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547 pages, Kindle Edition
First published October 13, 2026

Bound in a thin, leathery field-guide-type cover that seemed to suggest it could survive any storm, Peck & Peck was completely devoid of any of the trademarks of a modern publication. There were no happy blurbs extolling the virtues of the work inside; no hints of what might be included; no table of contents; no banner running across the upper right; nothing that seemed to indicate any faith in or excitement about what lay within. Even the word "poetry" was missing. On the cover-and I would later learn that every cover was the same-was an exquisitely detailed drawing of a mottled quail egg. The egg, which stood on end, seemed to emit a small glow.
Just above the egg was the publication's name, Peck & Peck, perfectly set in a thirty-two-point serif type called Bembo, a humanist typeface designed in 1496 by Francesco Griffo. (There were very few printed items that made their way into our household that weren't identified by typeface. "Has anyone seen the newspaper?" my father would call. And my mother would answer, John, could you be more specific? Is it the one with the incredibly uninspired use of Caslon, or the one that substituted Baskerville for Sabon-as if they thought we wouldn't notice." By age eleven, I knew hundreds of typefaces by sight.)
That's how I used poetry. To understand the world. To decode, analyze, interpret, think. Gave me a huge leg up. .... The poetry section, with the now defunct Peck & Peck leading the pack, was like that: full of short, distilled explanations of where and why people went wrong-and occasionally right. It didn't seem to matter what the topic was-love, war, hate, jealousy, crime, retribution, revenge, or reconciliation - the poets had it covered. And they provided actual answers. Plus, despite what my pre-law classes would call an appalling lack of evidence, their answers always seemed right. Or something even more unlikely. Truthful.