C.D. Wright has described Roberson’s work as “lyric poetry of meticulous design and lasting emotional significance," comparing its musical qualities to the work of saxophonist Steve Lacy, jazz pianist Thelonious Monk, and composer Johann Sebastian Bach.

Tracing the impacts of militarism on the American landscape, through the lens of art, environmental studies, and politics Devour the Land considers how contemporary photographers have responded to the US military's impact on the domestic environment since the 1970s, a dynamic period for environmental activism as well as for photography. This catalogue presents a lively range of voices at the intersection of art, environmentalism, militarism, photography, and politics. Alongside interviews with prominent contemporary artists working in the landscape photography tradition, the images speak to photographers' varied motivations, personal experiences, and artistic approaches. The result is a surprising picture of the ways violence and warfare surround us. Although most modern combat has taken place abroad, the US domestic landscape bears the footprint of armed conflict-much of the environmental damage we live with today was caused by our own military and the expansive network of industries supporting its work. Designed to evoke a field book and to nod toward ephemera produced by earlier artists and activists, the catalogue features works by dozens of photographers, including Ansel Adams, Robert Adams, Dorothy Marder, Alex Webb, Terry Evans, and many more. Distributed for the Harvard Art Museums Exhibition Schedule: Harvard Art Museums, Cambridge, MA (September 17, 2021-January 16, 2022)

The winner of the Drinking Gourd Chapbook Poetry Prize, Rodney Gomez's collection "Mouth Filled with Night "employs familiar emblems of Mexican American identity to repeatedly subvert expectations while intensifying the dilemmas of affiliation. The poems run beyond more conventional ideas of agency, identity, and experience, creating a newly invigorated imaginative space. As a collection, "Mouth Filled with Night "gains particular momentum--a pitched anxiety that slowly grows throughout the volume--to create a poetic experience unique to the chapbook form.

Etai-Eken is a legend told in a series, a cycle of poems, which is to say, told in different languages. The action of the poems in the poem is their moving in and out of the legend by the changes of access to the larger legend; an access of the present in the ancient, of the present’s knowledge and experience of it.