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Comment

“These poems have a lexicon and language all their own. They build each body—body of person, body of land or sea—with a precision and a sensuality that comes from understanding there are more than five senses. A reader is given the gift of feeling the silences, the touches, the strengths and tendernesses of these bodies. The energy in the poems is quiet yet palpable, as if writing them down was a risk, a danger—as poems should be, maybe—a danger to see, to feel, to return to in memory or imagination.”

—Natalie Diaz (award citation)

“[…] an ambitious exploration of what music is, what it conjures, and what it becomes amid the urgencies of lived experience. In Eaton’s capable hands, music becomes a poignant accompaniment to grief and fear, and a vehicle for departure, or deliverance.”

—Tracy K. Smith (award citation)


Interview

“Reading the Bones”— with Charles Wright, Virginia Quarterly Review

“Approaching his work from almost anywhere in his oeuvre, one finds it as stained glass through which a novice may glimpse his literary zodiac—Emily Dickinson and Gerard Manley Hopkins, Paul Cézanne and Georgio Morandi, St. Augustine and the Gnostics—gathered at the same table. Perhaps no other living poet has yoked the tangible and the intangible with such devotional practice. Wright has written a necessary body of work, a star map of the self…”

“From the Irish Troubles to Trump’s America: Talking Politics and Poetry with Andy Eaton and Philip Metres”

“There’s a traditional binary, “what side are you on” conversation, but that’s a hard one for outsiders […] and you have to just transcend it.”

“Language Terrifies Me” — Sam Murphy, Headstuff.org

“Living in Northern Ireland has been […] a high context culture, but there are many acute ways where I’ve gotten to learn how I think and how this is different…”

Q&A w/ Little Magazine Collection: University of Wisconsin-Madison

“I spent a lot of time holding someone else’s notebooks and photographs and records and making them safe. But for what and for whom? I don’t know and might never know. So in that way, it’s like writing.”