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As National Poetry Month comes to a close, 2 new retrospectives to savor
W. W. Norton & Company, Alice James Books
W. W. Norton & Company, Alice James Books
With National Poetry Month comes spring flowers and some of the year’s biggest poetry publications. And as April wraps up, we wanted to bring you two of our favorites — retrospective collections from two of the best poets of the late 20th and early 21st centuries: Marie Howe and Jean Valentine.
Howe’s New and Selected Poems makes a concise case for Howe’s status as an essential poet. The New & Collected Poems of Jean Valentine gathers all of the beloved late poet’s work, a monument to a treasured career.
New and Selected Poems by Marie Howe
Marie Howe is writing some of the most devastating and devastatingly true poems of her career — and some of the best being written by anyone. Her subject matter, from a bird’s eye, is simply the big questions and their non-answers: What are we here for? What does it mean to do good? What have we done to the environment? What are the consequences and what do we who are here now owe to those who will follow us? And yet her tone and straightforward delivery make her poems as approachable as friends. Howe is the rare poet whose poems one wants to hug closely for company, companionship, and empathy; and yet they are works of literature of the highest order, layered, full of booby traps and shoots and ladders that suddenly transport one between the words. It’s tough love that these poems offer, but it’s undeniably love.
This first retrospective gathers a book’s worth of new poems along with ample selections from of Howe’s four previous collections, each of which was a landmark when it was published. Her nearest antecedent might be Elizabeth Bishop, who also didn’t write very much, or didn’t publish very much, but everything she wrote was good if not capitol-G-Great. Howe is best know for What the Living Do (1997), which remains one of the great books on youth and grief, regret, and moving forward if not moving on. It regards a world in which “anything I’ve ever tried to keep by force I lost.” Startling, almost koan-like statements like this erupt out of unassuming domestic scenes, making everyday life into high drama.
The typical speaker of a Howe poem is a woman who seems much like Marie Howe, even when she is speaking through the voice of the biblical Mary, as she does in Magdalene (2017): “I was driven toward desire by desire.” She is serious except when she’s funny, though she’s rarely laugh out loud funny — it’s more of a kind of internal laughter, either like blossoming light or paper rustling in one’s chest. She is consoling, except when she is taking herself and readers to task, bowing under the simple, Herculean responsibilities that come with living a life, being a parent. She’s tough, sometimes even stoic, except that in almost every poem there is a moment of surprise, a revelation, a piercing insight that injects a kind of pure ecstasy.
Some of the new poems are among the best Howe has written, making them among the best period. Set “In the middle of my life — just past the middle,” these poems grieve lost friends; reckon with the sudden adulthood of a daughter; lament the destruction of the environment; and take the moral measure of this very disturbing era. Each of these everyday dramas becomes an access point for the deepest kind of human reconciliation, where we must finally admit where language fails us. These poems also feature a recurring character, “our little dog Jack,” who, with all best intentions, becomes one of Howe’s most devastating metaphors. But all metaphors have their root in plain fact. As Howe writes in “Reincarnation,” one of her best poems, “Jack may be actually himself — a dog.”
Light Me Down: The New and Collected Poems of Jean Valentine
This is one of those monumental events in American poetry: the life’s work of a major poet gathered in one big book, an opportunity to revel in all that Jean Valentine accomplished in her long and prolific career. As a young poet, Valentine (1934-2020) won the Yale Series of Younger Poets prize in 1965, for her debut collection, Dream Barker. In 2004, she won the National Book Award for Door in the Mountain: New and Collected Poems 1965-2003. In between, and after, she was always well regarded by the mainstream poetry establishment, winning most of the prizes available to an American poet.
But Valentine’s real influence was as a friendly ambassador to and from the avant-garde. It’s hard to pin Valentine’s poems down: I wouldn’t call them experimental, but they are anything but straightforward in their slippages of thought and wide leaps of association. Fairly early in her career, Valentine begin working in a style that had her teasing the reader with images, gently suggesting the way the poem should go, until, perhaps, a thunderclap at the end disturbs the calm. She always knows where to end. Pick almost any poem and the last couple of lines will shock you with their unlikely inevitability.
Valentine writes about everything — love, death, sex, the roiling political situations of the last half-century — with simultaneous candor and mystery: “I have been so far, so deep, so cold, so much,” she says prophetically in an early poem. She asserts that poetry can be made almost entirely through suggestion, that the poet must trust the secret links between one word and another, and trust that the reader will be willing to travel with the poet along those underground currents. In a short poem, a haiku from 1992, “To the Memory of David Kalstone,” dedicated to the literary critic who died in 1986, Valentine offers as succinct a statement of her poetics as one could want: “Here’s the letter I wrote,/ and the ghost letter, underneath—/ that’s my life’s work.” Valentine’s poems draw our attention to the words beneath the words, what’s said between them, in all the white space surrounding the poems.
Elsewhere Valentine opts for simple observations, stirred by a bit of mystery, as in the brief elegy “Rodney Dying (3)”:
“I vacuumed your bedroom
one gray sock
got sucked up it was gone
sock you wore on your warm foot,
walked places in, turned,
walked back
too off your heavy shoes and socks
and swam”
There are no sudden bolts of profundity here, nothing, really, that you could call insight, at least not overtly. Instead, Valentine asks an object, the sock, to carry the grief. This is a technique poets call the “objective correlative” — it’s an image that stands in for an emotion or knot of emotions. That unassuming object, or really just the word for it — sock — becomes a vessel, a kind of canopic jar to contain grief, but also to let it rattle around a bit. The poem ends with what might be an allegory for death, but is also a celebration of Rodney’s vitality. The language is as plain as can be, and yet I exit the poem with uncertainty, equally hopeful and despairing. Valentine is an expert at tensing these sorts of contradictions against one another. The emotional climate in Valentine’s poems is ambivalent in the best way, lit by contradictory energies.
And while this book is a monumental celebration of an extraordinary legacy, it is also sad to hold: Valentine was in an inexhaustible and generous force in American poetry until so recently. It feels impossible to accept the fact that she is dead while reading poems that are so profoundly alive.
Craig Morgan Teicher is the author of several books, including The Trembling Answers, which won the 2018 Lenore Marshall Poetry Prize from the Academy of American Poets, and the essay collection We Begin in Gladness: How Poets Progress.
Rose Byrne poses at a 2025 press conference in Berlin for If I Had Legs I’d Kick You.
Andreas Rentz/Getty Images Europe
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Andreas Rentz/Getty Images Europe
Rose Byrne is one of the few actors to receive both an Oscar and a Tony nomination in the same year — the former for the film If I Had Legs I’d Kick You, and the latter for Fallen Angels on Broadway.
If I Had Legs was an intense indie film about a mother falling apart as she struggles to keep up with ever-increasing caregiving demands for her ill daughter. Byrne, who previously starred in blockbuster comedies like Neighbors and Bridesmaids, was praised for showing her range. Now, she’s returning to comedy in the revival of Noël Coward’s 1925 play about two wealthy women who find out a man they were each previously involved with is coming to town.
Kelli O’Hara, Mark Consuelos and Rose Byrne star in the Broadway revival of Fallen Angels.
Joan Marcus/Polk & Co.
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Joan Marcus/Polk & Co.
“I had long wanted to do a true comedic piece onstage, like it’s one of my dreams,” Byrne says of Fallen Angels. “We are trying to reach the back row, so physically, … I felt like I was screaming when I first got up [there], because we’re not wearing mics either.”
Byrne’s Fallen Angels character gets progressively drunk — and increasingly loud — throughout the play. She credits Coward’s “brilliant” writing and stage directions with guiding her performance.
“The language he used, the sort of linguistic gymnastics and the extraordinary vocabulary of Noël Coward is a delight,” she says. “I never tire of sitting backstage and I’m constantly rediscovering the words that he peppers throughout.”
Interview highlights
On her role in If I Had Legs I’d Kick You
Mary Bronstein wrote this incendiary screenplay and I just did not want to mess it up. It was such a creative opportunity. … We hit it off and had a real experience, one of those experiences in life that, creatively, has kind of changed me.
[The film] defies generalization or description, because it’s sort of like a fever dream, in a way. It has gallows humor in there. There’s horror tropes in the film, too. I think Mary Bronstein [who also directed the film] really broke the mold with the tone of the film, in many ways. She … tapped into the monster within and the fear of being a parent and the horror of being a parent, and some of the joy too, but obviously she’s in a really extraordinarily difficult situation, this woman. I still can’t believe the film got as far as it did, just because it was a small independent film.
If I Had Legs I’d Kick You was a small independent movie, says Byrne, “I still can’t believe the film got as far as it did.”
A24
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A24
On the constant beeping of medical equipment in the background of If I Had Legs
These noises get magnified and actually Mary Bronstein made those louder, just a bit, like the clock on the wall, the beeping of the machine, all those things were louder because they are in [the main character’s] point of view. And it is as a parent, those things become overstimulating. It’s relentless and, [Bronstein] wanted to capture that claustrophobia.
On why viewers don’t get to see the daughter or know what her illness is
The conceit of not seeing the daughter, and Mary has spoken to this many times, but [it’s] sort of a two-prong thing in that I don’t think Linda, my character, can see her daughter at this point. She’s so drowning and beginning this real descent into her mental health crisis. … Also for the audience to have that choice taken away to not see the daughter, you’re forced to reckon with the mother. Because as soon as you put a child on screen, your empathy, as it should, goes to the child. They’re so vulnerable, and immediately your concern will go to them, and so she takes that choice away from the viewer. So you are forced to be in the perspective of the mother.
On parenting after spending the day on set
Kids are so in-the-moment and grounding and — in the best way — they’re not particularly interested if you’ve had a hard day. But it’s so wonderful because you immediately snap into your role as mom, the greatest role, the most challenging, the most fun. And so for me, it’s church and state … leave it at work. I mean, obviously there were days when I was more exhausted or tired or [it’s] harder to let things go. But children are the great equalizer, as a parent.
On the thrill of filming the 2011 film Bridesmaids
We had such a fun time. It was a great group of actresses. I couldn’t believe I was there. … It’s already extraordinary to have that many scenes with just women. I’ve had that once since then when I did Mrs. America , [a] show for FX about the second wave of feminism. … But this was really, really special. And we had no idea that it would go on to become such a beloved movie and all of that. But the shooting of it was wonderful. It was an education in the brilliance of these comedic actresses and the performances. … It changed my life in so many ways. It really did. … The improv stuff, it’s just like a skillset that is still I marvel … they make it look effortless.
Therese Madden and Thea Chaloner produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the web.
Anna Katherine Scanlon was having sushi in Marina Del Rey when she received an urgent text from her best friend.
“Just saw another place that was awful.”
Scanlon’s best friend, who was moving back to L.A. from Texas, had been apartment hunting for over a month and her moving deadline was creeping up.
In between bites of salmon nigiri, Scanlon began scrolling through apartment listings on her phone and came across a 1920s studio apartment in Los Feliz that she knew her best friend would swoon over.
“I sent it to her and was like ‘This is fabulous,’” she says. “I’m going to tour it immediately.”
Scanlon, an L.A.-based filmmaker who also works at a nonprofit, hopped into her car to see the rental, which had Art Deco tile, beautiful natural light, lots of storage and a stunning view of Griffith Observatory — a “rare find” for $1,900 in the sought-after neighborhood, Scanlon says. She sent a detailed video tour to her best friend, who applied instantly and signed the lease a few days later.
On the drive home, Scanlon, 33, had a light bulb moment: “What I love doing is something most people find totally overwhelming and exhausting,” she says. She could turn her knack for apartment hunting into something more.
So after finding apartments for several other friends (not to mention a dreamy 1927 storybook apartment in Echo Park for herself) and building a following on TikTok by posting apartment tours, Scanlon launched an apartment scouting business, LA Apartment Scout. She helps her busy clients find historic, characterful homes in L.A. within their budget.
She’s part of a rising group of apartment scouts — not licensed real estate agents, but savvy entrepreneurs who tour apartments, share videos on social media and, in some cases, work one-on-one with clients to find a place that fits their specific aesthetic and budget.
Unlike brokers — licensed professionals who act as intermediaries between landlords and tenants, commonly used in the apartment-hunting process in places like New York City, Boston and Austin, Texas, scouts operate outside the formal housing system. They aren’t connected to property owners and they don’t handle applications or negotiations. Instead, they act as digital lookouts who hunt for coveted vintage apartments that are otherwise hard to find without expertise.
The demand for apartment scouts highlights the pressures of L.A.’s competitive rental market, where vacancy is scarce and rental rates are among the highest in the country. According to Apartments.com, average rent for a one-bedroom apartment in L.A. was $2,182 as of May, which is 33% higher than the national average rent price of $1,642.
“To some extent, it reflects a dysfunctional housing market,” said Richard Kent Green, director of the USC Lusk Center for Real Estate. “It’s very hard for people to search and find what they’re looking for at the price they’re looking for, unlike many markets where it’s pretty straightforward.”
Apartment-scouting services tend to be especially appealing to younger Angelenos who feel priced out of homeownership, but still want spaces that reflect their personalities and tastes, rather than the increasingly common standard modern unit.
“There are tons of people who want to live in a home that reflects the character of the city, the beauty, glamour and drama, that is creatively inspiring or just cozy, unique, has character— not gray laminate floors,” Scanlon says.
Those seeking a scout might also be living out of town or simply too busy to endlessly search rental listing sites, Craigslist, Reddit and Facebook Marketplace, and then tour properties. One of Scanlon’s clients turned to her for help because they were finishing their PhD while getting ready for a new job at NASA.
Scanlon’s personalized services begin with a consultation call to understand the client’s needs, then she curates a list of apartments, tours the ones they love and provides videos of the space and the surrounding area. Scanlon says she works similarly to a local expert guide and relocation assistant. Since the apartment scout market is newer in Los Angeles, finding rates up front can be difficult (Scanlon did not wish to disclose her fees).
Indya Stewart, an interior designer and apartment scout, inside of a home.
(Gus Acord)
Indya Stewart, 24, of Hollywood is another L.A. apartment scout. In late April, the interior designer shared an eight-second TikTok with the words “hidden talent: finding chateau style apartments in L.A. for prices that feel illegal” and told people to contact her if they need help finding a place of their own.
“Omg pls put me on,” one person commented with an emoji crying face.
“Moving in the fall and I neeeeeed u,” another person said.
“Hmmm yes moving to LA in a month and can only live in a fairy castle sos,” commented another.
After receiving a flood of messages from people, she decided that instead of responding to each person individually, she would share her apartment picks on her interior design website. The list is free and is separated by region.
Unlike Scanlon, Stewart doesn’t tour apartments for people, rather she provides a curated list of vintage apartments for people to browse on their own.
“I spend so much of my free time looking for these places because I genuinely love the process,” says Stewart, who lives in a 1920s-style townhouse in Hollywood. “Sharing them just feels natural.”
Miesha Gantz of East Hollywood pivoted from dance to real esate.
(From Miesha Gantz)
While many apartment scouts do the work as an independent side gig, some like Miesha Gantz of East Hollywood are beginning to cross over into the formal real estate industry.
After stepping away from her professional dance career due to a massive pay cut, Gantz set out to find a more affordable apartment. Her criteria was specific: A 1920s or 1930s Spanish-style studio with oversize windows, lots of natural light, a fireplace, hardwood floors and character-rich tile work.
She began posting videos of her apartment-hunting journey on TikTok and before long people were asking her for help. Soon after, Gantz, who has a background in real estate, launched a membership-based website called the Hollywood Waitlist, where she posts listings of charming, vintage studios and one-bedroom apartments primarily based in Hollywood. She updates the website weekly with homes that are mostly under $2,500 per month. People can access the website for $6 for one week and $12 for one month.
As her social media and website gained traction, Gantz got connected with the Rental Girl, a boutique real estate brokerage based in L.A. and decided to reinstate her real estate license. She recently started working for the company’s concierge team, helping clients in a way that’s similar to her previous work as an apartment scout. However, the main difference is that she can now work directly with clients throughout the entire application process and help them secure the home.
Although finding the rental market is extremely competitive in L.A., these apartment scouts often foster a sense of community online. In TikTok comments, it’s common for people to offer tips from their own apartment-hunting experiences, sharing whether street parking is actually feasible in a particular neighborhood, if a building has a pest issue or if a listing agent was rude to them.
“When people know better, they do better,” says Gantz, who is also a filmmaker.
It’s worth noting that scams do exist in the world of rentals, so exercise caution when using social media. As demand for apartment scouts grows, Scanlon says she hopes others get involved, tackling different niches and neighborhoods.
“I don’t feel protective of it at all,” she says. “I’d love to see more people doing this.”
The Late Show with Stephen Colbert on Monday May 18, 2026.
Scott Kowalchyk/CBS Broadcasting Inc.
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Scott Kowalchyk/CBS Broadcasting Inc.
The Late Show With Stephen Colbert comes to an end this week amid a lot of changes in the business and the country. Some of the sources of tension include the economics of late night, the approaching merger of Paramount and Warner Brothers, and President Donald Trump’s constant criticism of late-night hosts. But for Colbert’s fans, it’s the end of a friendly, funny, candid show. So we’re talking about the legacy of Stephen Colbert in late night.
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