The Academy of American Poets is for people who love poetry. Our membership is nearly 9,000 strong and growing, and our programs reach over 20 million people every year. Our programs include, the Poets Forum, Poem in Your Pocket Day, National Poetry Month, American Poet magazine, the Poem-A-Day email series, the Poetry Audio Archive, educational initiatives, readings and events, awards and prizes, and so much more. We’ve been doing this since 1934, and we still think it's fun.

Follow us on:   Facebook   &   Twitter
howdy.  how.  hey.  I’ve been asked to camp here today.  

howdy.  how.  hey.  I’ve been asked to camp here today.  

Kate Durbin and Amaranth Borsuk

Aase Berg at Stockholm’s International Poetry Festival

Broder Daniel, “Underground”

Juvenile does not equal shameful and trash is the material of creators.
Jack Smith (“The Perfect Filmic Appositeness of Maria Montez”)
All the pigs of the world unite god. All the cats of the world let’s become a butter god.
Kim Hyesoon, “All the Garbage of the World, Unite!”

Amazing Japanese Haiku superstar Ginema…

The Pastoral, like the occult, has always been a fraud, a counterfeit, an invention, an anachronism. However, as with the occult, and as with Art itself, the fraudulence of the pastoral is in direct proportion to its uncanny powers. A double of the urban, but dressed in artful, nearly ceremental rags and pelts, the Pastoral is outside the temporal and geographical sureties of the court, the urbs, the imperium itself, but also, implicitly, adjacent to all of these, entailing an ambiguous degree of access, of cross-contamination. (The Pastoral, after all, is the space into which the courtiers must flee in the time of plague, carrying the plague of narrative with them.)Moreover, the anachronistic state of the Pastoral is itself convulsive and self-contaminating, accessing both a Golden Age, a prehistory somehow concurrent with, even adjacent to, the present tense, and a sumptuous and presumptive afterlife, partaking of Elysian geography, weather, and pastimes.

A Velvet Underground.

Rather than maintaining its didactic or allegorical distance, the membrane separating the Pastoral from the Urban, the past from the future, the living from the dead, may and must supersaturated, convulsed, and crossed. This membrane is Anachronism itself.

Another name for it is Death, or Media.

Joyelle McSweeney, “Necropastoral, or Normal Love”:
Rabbits are capable of tenderness especially when pounded.
Feng Sun Chen, from Blud (Spork, 2012)

By Stina Kajaso