Poet Lore and The Writer’s Center present a FREE virtual chat about the craft of poetry! We’re joined by poets Asa Drake to discuss her debut poetry collection, Maybe The Body and Laura Cresté, author of In the Good Years. These poets are in conversation with Emily Holland, poet and editor of Poet Lore, America’s oldest poetry journal.
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Asa Drake is a Filipina/white poet in Central Florida. A 2024 National Poetry Series finalist, she is the recipient of fellowships and awards from the 92Y Discovery Poetry Contest, the Florida Book Awards, the Rona Jaffe Foundation, Storyknife, Sundress Publications, Tin House, and Idyllwild Arts. Her poems have been published with The Slowdown Podcast, The American Poetry Review, The Paris Review Daily, and The Georgia Review. A former librarian, she currently works as a teaching artist.
Laura Cresté is the author of In the Good Years (Four Way Books, 2025) and You Should Feel Bad, winner of a 2019 Chapbook Fellowship from the Poetry Society of America. She holds an MFA from New York University and has received fellowships and other support from the Fine Arts Work Center in Provincetown, the Sewanee Writers’ Conference, the Tin House Summer Workshop, the Community of Writers, Monson Arts, and the St. Botolph Club Foundation. Her work has appeared in The American Poetry Review, Bennington Review, Best New Poets 2023 & 2025, The Cortland Review, The Kenyon Review, Poetry Northwest, The Yale Review, and elsewhere. She lives in western Massachusetts.
About Maybe The Body
A brilliant debut poetry collection by National Poetry Series finalist Asa Drake that explores the lineage and future lineage of a body shaped by economic, ecological, and political dissonance.
In her stunning debut poetry collection, Maybe the Body, Asa Drake witnesses firsthand the conflicts between art and patriotism, labor and longing. She reaches for the lush landscapes—real and recounted—of the Philippines and the American South as she traces the lineage of a body shaped by economic, ecological, and political dissonance. As one poem reminds us, “it’s so hard to write about love without writing about the country we live in.” These thirty-eight poems, threaded together with a six-part braided sequence, bind a multigenerational conversation between grandmothers, mothers, and aunts through a range of forms, from pantoums to prose poems. With its vivid imagery and an unforgettable lyrical perspective, Maybe the Body reconsiders the “natural” transactions of work, intimacy, and the poem itself.
About In the Good Years
A high-lyric historian of the human project, Laura Cresté fixes her scrupulous gaze on the interwoven threads of this distressed anthropocene era, taking in the whole cloth of our globalized societies while recording the singular details of our individual lives and most intimate relationships–their intricate embroidery, characterizing stains, and fraying hems. In the Good Years confronts a painful family legacy, returning to the violent artistic censorship of Argentina’s military dictatorship, her relatives’ survival of a Dirty War death camp, and the scattered paths of their migration to safer ground. In reconstructing the past, Cresté resists the individualistic contraction of the coming of age model, not merely solidifying the psychological actualization of a single person as they enter adulthood but discursively expanding the notion of self, discovering the boundaries of identity as they overlay the seams of the broader world. These poems exist because of a narrowly avoided fate, and they bristle with the wild energy of improbable existence even as they touch on seemingly unrelated and often ordinary things: a roast chicken recipe, an aunt’s questionable romantic advice, flea-ridden dogs, high school parties, waitressing at a dive bar, drowned newts in the swimming pool, unruly tomato plants, horseback riding. This stunning debut champions that ravening, relishes the external and internal wilderness of the surrounding environment and our own human nature, and honors appetite as an opportunity to savor each bite for as long as we get to sit at the table. Throughout, these poems keenly subvert experience and memory, asking how we will remember this moment, and if the blessing of being here means we are somehow, even now in all the present’s suffering, living in the good years.
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