The Bronze Arms
Poems
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- Pre-Order
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- Expected Feb 10, 2026
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- $15.99
Publisher Description
Following his captivating and popular A Hundred Lovers, Hofmann’s new collection is a queer coming-of-age, tinged with myth: poems that bring us into a fever dream of antiquity and desire at its limits
Recognizing the fragility of the body and soul in a world of threat, these startling poems stem from a central boyhood memory—the author’s near-drowning in a swimming pool on Crete. The observant child was troubled that none of the statues he saw had arms—and then it was his father’s arms lifting him from the water, saving his life.
Hofmann balances elegance and brutality as he explores the fables of that childhood as well as the contours of sex and relationships in modern cities, in order to write his own personal history of love and survival: “Masculine arms lifted me. / Masculine arms held me while I slept.” The poems navigate risks, abandonments, and rescues, moving through a series of mazes that become a labyrinth of erotic awakening, with quick turns and dangerous diversions. In poems that alternately sear and crush delicately, we wander the ruins where the self is lost and broken and ultimately reclaimed: at the dark center, in the heart of the past.
A triumphant follow-up to the fetching catalog of lovers in Hofmann’s last book, this collection thrills with its archaeology of self, its notes of austerity and decadence.
PUBLISHERS WEEKLY
Erotically charged and combining classical allusions with frank depictions of kink, the stately third collection from Hofmann (A Hundred Lovers) displays the hushed tones and precision for which he is celebrated. Standouts include "Minotaur" and "Drowning on Crete," in which he reimagines Greek myth through the lens of queer longing. "Breed Me" confronts the intersections of pleasure, pain, and power with candor: "The way you hurt me (fingers, teeth):/ I grew accustomed to it/ Then I craved it/ Then I got bored/ And other men tried to put death into my mouth." In "Armour/Amour," the speaker demands, "Put your camera in my mouth," collapsing the gaze and the body neatly into one. Hofmann's voice is confessional while rarely giving much away. He is at his best when capturing true intimacy, as in "Young People": "The hours we didn't do anything/ But sit on the floor in silence:/ Nothing more erotic than being in the same room/ Not interacting—/ Reading different articles,/ Our minds elsewhere." Despite their sexual exhibitionism, the poems are pristine, evoking the white marble of ancient Greek statuary. Some readers might wish for a little more mess, but there are plenty of knockouts to be found in this elegant assemblage.