Boris Dralyuk
@BorisDralyuk
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Following
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My Hollywood & Other Poems @PaulDryBooks; translate Babel, Zoshchenko, Kurkov, et al.; odds & ends @nybooks, @TheTLS, etc.; teach @utulsa; EiC @NimrodJournal
Tulsa, OK
Joined August 2021
It feels right to see the faces of so many hopeful and weary, desperate and giddy men just outside the gates of success on the cover of SIDETRACKED. Voloshin’s poignant, funny poem ennobles their dreams and struggles as much as it does his own. Thank you, @PaulDryBooks!
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As a Swedenborgian I’m biased, but “Swedenborg’s Skull” is phenomenal too.
Watkins was a great elegist, who spoke with unusual power of and to the dead. Here he mourns and apostrophizes the “Queen of the Serials,” Pearl White. Note the Shakespearean “Arras,” the Miltonic “Pandemonium,” the Donneish “doomed, drowned, daggered.” Hollywood dignified.
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Watkins was a great elegist, who spoke with unusual power of and to the dead. Here he mourns and apostrophizes the “Queen of the Serials,” Pearl White. Note the Shakespearean “Arras,” the Miltonic “Pandemonium,” the Donneish “doomed, drowned, daggered.” Hollywood dignified.
Those who read or hear a poem should remember that a good poem has two audiences; it is addressed to the living and the dead at the same time. If a poet dismisses the living he becomes morbid. If he dismisses the dead he ceases to be a prophet. – Vernon Watkins
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PTA’s versions are neat and all, but I maintain that George Axelrod’s LORD LOVE A DUCK (1966) is the best Pynchon adaptation we’ll ever get. How they managed to make it the same year that CRYING was published I’ll never know. How did they make it at all? https://t.co/8dBR2FZ5Tu
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Congrats @Othuke__Umukoro (ps I always look forward to the poetry you share here!)
I'm so happy to share that author copies of my debut poetry collection, Fenestration, are here, which means your pre-orders are on their way. I'm grateful to everyone who made this child's birth possible. Isn't she lovely? Come, celebrate with me. Order: https://t.co/MLj9VGyQmP
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I love the mellifluous movement of these lines, which meditate on and mimic the transition of night into day, of season into season, of experience into memory. Poured gold.
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I love the mellifluous movement of these lines, which meditate on and mimic the transition of night into day, of season into season, of experience into memory. Poured gold.
Today our newsletter readers received two vivid, meditative poems from Rowan Ricardo Phillips’s new sequence, “Gold.” These appeared in our Summer 2025 issue.
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I have just finished reading, if that’s the word for it, @DoubleEBooks’s “book that tells the bones that someone has been looking for them.” It is a work of hair-raising love for those who have become “living letters on the other side of grammar.” There is nothing else like it.
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It's great to meet one of your favorite authors at the Book Fair! Maybe one day we'll get him to visit Kensington! Great to meet @AKurkov in person! #bookswelove #booksbooksbooks just missing @BorisDralyuk (but a different translation was on display)
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Fady Joudah (@FadyJoudah) received the 2025 Lenore Marshall Poetry Prize for the most outstanding poetry published in the United States in the previous year for [...]: Poems. The award comes with a prize purse of $25,000 and a residency at Glen Hollow in Naples, New York. Hayan
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Read my essay on de la Selva here: https://t.co/WgvgDV65VO
liverpooluniversitypress.co.uk
Billions of dollars pumped into one Latin American nation, gunboats deployed off the coast of another—it all brings to mind a 1918 anglophone poem by Nicaragua’s Salomón de la Selva (1893-1959), with whom Millay, by the way, “had gone back and forth all night on the ferry.”
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Little-known fact: Salomón de la Selva was a drinking buddy of Pope John XXIII (before he was Pope).
Billions of dollars pumped into one Latin American nation, gunboats deployed off the coast of another—it all brings to mind a 1918 anglophone poem by Nicaragua’s Salomón de la Selva (1893-1959), with whom Millay, by the way, “had gone back and forth all night on the ferry.”
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Today over on the s---- I’ve written about a poem by Michael Longley and the questions it raises about obscurity, in-jokes and what makes a poem work. Link in bio and first reply.
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Billions of dollars pumped into one Latin American nation, gunboats deployed off the coast of another—it all brings to mind a 1918 anglophone poem by Nicaragua’s Salomón de la Selva (1893-1959), with whom Millay, by the way, “had gone back and forth all night on the ferry.”
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Kenneth Fearing,“Andy and Jerry and Joe” We watched the crowd, there was a murder in the papers, the wind/blew hard, it was dark, (a #noir masterpiece: @BorisDralyuk)
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Sharing @BorisDralyuk's excellent genealogy of noir poetry in @readliberties again. It focuses on the work of Kenneth Nearing, Alfred Hayes, and (my personal favorite) Weldon Kees. As Boris suggests, they may offer clues to the poetry of the future. https://t.co/UtD5573ulZ
libertiesjournal.com
Lovers of noir are generally aware that the term was initially applied to the works of a set of US authors and filmmakers in retrospect, from afar, when the French were first granted access to films...
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Grateful to @StevenEKnepper and the rest of the crew at @newversereview for publishing "Universal Monsters" in the new Halloween issue! It's a three-part sonnet sequence that quietly updates several classic movie monsters to the new horrors of AI creators, purveyors of internet
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The Big Clock mentioned 🕰️🕰️🕰️
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My man @BorisDralyuk in @readliberties
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Ha! Lovely!
I’ve always thought of myself as a Bill Holden type—and here I am, typing away on a subject close to my chintzy, shopworn heart…
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I am obscenely blessed that it is my JOB to work with and learn from brilliant writers -- it's such a particular joy when they introduce me to ones I didn't know about it and teach me how to understand them. Read @BorisDralyuk on Noir poetry!
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