Paul B. Roth has been published widely in the United States and his work has been translated and appeared in journals from Japan, Peru, Israel, France, Bolivia, Italy, Ecuador, India, China, Mexico, Italy, Syria, Romania, Estonia and the UK. He is the author of seven collections of poetry of which his most current are Cadenzas by Needlelight (Cypress Books, 2009), Words the Interrupted Speak (March Street Press, 2011), Long Way Back to the End (Rain Mountain Press, 2014), Owasco: Passage of Lake Poems (Finishing Line Press, 2018) and Weightless Earth (Bitter Oleander Press, 2022). In 2018 and 2020, he was nominated for a Pushcart Prize. He lives in Fayetteville, NY where he's served as editor and publisher of The Bitter Oleander Press since 1974.

Other poems by Paul B. Roth in Verse Daily:
August 22, 2021:   "Left Out" "Some of us no longer have names...."

Books by Paul B. Roth:

Other poems on the web by Paul B. Roth:
Two poems
"Deafening Music"
"One Possible Dissemination"
Four poems
Five poems

About Weightless Earth:

"This is an essential book in Paul B. Roth's oeuvre. Bringing together qualities present from the onset in his writing, ranging from attentiveness to the living creatures and meditations on both humankind's and our planet's place in the cosmos, to a sharp scrutiny of our failure to protect and preserve the contemporary world, Weightless Earth impresses with its intricate language and remarkable imagery. One prose poem near the beginning of the book includes this characteristic observation: 'Perhaps if we keep listening, we'll be able to hear the momentary landing that a turquoise damselfly on a thin blade of floating lake grass touches down.' This is only one instance of countless other acute perceptions, which seem to unfold into ever-new perspectives or are inserted into tantalizing concatenations of still other images. And the very title of one piece, 'Everything gets your attention,' sums up Roth's willingness to turn outward from the self, to sharpen all his senses (and not just his eyesight), and examine the particulars of the world, especially natural and cosmological phenomena. This is one task that he has long set for poetry, though in no objectivist or 'back to things' manner. All his freshly original imagery is intimately linked to the movements of his innermost sensibility. The outer world blends with his inner world, and vice versa; both are caught up in lastingness and ephemerality, in motionlessness and transformation. 'Every new scent investigated under drooping trillium petals, soggy oak leaves, or slushy ice,' he writes in 'Society's Vacuum,' 'borders the edge of your words by giving them a chance of lasting forever. If only they'd stay put, if only this weightless Earth would bury them in the same space surrounding a seed to the depth of one sun.'"
—John Taylor