LATEST VOLUME


A Better Place Is Hard to Find
(The Song Cave, 2020)

“Aaron Fagan’s A Better Place Is Hard to Find contains some of the finest poems I’ve read in years. At once fluid, blistering, and visionary, Fagan’s poems are marvels that I admire for their beauty, their craft, and their fearlessness in the search for truth. What a poet!”

“Witty, inventive, surprising, uplifting, but also drawn to probe the darker recesses of the human psyche, the poems collected here reveal Aaron Fagan at his most compelling. This volume will surely enhance his status as one of the brightest stars in the American poetic firmament.”
—Mark Ford

A Better Place Is Hard to Find is absolutely luminous. I don’t know how Aaron Fagan manages to create a tone of gentle serenity and heartbreak at the same time—or is it that he creates an illusion of serenity and then punctures it unexpectedly with heartbreak? Is it the heartbreak or the gentleness that gets me? I don’t know, but whatever it is, I hope he keeps doing what he’s doing. The world at this moment, and even its poetry, seems too hard and brittle all over, but Fagan does not.”
—Ange Mlinko

“I've been savoring the elegance of A Better Place Is Hard to Find. The poems are rightly mysterious (not mystifying), dignified, suggestive, sinister where they ought to be.”
—Rosanna Warren

“It redeems things to know Aaron Fagan is out there, ‘filled with feedback,’ writing poems so grandly (cosmologically) but also humbly aware. I like very much the oscillation between the inscrutable transparencies of the shorter-line poems and the inconclusive stampedes of abundance in the longer-line ones. A Better Place Is Hard to Find made me think of Marianne Moore's observation that it's a privilege to see so much confusion. One result of the oscillation is a kind of grace, even if disabused.”
—Douglas Crase

“Aaron Fagan has a fascinatingly mercurial way with the poetic statement, partly syntax but largely diction. I have been reading with pleasure A Better Place Is Hard to Find and agreeing wholeheartedly first with the one, then with the other sense of his title’s claim. The figures and meanings are ever in motion—or, if we are on a path, each phrase, each stepping stone stays firm until the foot leaves it, when it dissolves without a trace—leaving the reader in turn no choice but to proceed with him on the . . . inspiriting search.  Ashbery is capable of sustaining this kind of magic, as is Stevens, though less obsessively, but it is a rare gift, in my experience.”
—Stephen Yenser

“Aaron Fagan’s marvelous A Better Place Is Hard to Find revels in ideas without being at all intellectualized.  Rather, he takes pleasure in the sheer feel of them as they unfold in long, sinuous sentences, a pleasure the reader shares, even though the poems are not so much addressed to a reader as overheard by one.  His poetry feels like it flows on endlessly, ‘Full of what we did or didn’t do, said / Or didn’t say, but it comes and goes, / (Like all things clear) like nothing clear.’”
—John Koethe

PREVIOUS VOLUMES


Garage
(Salt Publishing, 2007)

“Fagan’s first book is vivid and aesthetically disturbing work. His promise is considerable because his originality should prove to be decisive.”
—Harold Bloom 

“Way back in the book-writing era, Plato wrote about the ‘old quarrel between philosophy and poetry.’ If the quarrel seemed old to Plato while writing The Republic, to make it seem new in 2007 requires some serious ingenuity. In his inventive first book, Garage, Aaron Fagan seems to be the poet for the job. Like Plato, Fagan is interested in definitions: what kind of philosophizing in a poem is an unearned indulgence, while another sort of philosophizing might qualify as art . . . . As much as Plato attacked poetry, he recognized something vital about a rhetorical stance made lyric; that vitality is sharply present in the questions and turns of thought in Garage. Fagan both considers the ‘laws’ of poetry and breaks them, a mix that has made for an excellent first book.”
—Idra Novey, The Believer

“The intelligent, impeccably crafted poems in Garage, Aaron Fagan’s debut collection, function as philosophical micro-treatises. From the working class angst of ‘Doing My Part for the Tool and Die Industry’ to the post-Romantic musings of ‘Resistentialism,’ Aaron Fagan’s introspections cast light on a world in which the poem’s speakers find themselves trying to make sense of the absurd, and the sense that’s made is the poems themselves, which come to us as bits of gold sieved from the daily dross of human existence.”
—Christopher Kennedy

“Evident [in Garage] is the self-mocking, saturnine temper of such precursors as Alan Dugan (from whom Fagan takes an appropriate epigraph) or even Howard Nemerov. Yet even these anti-lyrics and bedroom palinodes strive towards apt purposes: this poet so given to humble skepticism he still tries to believe that ‘each thing we make/ Results from the wild permutations of love.’”
—Publishers Weekly




Echo Train

(Salt Publishing, 2010)

“Somewhere along the continuum of black holes and dividing cells, televised moonlight and Sanskrit tattoos, Fagan makes a characteristic music—bluntly oblique, elegantly perforated—out of the sufferings and strange comedy of the everyday grotesque and everyday irrational, ‘inventing / My reason to stay out of thin air.’ This Echo Train reverberates with remnants of everything from souvenir T-shirts to ancient hymns while emerging into the jagged sound of its own present moment.”
—Geoffrey O’Brien

“Aaron Fagan’s poems are perhaps best at what poetry itself is best at: taking the details of everyday life and finding something of philosophical significance. The way he does this—with some brutally beautiful sentences, incredible control of rhythm, and all those perfect final lines—is quirky enough that his writing is original and grounded enough that it always feels true.”
—Matthew Welton

“Like his debut collection, Garage, Aaron Fagan’s Echo Train is a short book of short poems. Its full page of epigraphs—from Jung, Joseph Campbell, and Hayden Carruth—makes it look like a child facing an adult on a see-saw. And yet, like a string-theorist positing extra dimensions, Fagan somehow evens the equation. With lines of roughly equal length, widespread enjambment rarely employed for obvious semantic effects, and a fondness for unexpected turns of phrase and grammar, the typical Fagan poem has a powerful forward flow, trailing whirlpools of complexity.”
—Paul Franz, ForeWord Reviews