Like most publishers, we at Brick Road Poetry Press list submission guidelines on our website. Additionally we go beyond the guidelines to include lists of “characteristics we like” and “characteristics we dislike.” In Damnatio Memoriae, the winner of the Brick Road Poetry Prize, Michael Meyerhofer gives the impression of having gone down that list to check off each item one by one with almost every poem in the collection. As to the characteristics we dislike, he avoids them all including no “intentional obscurity or riddling,” no “highfalutin vocabulary” or “lack of recognizable theme or topic.” Without a doubt, these poems reveal wise insights on the human perspective, but never at the cost of being overly serious, scholarly, or mysterious. The reader of these poems faces no risk of boredom—quite the contrary. Imagination and a beguiling tongue-in-cheek tone are the trademarks of Michael Meyerhofer’s poetry. His work hits all our “like” buttons as it speaks in “a coherent human voice,” though not always his own or the one you might expect, but one with “a sense of humor” that uses “words and language as [a] springboard for playful exploration.” In many of these poems, the speaker possesses an inquisitive mind with an avid interest in history and even pre-history, fueled by the Discovery and History channels, Google searches, and museums. These poems dramatize a mind capable of straddling centuries, combining in the same breath an ancient scene with a contemporary evaluation, as when in the title poem, “Damnatio Memoriae,” we encounter a Roman “slave/who fell from a twine-wrapped ladder/that OSHA would never condone.” Such use of anachronism strikes us as both clever and funny. In “The Original Swastika,” we’re guided briskly through history, spotting the association-laden symbol in cultures as varied as the Romans, early Christians, Buddhists, Hindus, Navajos, and finally, “on the hoods /of German sedans.” This whirlwind tour succinctly reminds us that the meanings of symbols morph over time and across cultures and that our recent memories and associations tend to obscure the resonances assigned in prior eras. His persona poems conjure speakers from worlds we know and from worlds we wish we knew, and every scene, setting or experience is depicted intensely with concrete imagery and drama. At first blush, “Dear Students,” appears to argue for the conceit that writing poetry today rises from the same impulse that produced Stone Age cave paintings. Yet the poem does so much more than simply propose a comparison. It actually delivers a vivid experience from the point of view of a Paleolithic hunter, as if to say poetry is about beauty, guilt, and survival. Although many of these poems pursue history, the contemporary perspective and the everyday moment are not neglected. In “For Tanya, Whose Fate Remains Unknown,” the speaker receives a phone call about “bad news” concerning a daughter he doesn’t have. The surprise of the erroneous call sets off a poignant daydream of what peril the “daughter” Tanya might be suffering, and then an even deeper imagining of memories that might be slipping away from Tanya as she bleeds. These poems wake you up with their surprising twists, with the intensity of their speakers, and with the inventiveness of their lines and concepts. Sometimes these poems even risk offending the reader by tampering with archetypes, as in “Hansel’s Redemption” where the question of what ever happened to Hansel and Gretel is answered with a scandalous narrative. As you may have guessed, Damnatio Memoriae easily asserted itself as the winner of our inaugural Brick Road Poetry Prize. We’re proud to be publishing it and further encourage you to seek out Michael Meyerhofer’s other books immediately. Keith Badowski & Ron Self Brick Road Poetry Press Columbus, GA