, though formally—perhaps because, historically, formal innovation has grown wilder—it is freer, more openly nervewracked and audacious, than his wonderful debut 42 years ago. I would not want to reveal more here about the surprises in store for readers of these poems—the relief of not encountering a faked note, the thrill of coming upon such masterpieces as 'The Geranium,' the authentic musical truth that makes Northrop's voice irresistable, a new specimen of Seamus Heaney's 'The command which is unspoken but deep in the mystery of poetry is to somehow abdicate from audience, from self-promotion or self-alignment, and to go towards the subject, to give yourself over and disappear."
—Stephen Berg

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