Education
College of William & Mary.
(Poetry. In her fourth poetry collection, STAYING ALIVE, L...)
Poetry. In her fourth poetry collection, STAYING ALIVE, Laura Sims envisions the state of the world and of human existence before, during and after the forever-imminent apocalypse. In channeling and sampling works of apocalyptic fiction and non- fiction—The War of the Worlds, The World Without Us, How to Stay Alive in the Woods, and The Road, to name a few—the poems explore multiple world-endings and their possible outcomes, and pose answers to the questions: will we, how do we, and should we stay alive?
http://www.amazon.com/gp/product/1937027627/?tag=2022091-20
( Laura Sims's debut is the work of an organic synthesize...)
Laura Sims's debut is the work of an organic synthesizer, one practiced in the restrained art of listening. Her poems exhibit an attenuation that is akin to devotion: By means of maxim and miniaturization, she sorts and stacks the products of humanness. Memes and phonemes of a haiku-like fineness are thereby invited to break the surface of the page.
http://www.amazon.com/gp/product/0974090999/?tag=2022091-20
( "Laura Sims is a startlingly original poet whose work g...)
"Laura Sims is a startlingly original poet whose work goes very deep, like a well made of animal and human bones mortared together with rubber tires, dismembered books, dismembered dolls, and a lot of other unlikely stuff that draws water from thousands of feet under the surface of the earth."Peter Straub "I don’t know the exact method or intent behind the poems of Laura Sims’s My god is this a man, but I know how they feel: harrowing, probing, troubling, surprising, and often gorgeous. It’s as if Stein and Dickinson had been invited to converse about the effects of serial murder on body, soul, and mind: a strange wonder. The phenomenological and moral turbulence of these poems is matched by their sonic and structural grace, making Sims’s book a profound offering to ongoing, important conversations about the nexus of aesthetics, violence, representation, and empathy." Maggie Nelson "In this minimalist account of the language of killers, Laura Sims creates disturbingly powerful chords of empathy. Reading, we discover ourselves inside the one who begs, For heaven’s / sake catch me /before I kill more.” Like a photographic negative the book shows only the barest lines of its subjects, but in so doing reveals more, and more hauntingly, than full exposure ever can. We don’t want to turn the page, and we do. Looking away is not an option, because we are seduced."Julie Carr Laura Sims's third poetry collection engages the escarpment of the page itself: walled-off phrases set against spare lines on largely empty pages, a proto-graphical representation of thought itself. These poems replicate the psychic fragmentation that's necessary for evil-doing: relationship as crime scene, the folk ballad re-writ for our new cult of mass-shootings, "the quiet and unmeaning" of a natural world wrought horrific . . . From "MURDER SON(G)": Walk into a pep rally with guns. Walk into a Costco with guns. Walk into a coffee shop with guns. Walk into a party store with guns. Walk into a wedding shower with guns. Walk into a weight room with guns. Walk into a living room with guns and say All I want is something small. Laura Sims is the author of Stranger and Practice, Restraint, both from Fence Books, and of Fare Forward: Letters with David Markson (Powerhouse Books). She co-edits Instance Press and teaches literature and creative writing in New York University's School of Continuing and Professional Studies. She lives with her family in Brooklyn, New York.
http://www.amazon.com/gp/product/1934200735/?tag=2022091-20
College of William & Mary.
She is the author of four books of poetry:, My god is this a man, Stranger, and Practice, Restraint (Fence Books). In 2014, powerHouse Books published Fare Forward: Letters from David Markson, compiled and edited by Sims. She has published five poetry chapbooks, including POST- (Goodmorning Menagerie, 2011).
Her poetry has appeared in numerous literary journals, including Aufgabe, Black Clock, Black Warrior Review, Colorado Review, Columbia Poetry Review, Crayon, and Denver Quarterly, among others
She has published book reviews and essays in Boston Review, New England Review, Rain Taxi, and The Review of Contemporary Fiction. Her honors include the 2005 Fence Books Alberta Prize for Practice, Restraint and a Creative Artists Exchange Fellowship from the Japan-United States Friendship Commission in 2006.
Sims is a graduate of the College of William and Mary. She received a Master of Fine Arts degree from the University of Washington.
She is a professor of creative writing, literature and composition who currently teaches at New York University in the School for Continuing and Professional Studies.
She has been a featured writer for Harriet, the Poetry Foundation"s blog, and she is a co-editor of Instance Press with poets Elizabeth Robinson, Beth Anderson, and Susanne Dyckman. She lives in Brooklyn, New New York Interview with Tyler Malone on Full Stop Conversation with Cathy Wagner in The Conversant Interview with Joseph Massey on Studio One blog Spotlight on Coldfront Interview with Kate Greenstreet on kickingwind Tarpaulin Sky review of My god is this a man Rain Taxi review of My god is this a man The Volta review of My god is this a man New York Times review of Fare Forward Chicago Tribune review of Fare Forward Winnipeg Review review of Fare Forward Bookslut review of Stranger Coldfront review of Stranger HTMLgiant review of Practice, Restraint.
( "Laura Sims is a startlingly original poet whose work g...)
( Laura Sims's debut is the work of an organic synthesize...)
(Poetry. In her fourth poetry collection, STAYING ALIVE, L...)