“In a time when literary review venues have been shuttering or shrinking, Pin is a highly welcome new space! Not only will it be a place for us to publish and read thoughtful reviews, it will also feature essays about writing and poetics. We need to be able to think with each other, to learn from each other, and to challenge each other. All gratitude to Antiphony for taking this leap.” —Julie Carr

“Since its arrival just a few years ago, Antiphony Press has grown into the promise its name suggests. We find an ever-expanding chorus of voices in conversation with each other, a call and response music that grows, that is always more than the sum of individual parts. We find community. Inevitable that Pin would join the conversation - a drifting, rhizomal, contemporary, independent, thoughtful, generous, expansive exploration of poetry and poetics. This beautiful journal is an invitation I am happy to receive."—Adrian Lürssen

“I like to think to review is still to re-view, but quite often that's not a given and it takes a “pin” to view that again. The first issue of ‘Pin//a journal of contemporary poetics re-views the “many systems of derangements” across public and private, personal and political, “the language-protocol of diagnosis” “or am I / surviving just barely, if at all,” touch as moving around inside-inside-poems, particular ruins, chimeric dialogues, and reading being “a day dissimulating as text and so compressed into slightly more than a half hour”—or else just say: call and respond: antiphony.”—Yiannis Andronikidis

“Pin fills a niche in our waning landscape of literary review journals, offering a platform—an amphitheater—for discourse in poetics and intermedial criticism. What thrills me about the porous, polyphonic essays in the summer issue is that the writing engages in a conversation with the authors of the essays themselves as well as readers of the journal: Dean Rader on Hock E Aye Vi Edgar Heap of Birds begins on page 1 with the statement, “I don’t always know what makes a poem,” while the title of Stella Corso’s essay is “A Poem Is a Speculative Ceremony, a Strange Choreography.” In theatrical dialogue, Joseph Byrd’s narrator starts off by stating, “This is not a review, it is an amphitheater…” Each of the nine works housed in Pin // a journal in contemporary poetics is, I would add, filled with the bones and blood of poems themselves. A boon to the poetry community.”—Martine Bellen