Renée Ashley is the author of five volumes of poetry: Because I Am the Shore I Want to Be the Sea (Subito Book Prize, University of Colorado—Boulder); Basic Heart (X.J.Kennedy Poetry Prize, Texas Review Press); The Revisionist's Dream; The Various Reasons of Light; and Salt (Brittingham Prize in Poetry, University of Wisconsin Press), as well as a novel, Someplace Like This, and two chapbooks, The Museum of Lost Wings and The Verbs of Desiring. A portion of her poem, "First Book of the Moon," is included in a permanent installation by the artist Larry Kirkland in Penn Station, Manhattan, NY. She has served as Assistant Poetry Coordinator for the Geraldine R. Dodge Foundation and as Poetry Editor of The Literary Review. Her new collection, The View from the Body, will be published by Black Lawrence Press in 2016. Ashley teaches poetry in the low-residency MFA in Creative Writing and creative nonfiction in the MA in Creative Writing and Literature for Educators Program at Fairleigh Dickinson University. She lives in northern New Jersey with her husband and two dogs.

Other poems by Renée Ashley in Verse Daily:
October 24, 2013:   "contemplation within the framework of the dream" "Consider the custom of likeness or unlikeness fit as the..."
February 26, 2012:   "Armadillo" "Deep in the unlit palm scrub, a rustling..."
July 5, 2005:   "Simple" "and the whole white sky descends a grain..."
December 8, 2004:  "Oh Yes Tomorrow Expect the Ordinary" "Oh Yes Tomorrow Expect the Ordinary..."

Books by Renée Ashley:

Other poems on the web by Renée Ashley:
Two poems
[because I am the shore I want to be the sea]
Three poems

Renée Ashley According to Wikipedia.

About The View from the Body:

"Renée Ashley's stunning new book is indeed a 'view from the body,' but it's a 'body named / bone, named brain.' Haunted at times by the dead, by the past, by death itself, Ashley finds her most frequent specter in the self and its disturbances, which few poets since Dickinson have explored so unflinchingly. Language is the means of both exploration and transcendence: words burst into double meanings, invent themselves, and reverse our linguistic expectations, carried throughout by the musical exuberance of consonant and vowel. Taut, resonant, lyrical, edgy, these poems are, as one title has it, 'Such Threads of Light As Exist in Deep Pools.'"
—Martha Collins