Sara Cahill Marron

Sara Cahill Marron (Poetry) | Washington, DC

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Sara Cahill Marron is a Virginia-born poet and student of the law. Her poetry has been
featured in various online and print poetry journals such as Dark Matter, Chagrin River Review,
Gravel, The Write Launch, Foliate Oak, The Hamilton Stone Review, Joey and the Black Boots, The Newtown Literary Review, Atlas + Alice, and FLARE the Flagler Review, among and others. She holds a master’s degree in English from St. John’s University and is working towards
a juris doctorate at George Washington University Law School. In addition to writing and crafting words, Sara is a marathoner and a chess player, devoting less time to the practice than Duchamp did, but aspiring to the Mysticism of Blake in all endeavors.


Reasons for the Long T’um (Broadstone Books, 2018). Poetry.
Reasons for the Long T’um (Broadstone Books, 2018). Poetry.

Blurbs, Press, & Reviews

“Sara Marron writes a startling poetry for our disjointed times, one that moves beyond the clichéd and confining limits of poetry, but also optimizing poetry’s virtues on authentic voice, sound, and wisdom. She does not reduce the applicability of her work through topics tied to what we already know. Instead, she addresses our moment’s two sides of the same coin’s grave apocalyptic desperation and possibility. In her identity position we can see ourselves.”
—Stephen Paul Miller, Ph.D., St. John’s University, New York
“It’s up to you to pick up these fingered intertextual voices, these rosaries of negative capability, within and flying out of a book so as to dwell in mysteries of poems unlike any other. Sara Marron plays the changes of a kind of sleep and wake talk, an efflorescence from her mind to yours As specific as / The Day Lady Died, /always remembering and spinning anew.”
—Lee Ann Brown, author of In the Laurels, Caught
“To read Sara Marron is to step into a world where there is ‘No shyness here. / Noshame here.’ This is an American lyric of the body and mind—a truly intelligent, unabashed celebration of words, letters and our relationships to one another.”
—Alison Palmer, author of The Need for Hiding
“Blunt closed sentences start these tumbling poems e.g. ‘The Fax Machine is Dead.’ Period, but then they tumble jazz-like, Mina-Loy like, music-like-referential-like. ‘Ayn Rand to pixels like’. Marron’s approach to the political shines in formal pirouettes, symbolic and honest, throughout these dancing strophes. An admiring and naïve whiteness bravely exposed, left sitting self-referential on a table of judgment (as whiteness ought to be judged); a queer sex bruise or many; ‘The East Village during the Ebola outbreak’. These poems sing and dance and hit the floor and strike the chord of beauty and even love, at the intervals in which love appears in this world.” —Katy Bohinc, author of Dear Alain, Trinity Star Trinity, & Scorpio
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