front cover of The Gospel according to Wild Indigo
The Gospel according to Wild Indigo
Cyrus Cassells
Southern Illinois University Press, 2018
Two dynamic song cycles keep the reader on edge with a timeless and beguiling feast of language that fuses together history, memory, and family. Throughout, Cassells invites the reader to consider the duality of grief and love, as well as the shifting connections between past and present.
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front cover of Is There Room for Another Horse on Your Horse Ranch?
Is There Room for Another Horse on Your Horse Ranch?
Cyrus Cassells
Four Way Books, 2024
Cyrus Cassells has perfected a poetics of merciful vitality and tenderness, celebrating eros — in his daring and prolific representation of lust, yes, but more broadly in his understanding of the erotic as an affirmation and preservation of life — through time and space. Beginning his latest collection with the piece “You Be the Dancer,” he bids us return to sacred sites of nostalgia, insisting on it “whether we’re feeling frisky, /  Empty-handed, / Or still beguiled by inchoate dreams—.” Is There Room for Another Horse on Your Horse Ranch? is the apotheosis of Cassells’s work to elevate the mundane and the bodily to the exalted, his vigorous lyrics a routine ecstasy. Though our senses lay us bare to suffering, they also create the possibilities for pleasure and connection, the basis of — and rewards for — humanity. “My Only Bible,” Cassells pledges, “is this blood-red joy / Of breathing beside you,” “The gospel of bougainvillea / At your boyhood gate” which perfumes “the soul’s endless, luxuriant / Coming and becoming…” Gorgeous and wry in its portrayal of transformational romance and queer selfhood, Cassells’s ninth book of poetry reads as an anthology of love letters to people and places across the world. Cassells revises an old premise: is it better to have loved than lost, or is that love, once bestowed, is never lost? A champion of the flight real intimacy requires of us, Cassells addresses a beloved, “You’ve just died in my arms / But suddenly it seems we’re eternal,” the joie de vivre and bravery of his perseverance made immortal through the poem’s titular declaration — “I Believe Icarus Was not Failing as He Fell.” If in these pages you see the crash, the poet seems to say, remember the flying, too, “the giddy Argonauts we were.” 
 
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front cover of What Saves Us
What Saves Us
Poems of Empathy and Outrage in the Age of Trump
Edited by Martín Espada
Northwestern University Press, 2019

This is an anthology of poems in the Age of Trump—and much more than Trump. These are poems that either embody or express a sense of empathy or outrage, both prior to and following his election, since it is empathy the president lacks and outrage he provokes.

There is an extraordinary diversity of voices here. The ninety-three poets featured include Elizabeth Alexander, Julia Alvarez, Richard Blanco, Carolyn Forché, Aracelis Girmay, Donald Hall, Juan Felipe Herrera, Yusef Komunyakaa, Naomi Shihab Nye, Marge Piercy, Robert Pinsky, Danez Smith, Patricia Smith, Brian Turner, Ocean Vuong, Bruce Weigl, and Eleanor Wilner. They speak of persecuted and scapegoated immigrants. They bear witness to violence: police brutality against African Americans, mass shootings in a school or synagogue, the rage inflicted on women everywhere. They testify to poverty: the waitress surviving on leftovers at the restaurant, the battles of a teacher in a shelter for homeless mothers, the emergency-room doctor listening to the heartbeats of his patients. There are voices of labor, in the factory and the fields. There are prophetic voices, imploring us to imagine the world we will leave behind in ruins lest we speak and act.

However, this is not merely a collection of grievances. The poets build bridges. One poet steps up to translate in Arabic at the airport; another walks through the city and sees her immigrant past in the immigrant present; another declaims a musical manifesto after the hurricane that devastated his island; another evokes a demonstration in the street, shouting in an ecstasy of defiance. The poets take back the language, resisting the demagogic corruption of words themselves. They assert our common humanity in the face of dehumanization.

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front cover of The World That the Shooter Left Us
The World That the Shooter Left Us
Cyrus Cassells
Four Way Books, 2022

In the aftermath of the Stand Your Ground killing of his close friend’s father, poet Cassells explores, in his most fearless book to date, the brutality, bigotry, and betrayal at the heart of current America. Taking his cue from the Civil Rights and Vietnam War era poets and songwriters who inspired him in his youth, Cassells presents The World That the Shooter Left Us, a frank, bulletin-fierce indictment of unraveling democracy in an embattled America, in a world still haunted by slavery, by Guernica, Hiroshima, and the Holocaust, by climate catastrophe, by countless battles, borders, and broken promises—adding new grit, fire, and luster to his forty-year career as a dedicated and vital American poet.

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