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The Best Poetry of 2021
The Book Review’s poetry columnist, Elisa Gabbert, picks her seven favorite collections of the year.
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By Elisa Gabbert
- Dec. 10, 2021
This year of slow and careful re-emergence has felt, to me, like an odd one for books. There was so much abundance that it taxed our attentions, and even highly anticipated titles seemed to come and go quietly. I wish I had more space to highlight all of the books I read and loved in 2021, but these seven collections were personal favorites, and the ones I most want to share.

BLOOD ON THE FOG , by Tongo Eisen-Martin. (City Lights, 107 pp., paper, $15.95.) Reminiscent of June Jordan in their near -embrace of violence, these poems have a powerful ambivalence about what effect they might have in the world; they are very aware of being poems: “A non-future dripping with real people/I mean, real people … Not poem people.” “I write poems today/I kill america today.” “Has the poem started yet?/I will tuck your shirt into the earth.” The language is visionary, sometimes trancelike. “It takes a violent middleman for me to talk to myself.” “I’m sorry to make you relive all of this, Lord … Lord, is that my revolver in your hand?” “I am weak first/Before anything, I first become weak.” “there goes the poet — killing without killing — don’t mind this.” Words are not the revolution itself, Eisen-Martin seems to say, and yet this book disturbed me more than any other I read this year. It reminds me that poetry can rewire our thinking — can actually change our minds — by using nothing like the rote language we’re so used to hearing in speech and in prose. It can jolt us out of patterns, back into intelligence.
LITTLE ELEGIES FOR SISTER SATAN , by Michael Palmer. (New Directions, 117 pp., paper, $16.95.) It was a good year for our older poets, with new books by legends like Frank Bidart and Louise Glück , and this, with its stunning first sequence of elegies that call to mind Rilke, Celan, Inger Christensen — there’s a way that even poetry written in one’s native tongue already feels translated, as though the language of the mind were always foreign. “Oh, body, where are you going,/body of the earth, lost/double, lost copy of the body/mute body of yesterday/in tomorrow’s shredded cloth?” These are poems about confronting the end, the end of one’s own time and time in general, about repetition (“That is why, each day, when I return/to the illegible page/I must begin again/from the beginning”; “Let us begin, let us begin again/not from the beginning but from the end”) and the paradox of poetry, its ability to say the unsayable, to exist and yet remain unsaid, the utility of futility. “When I think of ‘possible worlds,’ I think not of philosophy, but of elegy. And impossible worlds. Resistant worlds.” “Never beg for mercy/from the poem,/since it can offer none./Do not ask/what language it speaks,/since the answer is none.”
LOVE AND OTHER POEMS , by Alex Dimitrov. (Copper Canyon, 119 pp., paper, $17.) A highly pleasurable, heavily Frank O’Hara–influenced collection in love with moments and New York City and the aesthetics of cyclical ephemerality (see “November”: “Is the first snow just snow./It feels like more”), full of exuberance and wistfulness, longing and joy. The poet is present as a self-referential persona. The last long poem, written over the course of two years in the back of different cabs, is a highlight: “Once I was 19/and now I’m 33 … When I was younger/all I wanted was to be taken seriously./A serious poet! Why not./Now I realize being taken seriously/is as arbitrary as how long you live./I would gladly trade wisdom for youth.”
RETURNING THE SWORD TO THE STONE , by Mark Leidner. (Fonograf Editions, 85 pp., paper, $16.) Leidner is a comic genius, which is to say this book is both hilarious and profound. Every time I have attempted to read “I’m Running for President” out loud, I have cried laughing: “I sew closed the neckholes of my sweatshirts/then sew beltloops along their bottom hems/and slide my legs through the sleeves/because I wear sweatshirts like pants—/and I cut the crotches out of all my sweatpants/for my head to go through/because I wear sweatpants like shirts/with my arms through the legs/and I’m running for President.” But then there are also lines like this: “Life is long for a brief time/then brief for a long time.”
THE SUNFLOWER CAST A SPELL TO SAVE US FROM THE VOID , by Jackie Wang. (Nightboat, 131 pp., paper, $16.95.) Wang is working in a kind of combination of the vivid surrealist, fabulist, scary-funny dream logic of James Tate and something more argumentative, theory-laced, dialectical, like Anne Boyer. The poems employ oneiromancy as strategy, because “interpretation itself is always strategic … politically and personally enabling.” Here dreams are spaces of radical possibility, and as in the real world, the possibilities are sometimes magical (Kant arrives at a party, so “drugs are unnecessary”) and sometimes nightmarish (“You have put yourself at the center of the battle of cosmic forces and lowered your sword./Because you were willing to die, you will be spared./But … /But”) and sometimes both, like dress rehearsals for the apocalypse (“In the dream I was someone clear-headed and focused under pressure. The problem didn’t consume me; all there was to do was solve it”).
THE VAULT , by Andrés Cerpa. (Alice James Books, 85 pp., paper, $17.95.) A teacher once told me that a poem should be like a spider web — if you touch any part, the rest of it will tremble. This whole book feels like that, full of delicate resonance, motifs of color, weather as mood. The “silence in the seam with which to break pills” trembles when we reach “three seamless moments,” whenever anything seems . Consisting of two long poems, open and spacious, it evokes a real sense of lived-through time, of time as a problem to solve over and over. “Nowhere compiles with precision/like dust into books.” “I want the past like a harvest again.” “I couldn’t draw my own face if god asked.” “I feel old/like I’ve only been alive today.” Elegiac and clean and cold, “The Vault,” in its trueness, reminds me of Robert Lowell’s description of Plath’s posthumously published work: It “makes one feel at first reading that almost all other poetry is about nothing.”
WINGS IN TIME , by Callie Garnett. (The Song Cave, 98 pp., paper, $18.95.) There was a period last year when, everyone being understandably miserable, it was fashionable to pre-complain about all the awful books that were surely being written during and about the pandemic, to loudly dread the future when these ill-begotten books would be foisted upon us. As it happens I’ve already read several great pandemic books, this one among them. It refers to itself a few times as “scrappy,” meaning both, I think, resourceful/tough, and fashioned from scraps. (I like the way the word “scrappy” connotes something like crappiness, but in an affectionate way.) Both free and exact, the poems identifiably arise from a specific consciousness, or what we sometimes call a soul. “The virus possibility/is heavy today; I sense a reclamation/Of the past occurring, so remotely,/but what past? … I read about a woman whose life in ninety/Seconds changed./Well, mine is changing/slowly.”
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Formatting a Poetry Collection for Self-Publishing
by Gatekeeper Press | Jul 8, 2020 | Blog , Editing

With the passionate heart that only a poet can possess, you make the bold decision to publish your finest works.
Poets are the artists of the written word, eliciting intense emotional responses, and provoking fresh new insights among their readers. The thought of pulling together a collection of poetry and creating a beautiful book is so exhilarating that you may have forgotten one small detail—how to format a poetry book.
Self-published authors of fiction and non-fiction are well aware of the strict formatting practices that must be adhered to before submitting a manuscript for publication.
Authors of poetry face a variety of different challenges when it comes to understanding poetry book format guidelines. The wise poet will adhere to the poetry submission format to avoid headaches in the publication process later, while still enjoying some creative latitude.
Here’s How to Format Your Poetry Book for Publication
As for the actual poetry book formatting, while industry standards exist poetry manuscripts are provided some leeway for the sake of creativity, similar to art or photography books . The poetry formatting guidelines provide the basic structure for publishing a collection of poetry , however, variations are perfectly acceptable.
Here are step-by-step industry poetry formatting guidelines for publication:
- Use Time New Roman font, 12 point
- Include a title page with the capitalized title halfway down the page, and the author name below it
- Margins are one-inch all around, however, manuscripts can use up to 2.5” margins
- Pages should be numbered
- The manuscript can be grouped in chapters or sections or both
- Include a table of contents
- Poems should be single-spaced, with double spaces between stanzas
- Indent the lines that would otherwise continue across the page, although some prefer to align all text left
- Each poem should be on a separate page
- Use page breaks at the end of each poem instead of hard returns
Once you have formatted your collection of poems, it is advisable to enlist the priceless services of an editor and proofreader.
Being swept up in the crafting of rich poetry can sometimes blind the poet from the rudimentary elements of syntax or even pesky typos. This is where the editing professionals can step in and fine-tune for the perfect poetry submission format. Once edited, the formatter will then select attractive fonts and add graphic touches or photography,. This step isn’t required but it increases the visual appeal of the manuscript before it goes to print.
Poetry Format Examples to Follow
It’s one thing to learn how to format a poetry book. However, sometimes actually executing the project leaves you scratching your head. This is where some handy visuals can be immensely helpful. Just seeing some finished examples of the poetry book formatting process can provide additional guidance:
- Poems from 100 Poems by e.e. cummings demonstrates wider-than-standard margins, as well as creative spacing.
- Poems from Love Her Wild: Poetry by Atticus demonstrates the use of mixed margins and the addition of a photo image to provide a visual.
- A selection from Elizabeth Barrett Browning’s Sonnets From the Portuguese aligns all text left, versus indenting portions of the lines.
- Poems from The Sun and Her Flowers by Rupi Kaur use only lower-case lettering, alternative word formatting, and graphics.
- Maya Angelou’s The Complete Poetry demonstrates classical indented formatting and wider margins. The page break allows poems to end mid-page and a new poem to follow on the following page.
- Lunch Poems by Frank O’Hara uses creative indented blocks.
- A table of contents, such as in Robert Frost’s Poems helps to arrange the material for the reader into themes or sections.
Take Control of Your Poetry Formatting
An author of poetry has a very specific vision for their poetry collection. This may include unique typesetting that further enhances the essence of the poems themselves, or just provides an interesting creative visual effect.
Using a self-publishing house, such as Gatekeeper Press , allows the author to maintain creative control over their project while still enjoying the many benefits of having a partner in the editing and publishing process . Gatekeeper Press takes care of the formatting in a professional manner and according to best standards, allowing you to focus your attention on writing poetry.
Reach out to Gatekeeper Press today for invaluable guidance on how to best format your poetry.
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Poetry booklet
Create a poetry anthology for your class, school, or community with this elegant poetry booklet template. You can use this poem writing template to collaborate in creating poems, adding pages, author bios, and pictures. When the poems are finished, publish your collection with this print-friendly poetry booklet template.

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Trail: Paper Poetry Pop-Up Novelty Book – Pop up, October 2, 2007
- Hardcover $18.20 16 Used from $18.20 4 New from $55.35
- Reading age 3 - 7 years
- Print length 12 pages
- Language English
- Grade level Preschool - 2
- Dimensions 9 x 2.3 x 9 inches
- Publisher Little Simon
- Publication date October 2, 2007
- ISBN-10 1416948945
- ISBN-13 978-1416948940
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- Publisher : Little Simon; First Edition (October 2, 2007)
- Language : English
- Novelty Book : 12 pages
- ISBN-10 : 1416948945
- ISBN-13 : 978-1416948940
- Reading age : 3 - 7 years
- Grade level : Preschool - 2
- Item Weight : 1.17 pounds
- Dimensions : 9 x 2.3 x 9 inches
- #2,371 in Poetry for Early Learning
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BookBaby > Book Printing > Book Styles & Genres > Poetry Book Printing
Poetry Book Publishing & Printing
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How to Create a Book of Your Original Poetry
Last Updated: August 4, 2021 Approved
This article was co-authored by wikiHow Staff . Our trained team of editors and researchers validate articles for accuracy and comprehensiveness. wikiHow's Content Management Team carefully monitors the work from our editorial staff to ensure that each article is backed by trusted research and meets our high quality standards. wikiHow marks an article as reader-approved once it receives enough positive feedback. In this case, 81% of readers who voted found the article helpful, earning it our reader-approved status. This article has been viewed 125,741 times. Learn more...
Your poetry may be appreciated by others when it is thoughtfully assembled into a collection. If you want to create a poetry book, you have various options. If you're making a gift for a friend, or simply want your work assembled in a nice book, consider making your own book. Book binding is not as difficult as you would think with a little time and dedication. You can also assemble a manuscript to send to a publisher. If you're not sure your book would work for a conventional publisher, look into the self publishing route.
Organizing Your Project

- You can choose whatever size paper you would like, but it's a good idea to use nicer paper than conventional printer paper. Manuscript quality paper can be purchased online or at a print shop. You can also consider browsing paper supplies at a local craft shop. You may find a nice quality paper you feel would look great in your book.
- If you intend to type and print your poetry, make sure you are able to print on the paper you choose. Some craft papers may not go through a printer, and you may have to go to a print shop to print on manuscript papers.
- Once you've chosen your paper, type and print your poems or hand write them out on the pages.

- Try to group poems by tone or theme. If you have a series of nature poems, group them together. You may have two poems that present opposite ideas, but are in conversation with one another. You can pair these poems side-by-side to make the connection apparent to the reader.
- Go through your pages and watch out for any weak poems. If you're not in love with a certain poem, either revise it or leave it out of the manuscript altogether.

- 2 sheets of sturdy cardboard, which you want to cut into the exact same size as your pages. This will serve as the cover.
- Decorate paper to place over the cover
- A heavy duty hole puncher
Assembling Your Book

- Take the decorative paper you purchased at the craft store. Use your ruler to draw a rectangle on the backside of the decorative paper. The rectangle should be 1.5 inches longer and 1.5 inches wider than the pages of your manuscript.
- Once you've drawn the rectangle, use your scissors to cut it out. You should be left with a cover page that's slightly bigger than the pages of your manuscript, as well as the two pieces of cardboard.
- Go slowly as you cut. You want your rectangle to have fairly even ledges.

- You can mark your border on the backside of the cover page using a ruler and pen.
- Draw two horizontal lines 3/4 inch into the bottom and top edges of the cover.
- Draw two vertical lines 3/4 inch to the left and right edges of the cover. This should create a 3/4 inch border surrounding the cover page.

- Do not apply glue to the paper. Glue can cause the paper to wrinkle and swell up.
- Repeat this same process with the back cover.

- Once the glue on the corners has dried, fold the sides of the cover over, so the cover is securely wrapped around the cardboard. Glue these sides in place as well.
- Repeat the same process with the back cover.

- Glue each rectangle to the backside of the front and back covers.
- The rectangles should cover up the cardboard, giving your inside cover a pretty appearance.

- Place your book face up on a flat surface.
- Along the left side, punch one hole 1.5 inch from the top of the book. Punch another hole 1.5 inch from the bottom of the book. Both of these holes should be half an inch in from the book's spine.

- Take the ribbon coming out of the bottom side of the book's top hole. Pass it over so it's on top of the book again and thread the ribbon through the the bottom hole. Loop the ribbon back to the top of the book. Feed it through the bottom hole again, and pull until tight.
- Wrap the ribbon underneath the book. Loop it over the top of the book, and feed it through the bottom hole again. Feed the ribbon through the top hole once more. There should be a criss-cross pattern running along the spine of the book.
- Wrap the ribbon over the top of the book. The ribbon you've been threading should be next to the other side of the ribbon you left when you began threading. Tie these two ends together in a tight knot, and tie the knot into a bow. Your book is now complete.
Preparing a Manuscript to Send to a Publisher

- Comb over your manuscript and scrutinize each poem. Does it convey what you're trying to convey? Is the language effective? Does it help you adequately express your central theme or idea?
- Watch out for typos and basic errors as well. You should only send out a manuscript that has been thoroughly proofread.

- Think of your book as the final poem in your manuscript. Just as a poem progresses logically based on theme and meter, your poetry book should have a flow to it. Figure out a rhythm that works for you. Should shorter poems come first, with longer ones in the middle, and finishing off with shorter ones? Or do you want a beat that varies, moving from a short poem to a long one?
- See if you notice any relationships between poems. Do certain poems speak to one another? A poem about life, for example, may pair well with a poem about death and rebirth. You could try pairing these poems together in your manuscript.

- Do your poems seem to have different themes throughout? Are there certain poems that are all about nature and its decay? Are a handful of poems about rebirth?
- If your poems seem to be easily divided based on theme, think about dividing your poetry book into different sections. Think of each section as a separate poem, and try to organize sections based on things like rhythm, meaning, poems that speak to each other, and so forth.

- It may be helpful to print your manuscript out for this process. If you dislike the organization in one section, you can easily switch a few poems around and reread. See if you like the new section better.
- If you find any weak poems, simply remove them, especially if they are unnecessary to the thematic progression of your work. You want your manuscript to reflect the best version of yourself and your poetry. There is no room for weak work.

- Some publishing houses accept electronic submissions. If this is the case, make sure you send your files in the proper form. Many publishers will want a PDF file over a word document. If you're mailing your poems in, make sure you follow guidelines for binding. A publisher may also want a self addressed stamped envelope included with your manuscript.
- You will probably have to write a cover letter explaining your credentials as an author, and giving a brief overview of your collection. Here, mention anything that would give you an edge over potential competition. For example, mention if you attended a prestigious MFA program or won any literary awards.
Self Publishing a Poetry Anthology

- Seek input from others. Have trusted friends, or any colleagues you have from college or an MFA program, read through your collection. Ask them if they think it's polished and professional, and whether they would pay for a book like this. If you get lukewarm feedback, you may want to reconsider self publishing. Try to work on your poetry for a few more months before publishing your book.
- It may also be worth your time to hire a proofreader. Self-published books do not go through as strict an editorial process, and many writers find it difficult to catch their own errors. Careful proofreading is important, as a work with grammatical errors can reflect poorly on you as a writer.

- Self-publishing services will print however many copies of your book that you want, for a fee. Print-on-demand services will take a PDF copy of your manuscript, for a fee, and print copies of your book when a potential reader places an order. You are completely responsible for marketing and selling your book with these kinds of companies.
- In addition to browsing the costs from various companies, consider other costs. Marketing your book may cost money. If you're unable to do graphic design on your own, you will need to pay a graphic designer to design your cover.

- You need to have some kind of cover art for your collection. If you do not know how to design a cover on your own, you will either have to hire a graphic designer or have a friend help you.
- You will have to figure out how to format the book properly for the publishing company you're sending it to. You can check guidelines online.
- Self-published collections are usually not edited. You will want to make sure you edit all your content carefully to make sure your manuscript is free of spelling and grammatical errors.

- Once you send in your material, you should receive a copy of your book of poetry within a certain timeframe outlined by the company. Once you receive your book, you will have a book of poetry to share with your friends and loved ones.
Community Q&A

- A copyright for your work is automatically granted to you based on your assembling the collection. However, if there is a chance someone else might use your work without crediting you, register the book with the U.S. Copyright Office. Forms are available at http://www.copyright.gov/ The current fee is $45.00. ⧼thumbs_response⧽ Helpful 0 Not Helpful 0

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- ↑ http://www.homemade-gifts-made-easy.com/how-to-make-a-book.html
- ↑ https://jeffreyelevine.com/2011/10/12/on-making-the-poetry-manuscript/
- ↑ http://www.pw.org/content/selfpublishing?cmnt_all=1
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Here are step-by-step industry poetry formatting guidelines for publication: Use Time New Roman font, 12 point Include a title page with the capitalized title halfway down the page, and the author name below it Margins are one-inch all around, however, manuscripts can use up to 2.5” margins Pages should be numbered
Poetry booklet Poetry booklet Create a poetry anthology for your class, school, or community with this elegant poetry booklet template. You can use this poem writing template to collaborate in creating poems, adding pages, author bios, and pictures.
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We offer both softcover and hardcover poetry book printing options in a variety of sizes and paper stocks. Poetry and chapbook printing and binding options include: perfect binging, or hardcover (case bound). We can print from your PDF or even design your book cover and book interior. Here are some of our most popular styles of poetry books:
The first step to making your own poetry book is getting your manuscript ready. To do so, you'll have to write out or type your poems up on individual pages. These pages will later be bound into a book. [1] You can choose whatever size paper you would like, but it's a good idea to use nicer paper than conventional printer paper.