An update! Check out the psuedo-festive review of Meniscus by Shane Neilson (written by Marcus McCann). An excerpt:

The lines are near iambic, but sway and charge like a drunk, dropping a syllable here, picking up a syllable there. But the most vivid syncopation comes from the repetition of hard consonants. In the first two lines, you get veritable machine gun fire — k-k-g-k-d/k-p-d-t — which all but disappears in the third line (no hard Ks, no Gs or Ps) only to rumble back with “crevasse you crept into.”

Many younger poets use this kind of verbal play to avoid grandiose statements or, sometimes, to avoid making any kind of heartfelt statement at all. Neilson doesn't shy away from big topics, naming abstract concepts like love and hate, life and longing in poem after poem (a confidence he may have picked up from AF Moritz, whom he thanks in the acknowledgments). This results in the odd hiccup, when a Really Big Idea (word caps) crowds out the music and imagery of the poem.

Have a happy and safe holiday everyone!