For Nathan Hoks, a poem is a verbal nest, a weave of various scraps and strands inside of which something incubates. In Nests In Air, he makes this definition manifest by blending research of animals' nest making habits with poetic forms that create vivid imaginative spaces. Structured sets of four poems followed by suites of four images, the poems and images weave together, creating a nest of sorts. These poems are personal and political, social, and ecological, marked by conflict, contradiction, and uncertainty. Open the book and enter a space where "the slippery outline that haunts the soap / And the twisty timeline ghost-riding through me."

Reveilles, Nathan Hoks' first collection of poems, re-imagines a tempered surrealism for the twenty-first century. Hoks combines dream-like sequences with flashes of reality-in fact, rather than escaping the world for the rich pleasures of dreams, Hoks' poems often move from the landscape of dreams into a beautiful reality. Lovely and love-struck, these fiercely witty and wildly imaginative poems-including meditations on icicles and a "listless oboist" with "no note for green"-manage to transform into love poems before our eyes. Formally various and rhetorically questioning, Hoks' restless, death-tinged poems keep asking, "Why do I suddenly feel so sentient?". Hoks' speakers "like to walk / behind these prop-like thoughts" only to recognize they will soon become "the up-and-coming moss." Fusing deadpan humor with subtle emotional registers, the "laughing angel" in this book reminds us: "The sky holds nothing to the ground."

Selected as a winner of the National Poetry Series by Dean Young John Ashbery called "Reveilles," Nathan Hoks's debut book, a "dazzling" collection and Hoks a poet whose "fine gradations of observation turn the reader into a barometer of strong subtleties like those of the weather, that can be minute even as they affect us powerfully." The poems in Hoks's new book, "The Narrow Circle," perform a similar magic. In associative lyrics and fabulist prose, Hoks explores inner and outer experiences. The poems frequently focus on the body as a membrane where everything becomes inside-out--where the "face disperses with angels of teeth and loam," where "sky comes out of the mouth," where a giant green worm "burrows a hole in the head," and where the heart is a vestibule that cannot be closed. Suites of pictures within the text further delineate this inward-outward pull, offering visualizations of interior voices and sketches of exterior shadows.