Dora Malech is the author of the poetry collection Shore Ordered Ocean (Waywiser, 2009). Her poems have appeared in Best New Poets, The New Yorker, Poetry, Poetry London, and elsewhere. Her work has recently been honored with a Ruth Lilly Poetry Fellowship from the Poetry Foundation, a Glenn Schaeffer Fellowship, and a residency at the Civitella Ranieri Foundation in Umbertide, Italy. Malech has taught writing at The University of Iowa, St. Mary's College of California, Victoria University’s Institute of Modern Letters in New Zealand, and Augustana College in Rock Island, Illinois. She lives in Iowa City.

Other poems by Dora Malech in Verse Daily:
August 5, 2010:   "The End" "Then they faced each other..."
March 10, 2010:   "Let Me Explain" "Spring, and the tulips urged me..."
November 2, 2009:   "City Beach" "Your mouth said so long from so long said high..."
June 7, 2008:   "Oh Grow Up" "First thing's first aid and off-track..."
March 22, 2005:  "Small Ending" ""Each bird a yard bird..."

Books by Dora Malech:

Other poems on the web by Dora Malech:
"Copy That"
"Relatively Long Arms"
"With a Scattered Chance of Forecast"
"Heaven"
"Heaven"
"Forever Hold Your Peace, Speak Now Or"
"Note To So Sorry For Self"
"Go, Touch And"
"Pop Quiz"
Two poems
"Makeup"
"Here Name Your"
"Where Babies Come From"
"Face for Radio"
Two poems
"Score"
"Spectrum"
"Fiddler's Money"
"Hush Money"
"Inventing the Body"
"How It Will Happen, When"

Dora Malech's Website.

About Say So:

"The two-faced (at minimum) essence of language is Dora Malech’s inherited problem, and her opportunity: nothing is just what it says, and everything says much more than it knows. 'I hope you like dirt because that’s what you’re getting,' she warns, or promises. Malech is ferociously alert to the unconscious absurdity and desire in idiomatic speech, its mortifying blend of self-effacement and self-betrayal. The closer one stares at the dizzying, ultra-fluent surfaces of these poems, the more their grave ambiguities emerge."
—Mark Levine

"Say So flaunts the powers inherent in the duplicities of language, words as reactants in shifting contexts and punning-under-pressure, yet it settles for no easy, cool ironies, no detached assumptions of transgression; in fact, it achieves what can only be called white-hot sincerity and committed truthfulness. This is writing of astonishing prosodical dexterity and lexical wiles. What strikes me as most courageous is that even as Dora Malech’s poetry confronts social, political and personal despair and wreckage, it never sacrifices innovative fire, will not be made mute or abjure the glorious means of poetry."
—Dean Young