Love Song for the New World
Love Song for the New World was selected by Ron Mohring for inclusion in the Seven Kitchens Press Editor's Series. Through examining the artwork in the Seville Cathedral, this long poem considers the erasures, complicities, and privileges of being of European descent in the "new world." At the foreground are religious figures and iconography that present both the possibility of interfacing with the divine and reinforce the millennia-old heteronormativity that presumed millions were unfit for the grace of God.
Capital City at Midnight
Capital City at Midnight was selected by Gabrielle Calvocoressi for the 2014 BLOOM Chapbook Prize for Poetry. In her judge's citation she writes, “There’s something about this voice that makes it impossible for me to put these poems down. It would be easy to say these are narrative poems, but that’s too simple and does them a disservice. These are poems that speak into you, they are worlds. Capital City at Midnight is a testament not merely to a poet whose poems I want to see more of but of a poet whose line I want to see more of. There are new structures being dreamt of here, no matter how traditional the poems look on the page. This is a blueprint for something remarkable that’s on its way.”
Blue House was selected by Mary Jo Bang for publication by the Poetry Society of America in 2009 as part of the New American Poets Chapbook Series. In her introduction Bang writes, "Christopher Nelson's poems brilliantly enact the Dickinsonian maxim (the maxim that this poetic age has taken to heart and writ large against the backdrop of postmodernism) to tell the truth but tell it slant. In that, he is little different from many of us. However (and it is a significant 'however'), what sets his poems apart and makes them inimitably his is that he invites the reader into a brazenly Freudian psychological landscape. And in we go—in horror, in fascination, in amusement, in respect, and in realization that Nelson has gotten it right. And moreover gotten it very right. And moreover yet, has gotten it very right with a minimum of words and with a great deal of white space. He renders moot all automatic contemporary readerly resistances: to high lyric notes (the lark), to poems about childhood (poetic childhood has rarely been represented so darkly), to words that have come to seem empty ('remember,' 'tender'). His is an intrepid imagination full of uncanny derring-do."