Donald Revell is the author of fifteen collections of poetry, most recently of White Campion (2021) and The English Boat (2018), both from Alice James Books. Revell has also published six volumes of translations from the French, including Apollinaire’s Alcools, Rimbaud’s A Season in Hell, Laforgue’s Last Verses, and Verlaine's Songs without Words. His critical writings have been collected as: Essay: A Critical Memoir; The Art of Attention; and Invisible Green: Selected Prose. Winner of the PEN USA Translation Award and two-time winner of the PEN USA Award for Poetry, he has also won the Academy of American Poets’ Lenore Marshall Prize and is a former Fellow of the Ingram Merrill and Guggenheim Foundations. Additionally, he has twice been awarded Fellowships from the National Endowment for the Arts.  Having previously taught at the Universities of Alabama, Denver, Iowa, Missouri, Tennessee, and Utah, Donald Revell is currently a Professor of English at UNLV and faculty affiliate of the Black Mountain Institute.

"For Revell, vision is an act of looking, of loving what he is seeing—even catastrophes—and of puzzling over its meaning, using language to tease it out and using kerygma especially to load his observations with unexpected power. ... For many years, until a recent move to upstate New York, Revell made his home in the great western desert, living in Las Vegas, where life can be arid, desolate. He’s been like an eremolatrous desert father, inviting us into his cell for wisdom and prayer, some companionship."
—Peter O'Leary, Restless Messengers

"...mutually reinvigorating interdependence takes place within the reader who spends time with these poems, thought and feeling, natural grounding and intuitive spark, constellating in unique awakenings on each page. Such integral reading and listening, fittingly, is a central aspect of the faith modeled in these poems. If we read Revell the way Revell reads, we will deepen our considerations of our own consciousness of creation — and our gratitude for the connection to deeper being present in the reflection."
—Michael Collins, On The Seawall

"Donald Revell's Canandaigua compounds itself of archaic beauty and immediate freshets, of fair vigils of praise and invention. Its dictionary holds the sky for all it is worth and breaks the agendas of waste economies. Gainsaying death, these splendiferous poems invite us to join, to mourn and rejoice."
—Angela Ball

“‘Eyesight was a flower when the sun meant something.’ Maybe we need a poet—this poet, Donald Revell—to remind us vision isn’t made of time, but of light. Then the eye sees across the ages to those binding realities that mark the borders of human love. A kind of paradise—from a poet who hasn’t given up on paradise—even as the timely world walks east and skeptically away. The poem, too, is a kind of flower feeding on the sun: line by line the blue vervain grows taller. Or is it deeper? Canandaigua, as few books I know do, gives us both the bloom and the canker. Revell knows we live in ‘the death of allegory.’ He also knows ‘time heals nothing until / Time is no more.’ There is, he tells us, a grammar of mountains and trees. I trust him that it is so. I think you might trust him, too. Doing so gives us an extraordinary chance we didn’t know we needed, but do: that return to Arcady, where we step to the music we hear, that music that is ourselves.”
—Dan Beachy-Quick

"Donald Revell’s Canandaigua are poems of resistance, protest, theological quest despite our deepest skepticism. Humane, drawing from a wide range of reference that moves with grace between antiquity and tomorrow, these poems seek our lives’ greatest gifts: love and truth. Revell’s signature, trenchant, hymnal rhythms, his metaphysical infinitudes, are here as always, accompanying us as we move into new worlds, where Revell has always been waiting."
—Gillian Conoley