Reviews and Blurbs


‘Am I accountable for these histories?’ writes Megan Fernandes in her memorable poem ‘Archives.’ Yes and no—her fresh, embracing imagination attends to several continents, many languages and cultures, with the originality of one who looks at a piano from below, seeing the ‘woody spirit of the instrument,’ its cavern and brackets, attentive to the sound of ‘the chimptas, fire gongs with bells’ and ‘the swampy Goa.’ (‘The Piano and the Ivy.’ ) A book of pleasures, wild inventions and profound clarity.”

Robert Pinsky, Poet Laureate of the United States (1997-2000)

“In these limpid poems, Megan Fernandes finds her way back to roots and origins, even as she charts our many topographical, dreamed, amatory, and atomic detours. ‘Touch everything,’ she entreats, ‘Tell me about the broken terrain.’ It is the poem’s job to graph and weave from here to there and back again, and this she does, returning with much-needed news of our follies and fortunes.”

—Eleni Sikelianos, author of Body Clock and The California Poem

“Megan Fernandes’ poems sizzle with imagination and wordplay. Crab nebula, astroid octopi, wild orchids, Baudelaire and Faulkner, “measles, beetles, and boxed apple juice”—there’s nothing her poems can’t celebrate and combine in spicy variations. But at their core, Fernandes places elemental nourishment. In dazzle and darkness, in frolic and sober assessment, these poems craft shapes that matter.”

–Rosanna Warren, Chancellor of the Academy of American Poets (1999-2005)

“From Megan Fernandes you can learn that language has an energy of its own, much like the (Kinetics) of a pink leaf, running somehow parallel to us, able sometimes to be spooned up & turned over, like the air, or different coloured light, in the hands of only the very carefulest listeners and observers—like Fernandes. You can learn how adjectives are palpable as meat and why young women cheat and about pennies from Yeats’ poems. You can learn what queens do with little boys behind blue-rutted buses; about dinosaurs & neurons and the catastrophe of gestures. You can learn about the soft anger of the poet & certain other overlooked corners of the brain; about movement & food stuffs & ontologies & joy. She can teach you all this.”

-Emily Critchley, University of Greenwich 

“Neurons, synapses, matter, planets and energy describe memories and their relation to the present tense. ‘The sounds grows.’ Imagine a poetry that anthropomorphises cellular process, that excavates the operations beneath ontology, which is philosophy, which is a body in motion, sense organs all open: this is that. Organ Speech is provocative, lyrical, suspenseful, exciting, sexy, and full of ideas. TOUCH EVERYTHING.”

-Marianne Morris



“Megan Fernandes’s debut collection of poems, The Kingdom and After is a an enquiry into such historical reality, of development and debris, with particular critique of colonization as widely noted in the 20th century and continuing. Readers may notice a certain kind of inflection, a turn in modality, and synesthesia in Fernandes’s craftsmanship while content wise, the poems are surely thought provoking as they render a patchwork of time, space, histories, psychology, communities and intimacy- often times, not limited to lovers but absolute strangers…”

-Linda Ashok, The Rumpus 

“Fernandes engages us in her narratives unapologetically and sometimes without permission, but we walk away unable to keep from mulling over her words, her reasons for wanting us to see the things she has seen. Her reflective voice is present from beginning to end, though she is skilled at camouflaging it with blunt dialogue and lines that seem to trail off into thin air; making The Kingdom and After read as a box of old letters to home, fully immersing us in her unparalleled verse…”

-Alyse Richmond, The Coal Hill Review 

The Kingdom and After is surreal, intense, and intimate. Fernandes understands the power of the written word and uses it to not only illustrate the everyday—like, walking down the streets of Boston— but also brings to focus the perverse goings on in the quietest corners of the world. Wondrous and heartbreaking, The Kingdom and After is woven with subtlety and intricately placed lines of poetry that pull apart the layers of society to show what lingers behind the seemingly mundane.”

-Nav Nagra, Room Magazine 

“Fernandes’ varied collection must be read as such, as the stylistic and emotional motions ebb and swell to shape a narrative, fractured but intuitively legible, particularly for me as a diasporic reader. Through skillful metaphors, sometimes unnerving imagery, and tentative literary antidotes to political pain, Fernandes creates moments of bliss throughout the complicated and sticky journey upon which she embarks. She’s taken time to imagine new ways of navigating broken and layered terrains, and I would highly recommend it. – See more at:”

-Broken Pencil Magazine 

“It is exciting to discover a new poet and a new press. Megan Fernandes is a sophisticated and sensitive writer, and her poems are, by turn, surprising, vivid and affecting. Organ Speech is unnervingly good.”

-Sabotage Review