Anna Journey’s The Judas Ear resurrects a host of vanished people and places, often through marvelous Ovidian metamorphoses that seem as natural in the gritty tableaux of Richmond, Virginia, as in the luminous transmuting vistas of folktale or myth. Journey’s music is lush and visceral, her humor warm and sly, and her sensibility metes out tenderness and grotesquerie in equal parts. Like the ear-shaped mushroom named for a biblical betrayer, the poems in The Judas Ear can shift suddenly from wit to pathos, from seductiveness to danger, with a generosity of vision that is at once wise and revelatory.