In her second collection, My Infinity, Didi Jackson continues her exploration of the paradoxical meaning of a world where joy and sorrow simultaneously coexist.

These poems investigate both sacred and natural spaces. Her poems move grief and emotional suffering to language as a site of recovery and renewal. Much of this collection is ordered around the work of the Swedish visual artist Hilma af Klint. As the first artist to arguably use abstraction, her radical work brims with enigmatic botanical images painted to grasp the seemingly boundless and hermetic realm of the dead. Similarly, Jackson's poems explore plant life and natural species in the Green Mountains of Vermont, where perceived thresholds blur in acts of spiritual reimagining. This is a book that questions all that is endless, all that has been thought as limiting, and all that remains unknown.

In her intimately compelling debut collection Moon Jar, Didi Jackson explores the life-altering and heart-rending loss of a husband to suicide. In an effort to understand this unforeseen and inexplicable act, she maps with immense candor the emotional difficulty of continuing her responsibility as a mother while attempting to regain a sense of normalcy. While grief never fully subsides, Jackson allows herself over time to rediscover love as she contends with the brutal and haunting grip of human trauma. These affirmative poems, precise and grace-begetting, exhibit an admirable self-devotion to healing and recovery that is metamorphic and cathartic. Turning to biblical narratives as well as seminal works of art by the likes of Hildegard of Bingen, Pablo Picasso, Sappho, Mark Rothko, Kazimir Malevich, Hieronymus Bosch, and Fr d ric Chopin, she orchestrates a tableau of conversations around human suffering, the natural world, and impermanence. And like the Korean porcelain moon jar, these poems mark and celebrate the imperfection of existence. At once raw and vulnerable, Moon Jar shows lyric poetry to be a fundamental and permanent force for survival.