Chad Sweeney is the author of six books of poetry, Little Million Doors (Nightboat Books, winner of Nightboat Prize, 2019), Parable of Hide and Seek, White Martini of the Apocalypse, Wolf's Milk (bilingual Spanish/English) Arranging the Blaze and An Architecture, and two books of translation, The Art of Stepping Through Time, the selected poems of Iranian dissident poet, H.E. Sayeh and Pablo Neruda's final book, Calling on the Destruction of Nixon and the Advancement of the Chilean Revolution (2019). Sweeney's poems have been included in Best American Poetry, The Pushcart Prize Anthology and Verse Daily. He is the editor of the anthology, Days I Moved Through Ordinary Sounds: Teaching Artists of WritersCorps in Poetry and Prose, and Iroquois elder Maurice Kenny's posthumous collection of poetry and prose: Monahsetah, Resistance, and Other Markings on Turtle's Back. Chad Sweeney holds an MFA from San Francisco State University and a PhD from Western Michigan University. He is an Associate Professor of English/Creative Writing at California State University San Bernardino where he edits Ghost Town Lit Mag. He lives in southern California with his partner, Jennifer Kochanek Sweeney, and their two boys.

Other poems by Chad Sweeney in Verse Daily:
September 29, 2009:   "Bear" "Monday on the way to work..."
December 9, 2010:   "Elope" "Sky's upper limit is mind..."

Books by Chad Sweeney:

Other poems on the web by Chad Sweeney:
Four poems
"The Dome"
Five poems
Two poems

Chad Sweeney According to Wikipedia.

Chad Sweeney on Twitter.

About Little Million Doors:

"Still and spare, Little Million Doors is a book length series of lyrics that mourns a lost father. These half uttered poem prove the 'possibility' of poetry to provide avenues to understanding, even amid grief, by constructing themselves loosely enough to allow both time and space to quiver within. This level of quantum energy may feel nearly ungovernable but Chad Sweeney makes it work through internal music, the most specific of images and events, and a fine tuned and innovative grammar that loops and fractures and overlaps and reforms. Perhaps ghostly but never disembodied, these lyrics feel immediate, necessary and absolutely brand new. Though elegiac they are ever hopeful and affirming and alive."
—Kazim Ali