Tag: Bull City Press

Sundress Reads: Review of And Yet Held

Sundress Reads black-and-white logo with a sheep sitting on a stool next to the words "Sundress Reads." The sheep is wearing glasses and holding a cup filled with a hot drink in one hoof and holding an open book in the other.
The cover of And Yet Held by T. De Los Reyes. It features a woman whose face is obscured by tiny blue flowers.

In T. De Los Reyes’s latest chapbook, And Yet Held (Bull City Press 2024), each poem feels like the lyrical embodiment of coming home and sinking into a soft mattress. This sensation arises not from an absence of stressors (as internalized body stigma and a fear of humiliation permeate this book), but from the way mundane objects and small acts of devotion are magnified in the speaker’s eyes.

Familiar comforts are found in tender scenes of domesticity and in speculative vignettes, where the supportive presence of a significant other and the invigorating beauty of everyday life encourage the speaker to talk unabashedly about her affection. Here, De Los Reyes refuses to dress love in the thickest of metaphors, preferring to offer it with generosity through personal anecdotes drawn from her life.

Whether the speaker is watching ice cubes melt slowly in her coffee or noticing the satisfied quirk at the corner of her partner’s lips, every observation is steeped in reverence and care. Attentiveness becomes a comfortable language for the speaker to express her admiration and gratitude, as well as signal her anxiety in moments of distress. The maturity required to admit these emotions is linked to the speaker’s feelings about intimacy.

While some of these poems document healing through glimmers of confidence amid self-doubt, they remain cognizant of how the body can carry the weight of its past. In “Gargantuan,” the speaker recalls, “My childhood / was a city where tenderness was frowned upon” (De Los Reyes 35), giving us a glimpse into the shame that stained her youth. This pervasive sense of unease only fades as her present comes into view. A calm arrives because, unlike before, she no longer feels alone: for “you are now / holding my body” (De Los Reyes 35). Seemingly minute, an embrace has enormous impact, making its recurrence in the book a constant source of joy. Readers will delight in witnessing the speaker grow flustered and make excuses so that “you can be / the big spoon when I just really [need] / to be held” (De Los Reyes 2), a confession that lays bare our desire for proximity, physical contact, and most of all, safety.

This tight-knit chapbook also sheds light on the ways we cradle each other beyond tactile means. One can “feel held” upon receiving a lover’s gentle gaze from across a room (De Los Reyes 1). Or, one can invite a partner to “hold fast” as they “roam in each other’s memory” (De Los Reyes 4). Through knowing glances and expressions of trust, De Los Reyes wields the word with renewed lucidity, reminding us of the opportunity to grant others the refuge that we ourselves seek. The task of making the world less daunting, she seems to say, is in our hands.

De Los Reyes is urgently aware that the time we have with the people we hold dear is fleeting, but she impressively never rallies against it; instead, the transience of life motivates her to slow down and savor each moment. This attitude is evident in her use of repetition, anaphora, and lists. In “Hard Heart”, De Los Reyes turns her appreciation inward:

“This is for the girl with the hard heart

This is for the girl
who […] tried her best

to play hopscotch with everything
she wanted to avoid

yes this is for the girl who refused to be bamboozled
with the small gestures of this sodden world.” (16–17)

Literary devices here allow past states to persist, insisting on their significance. Sometimes, they stress a powerful longing, while other times (as in the excerpts above), they are used to empower and acknowledge what the speaker has endured.

De Los Reyes also foregrounds the need for autonomy by anchoring many of her poems to a specific “I”—one who is inescapably conscious of her gender, weight, skin color, and Asian features. In a changing room, the speaker recalls, “He asks me for my dress size / and I hesitate” (De Los Reyes 29), and at a party, she remarks, “I’m what some / would call an acquired taste” (De Los Reyes 9). The decision to talk frankly about this “baggage” doesn’t drag the book down, rather it carries it, sharpening the speaker’s frustration and illuminating her relief.

This specificity spoke to me as a Filipino reader, who not only smirked in recognition of some typical Pinoy experiences, but saw myself reflected in the speaker’s gestures of affection, which could be as simple yet resonant as asking a loved one whether they’ve eaten. It got me thinking about my recent experience of moving out and realizing how much stuff I’d accumulated. It just seemed second nature—my habit of keeping everything I loved all clumped together, an impulse that could extend to the chapbook’s preoccupation with (re)collection and safekeeping.

A tour de force in tenderness, And Yet Held is a heartwarming display of devotion, vulnerability, and trust. De Los Reyes’s refreshing and imaginative fascination with the everyday offers solace amid hard times, making this the perfect book to read as you unwind after a long day. The chapbook’s commitment to immersion rather than distance serves as a needful reminder: that while it’s okay to be cautious about the people to whom we assign our care, we could be so much more sustained when we welcome others’ lives to touch and overlap and be held together with our own.

And Yet Held is available from Bull City Press

Aylli, a fair skinned person with short brown hair, sits cross-legged on the grass. He is wearing wide frame glasses paired with a black crew neck top and blue jeans. Small purple flowers and various plants fill the upper half of the background.

Aylli Cortez (he/they) is a transmasc Filipino poet and creative writing graduate of Ateneo de Manila University, where he received a DALISAYAN Award in the Arts for Poetry in 2024. His debut chapbook, Unabandon, is forthcoming from Gacha Press in June 2025. His work has appeared in VERDANT Journal, en*gendered lit, Bullshit Lit, HAD, and like a field, among others. Based in Metro Manila, he is currently a poetry reader for ANMLY and a member of the Ateneo Press Review Crew. Find him online @1159cowboy or visit his website.

Sundress Reads: Review of Capable Monsters

In a work of queer Black boyhood and manhood, Capable Monsters (Bull City Press, 2020), a chapbook by Minnesota-based poet Marlin M. Jenkins, directly engages with the Pokémon franchise. This collection interrogates what it means to be drawn as a monster, bringing a fresh and animated perspective to the Black experience in America. It is playful and familiar, especially for fans of the Poké-world, whether that’s the movies, the games, or even the television show, yet it stands on its own merit, too. While Jenkins’ love for these creatures shines through (he names Umbreon as his favorite Pokémon in his bio), the Pokémon are merely a cultural touchstone that serves to open up this movement from boyhood to entry into a harsher, more ruthless environment where all must learn to evolve.

Yes, the Pokémon act as a framework, a backbone, a spine of this work, all while examining class and race structures. A handful of these poems bear regular titles, like “Tall Grass” and “Evolution”, but all of the others are labeled by their Pokédex names, i.e. “Pokédex Entry #1: Bulbasaur”. Following these titles, each creature is introduced by what characterizes them, not merely their color or power but a larger description that gives room for reader curiosity and edifying ambiguity. For Lapras: “People have driven Lapras almost to the point of extinction” (19). For Jigglypuff: “When this Pokémon sings, it never pauses to breathe. If it is in a battle against an /opponent that does not easily fall asleep, Jigglypuff cannot breathe, endangering its life” (20). The allusions to Black adversity are subtle yet deep-rooted—Jigglypuff’s description recalls the dying words of Eric Garner, Elijah McClain, and George Floyd.

Early on, Jenkins sets the stage with markers of class that serve to link childhood to adulthood:

Boy-man proclaimed man
of the house—with second-hand clothes
from black garbage bag, used copy
of Pokémon Blue Version (4).

This game and all of its characters act as a key for the speaker(s) of these poems to make sense of memory and trauma. Much of the language is informal, and Jenkins does not shy away from contemporary references—one poem speaks to Kendrick Lamar and the death of Michael Brown, pushed up against the disconcerting experience of being “the only Black person in the room” at a party (19).

Forms are varied throughout—Jenkins makes use of white space in some pieces, and works creatively with the use of obliques that splinter and conjure thought-provoking line breaks. In “All The Better”, Jenkins alludes to Red Riding Hood:

Boy with TV screens
for eyes / with
pixeled frown / What big holes
there are
in your memory / (17)

To place a young Black boy in the position of prey reveals a deep measure of vulnerability, and this clever back-and-forth and undercutting of expected syntax is complicated and richly rewarding—it feels as if the reader and Jenkins are developing inside jokes together on the page.

A concrete poem bears Squirtle’s shape, its two stanzas forming the sleek curve of a shell, without feeling gimmicky or forced. The shell acts as a comment on the poem’s content—Jenkins’ speaker is self-indicting and fearful, learning to craft protection from his own physicality. This poem (and many others) must have been created to be read aloud—there is quick word play, smart cuts, and tight language to bolster a rhythm that feels reminiscent of spoken word poetry. His sense of cadence is enviable.

Like all remarkable first chapbooks, this work is not just a collection of poems with a good hook, but drills down much deeper. Jenkins flawlessly braids aspects of the Poké-world with the bitter realities and small joys of his speaker’s real world. In the final piece, which takes its name from Generation I Pokémon, Clefairy, we see that same bearing-down on language and rhythm, with a searingly sharp, and somehow hopeful, outlook:

they want to hear
our cries, keep us
owned and docile,
but they can’t
follow us home.
We have learned (35)

In Capable Monsters, the monsters are all around us, and they are us. The Pokémon embody the speaker’s multifaceted life and the way he is able or forced to adapt, whether it is social convergence at a party lacking diversity or watching gas stations in Milwaukee go up in flames. Being a Pokémon fan is certainly not a requirement to read and enjoy this collection, but it does feel like Jenkins has written the book he wanted to read himself—anyone who has loved Pokémon will find a kinship with the figures in these pages, and remember too, how they recognized themselves in the softly drawn lines of monsters on the screen of a handheld Game Boy.

Capable Monsters is available at Bull City Press

Shannon Wolf is a British writer living in Denver, Colorado. She received a joint MA-MFA in Poetry at McNeese State University and also has degrees from Lancaster University and the University of Chichester. She is the Non-Fiction Editor of The McNeese Review, and Social Media Intern for Sundress Publications. Her poetry, short fiction, and non-fiction (which can also be found under the name Shannon Bushby) have appeared in The Forge, Great Weather for MEDIA, and No Contact Mag, among others. You can find her on social media @helloshanwolf.

The Wardrobe’s Best Dressed: And God Created Women by Connie Voisine

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This selection comes from Connie Voisine’s Book of poems And God Created Women, available from Bull City Press.  Purchase your copy here! Our curator for this selection is Letitia Trent.

Connie Voisine is the author of the book of poems Calle Florista, from University of Chicago Press. Her previous books are Cathedral of the North, winner of the AWP Prize for Poetry, and Rare High Meadow of Which I Might Dream, a finalist for the Los Angeles Times Book Award. Her poems have appeared in The New Yorker, Ploughshares, Poetry, Black Warrior Review, The Threepenny Review, and elsewhere. Her newest book, The Bower, was published by University of Chicago Press in March 2019. She lives in New Mexico with her husband and daughter.  http://www.connievoisine.com

The Wardrobe’s Best Dressed: And God Created Women by Connie Voisine

—

This selection comes from Connie Voisine’s Book of poems And God Created Women, available from Bull City Press.  Purchase your copy here! Our curator for this selection is Letitia Trent.

Connie Voisine is the author of the book of poems Calle Florista, from University of Chicago Press. Her previous books are Cathedral of the North, winner of the AWP Prize for Poetry, and Rare High Meadow of Which I Might Dream, a finalist for the Los Angeles Times Book Award. Her poems have appeared in The New Yorker, Ploughshares, Poetry, Black Warrior Review, The Threepenny Review, and elsewhere. Her newest book, The Bower, was published by University of Chicago Press in March 2019. She lives in New Mexico with her husband and daughter.  http://www.connievoisine.com

The Wardrobe’s Best Dressed: And God Created Women by Connie Voisine

—

This selection comes from Connie Voisine’s Book of poems And God Created Women, available from Bull City Press.  Purchase your copy here! Our curator for this selection is Letitia Trent.

Connie Voisine is the author of the book of poems Calle Florista, from University of Chicago Press. Her previous books are Cathedral of the North, winner of the AWP Prize for Poetry, and Rare High Meadow of Which I Might Dream, a finalist for the Los Angeles Times Book Award. Her poems have appeared in The New Yorker, Ploughshares, Poetry, Black Warrior Review, The Threepenny Review, and elsewhere. Her newest book, The Bower, was published by University of Chicago Press in March 2019. She lives in New Mexico with her husband and daughter.  http://www.connievoisine.com

The Wardrobe’s Best Dressed: And God Created Women by Connie Voisine

—

This selection comes from Connie Voisine’s Book of poems And God Created Women, available from Bull City Press.  Purchase your copy here! Our curator for this selection is Letitia Trent.

Connie Voisine is the author of the book of poems Calle Florista, from University of Chicago Press. Her previous books are Cathedral of the North, winner of the AWP Prize for Poetry, and Rare High Meadow of Which I Might Dream, a finalist for the Los Angeles Times Book Award. Her poems have appeared in The New Yorker, Ploughshares, Poetry, Black Warrior Review, The Threepenny Review, and elsewhere. Her newest book, The Bower, was published by University of Chicago Press in March 2019. She lives in New Mexico with her husband and daughter.  http://www.connievoisine.com

The Wardrobe’s Best Dressed: And God Created Women by Connie Voisine

—

This selection comes from Connie Voisine’s Book of poems And God Created Women, available from Bull City Press.  Purchase your copy here! Our curator for this selection is Letitia Trent.

Connie Voisine is the author of the book of poems Calle Florista, from University of Chicago Press. Her previous books are Cathedral of the North, winner of the AWP Prize for Poetry, and Rare High Meadow of Which I Might Dream, a finalist for the Los Angeles Times Book Award. Her poems have appeared in The New Yorker, Ploughshares, Poetry, Black Warrior Review, The Threepenny Review, and elsewhere. Her newest book, The Bower, was published by University of Chicago Press in March 2019. She lives in New Mexico with her husband and daughter.  http://www.connievoisine.com

The Wardrobe’s Best Dressed: Vidya’s Tree by Claire Kageyama-Ramakrishnan

 

 

 

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This selection comes from Claire Kageyama-Ramakrishnan’s book Vidya’s Tree, available from Bull City Press.  Purchase your copy here! Our curator for this selection is Hali Sofala-Jones.

Claire Kageyama-Ramakrishnan was born in Santa Monica, California, and raised in Los Angeles. Claire was an accomplished poet, scholar, teacher, and animal-lover. She received her B.A. in English from Loyola Marymount University in L.A. She went on to earn an M.F.A. in Creative Writing (Poetry) from the University of Virginia, where she was a Henry Hoyns Fellow (under the mentorship of Rita Dove); an M.A. in Literature from the University of California, Berkeley; and a Ph.D. in Literature and Creative Writing from the University of Houston, where she was a Cambor Fellow. She published two acclaimed books of poetry: Shadow Mountain (Four Way Books, 2008) and Bear, Diamonds and Crane (Four Way Books, 2011). Shadow Mountain was the 2006 winner of the Four Way Books Intro Prize in Poetry.

Claire Kageyama-Ramakrishnan passed away in 2016 and is survived by her husband, Raj, and their daughter, Vidya.

Hali Sofala-Jones is a Samoan-American writer. She holds an MFA in Poetry from the University of Wisconsin, Madison and a Ph.D. in English from the University of Nebraska, Lincoln. Her poetry appears in Nimrod International Journal, The Bitter Oleander, CALYX, and elsewhere. She lives and teaches in Milledgeville, Georgia.

The Wardrobe’s Best Dressed: Vidya’s Tree by Claire Kageyama-Ramakrishnan

 

 

 

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This selection comes from Claire Kageyama-Ramakrishnan’s book Vidya’s Tree, available from Bull City Press.  Purchase your copy here! Our curator for this selection is Hali Sofala-Jones.

Claire Kageyama-Ramakrishnan was born in Santa Monica, California, and raised in Los Angeles. Claire was an accomplished poet, scholar, teacher, and animal-lover. She received her B.A. in English from Loyola Marymount University in L.A. She went on to earn an M.F.A. in Creative Writing (Poetry) from the University of Virginia, where she was a Henry Hoyns Fellow (under the mentorship of Rita Dove); an M.A. in Literature from the University of California, Berkeley; and a Ph.D. in Literature and Creative Writing from the University of Houston, where she was a Cambor Fellow. She published two acclaimed books of poetry: Shadow Mountain (Four Way Books, 2008) and Bear, Diamonds and Crane (Four Way Books, 2011). Shadow Mountain was the 2006 winner of the Four Way Books Intro Prize in Poetry.

Claire Kageyama-Ramakrishnan passed away in 2016 and is survived by her husband, Raj, and their daughter, Vidya.

Hali Sofala-Jones is a Samoan-American writer. She holds an MFA in Poetry from the University of Wisconsin, Madison and a Ph.D. in English from the University of Nebraska, Lincoln. Her poetry appears in Nimrod International Journal, The Bitter Oleander, CALYX, and elsewhere. She lives and teaches in Milledgeville, Georgia.

The Wardrobe’s Best Dressed: Vidya’s Tree by Claire Kageyama-Ramakrishnan

 

 

 

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This selection comes from Claire Kageyama-Ramakrishnan’s book Vidya’s Tree, available from Bull City Press.  Purchase your copy here! Our curator for this selection is Hali Sofala-Jones.

Claire Kageyama-Ramakrishnan was born in Santa Monica, California, and raised in Los Angeles. Claire was an accomplished poet, scholar, teacher, and animal-lover. She received her B.A. in English from Loyola Marymount University in L.A. She went on to earn an M.F.A. in Creative Writing (Poetry) from the University of Virginia, where she was a Henry Hoyns Fellow (under the mentorship of Rita Dove); an M.A. in Literature from the University of California, Berkeley; and a Ph.D. in Literature and Creative Writing from the University of Houston, where she was a Cambor Fellow. She published two acclaimed books of poetry: Shadow Mountain (Four Way Books, 2008) and Bear, Diamonds and Crane (Four Way Books, 2011). Shadow Mountain was the 2006 winner of the Four Way Books Intro Prize in Poetry.

Claire Kageyama-Ramakrishnan passed away in 2016 and is survived by her husband, Raj, and their daughter, Vidya.

Hali Sofala-Jones is a Samoan-American writer. She holds an MFA in Poetry from the University of Wisconsin, Madison and a Ph.D. in English from the University of Nebraska, Lincoln. Her poetry appears in Nimrod International Journal, The Bitter Oleander, CALYX, and elsewhere. She lives and teaches in Milledgeville, Georgia.