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<i>Past praise for David Wojahn</i> Wojahn does not settle for some vague ameliorative 'forgiveness'; he is capable of white-hot political outrage. Furthermore, he is willing to insist on the moral and political necessity of outrage. What he does do, with tonic results throughout this beautiful book, is to render the limits and imperatives that make us human. Like [Muriel] Rukeyser, Wojahn writes poetry for grown-ups; no patience for evasion, no low-stakes sentiment about the past; no drifts to inattention. No excuses. --Linda Gregerson in <i>American Poets</i> on <i>World Tree</i>

<i>Past praise for David Wojahn</i> Wojahn does not settle for some vague ameliorative forgiveness; he is capable of white-hot political outrage. Furthermore, he is willing to insist on the moral and political necessity of outrage. What he does do, with tonic results throughout this beautiful book, is to render the limits and imperatives that make us human. Like [Muriel] Rukeyser, Wojahn writes poetry for grown-ups; no patience for evasion, no low-stakes sentiment about the past; no drifts to inattention. No excuses. Linda Gregerson in <i>American Poets</i> on <i>World Tree</i>

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David Wojahn is the author of Spirit Cabinet, The Falling Hour, Late Empire, Mystery Train, Glassworks, Icehouse Lights, Interrogation Palace, which was a finalist for the Pulitzer Prize, and World Tree, winner of the Lenore Marshall Poetry Prize and the

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