Chax Bundle of 13
One of the new offerings from Chax, A Bundle of Books at Significant Savings to our Great Readers
Looking to jump into Chax? Now we offer you a great way to do it. Please keep coming to our site for a new bundle or two every month.
13 books at a special discount. The average price of these books is more than $17, but here you can have all 13 for just $100 (less than $8 per book) plus shipping. This is a limited time offer that will expire at the end of February 2018. Links below lead to the regular product pages for the books, with more information about the book. But you must return here to purchase this bundle at the discounted price.
Ted Pearson, An Intermittent Music
Kit Robinson, Leaves of Class
James Sherry, Entangled Bank
Ben Hollander, The Letters of Carla
Sarah Riggs, Waterwork
Will Alexander, Inside the Earthquake Palace
Michael Gottlieb, What We Do
Gil Ott, arrive on wave
Linh Dinh, ed.and trans., The Deluge
Gaspar Orozco, Autocinema
Leonard Schwartz & Simon Carr, Salamander
Alice Notley, Reason & Other Women
Susan Thackrey, Andalusia
Andalusia by Susan Thackrey
ISBN: 9780986264030 (pbk.) 9780986264047 (hardcover, casebound in dust jacket)
Price: $17.00 (pbk.) $75 (hardcover)
Susan Thackrey, a poet who lives and works in San Francisco, began to compose poetry at the age of three. She was an inaugurating student in the Poetics Program at New College in San Francisco in 1980, and studied with Robert Duncan and Diane di Prima formally and informally over a number of years. Thackrey has given invitational lectures on Robert Duncan, Charles Olson, and George Oppen, including as a keynote speaker at the George Oppen Conference in Buffalo, and most recently on Duncan’s The H.D. Book for the San Francisco Poetry Center. Since reading Homer in Greek over a five year period with Robert Duncan and some of her poet contemporaries, an important and lively part of her life in poetry has almost always included variously focused and long-lived reading groups with other poets.
Her day jobs have included co-founding and managing the art gallery Thackrey and Robertson in San Francisco, as well as her current work as a Jungian analyst in the C.G. Jung Institute of San Francisco. There she has taught, spoken, and published, focusing especially on art, recently publishing a talk and essay on Jung’s paintings for The Red Book: Reflections on C.G. Jung’s Liber Novus (Routledge).
Her poems have appeared in a number of journals, including Five Fingers, Hambone, Talisman, Traverse, and Volt. Current books in print, in addition to Andalusia, are Empty Gate (Listening Chamber), and George Oppen: A Radical Practice (O Books and The San Francisco Poetry Center).
The Hero by Hélène Sanguinetti
The Hero, by Hélène Sanguinetti, translated by Ann Cefola
Sanguinetti takes on the archetype of the hero from every angle—at times many simultaneously—and in a language itself heroic in its leaps and shifts and its inventive riffs that tap into ambient legend, with its steaming horses, epic journeys, and, of course, battle. Volatile style, startling content, super-charged tone—Cefola captures them all in her splendidly nuanced translation, a rare case in which nothing at all is lost, and the English language gains a powerful and beautiful book.
Flow-Winged Crocodile & A Pair/Actions Are Erased/Appear by Leslie Scalapino
Flow–Winged Crocodile & A Pair/Actions Are Erased/Appear
“For myself and the cast, directing Leslie Scalapino's FLOW has been an extraordinary journey into language and the language in breath, the rhythms of effort to say as precisely as her savage delicacy of thought, her forcing us all to assume nothing in examining the fineness of our implication in each other”–Fiona Templeton.
An Intermittent Music 1975-2010, by Ted Pearson
An Intermittent Music 1975-2010, by Ted Pearson
ISBN 9780986264092. Poetry. $24.
O! learn to read what silent love hath writ:
To hear with eyes belongs to love’s fine wit.
An Intermittent Music luxuriously shows us the capaciousness of Ted Pearson’s work—surprising, perhaps, given what may have appeared to be a minimalist tack. We see that Pearson’s has always been a long game, no matter the exacting finesse of its close negotiations. The poems obey an abiding fidelity to the intervallic sway whereby capacity does indeed accrue, one suture, one synapse, at a time. This is desert island work, to be savored and to be returned to again and again.
— Nathaniel Mackey
Over the course of thirty-five years, Ted Pearson has been incrementally publishing a masterpiece, present here before us at last within the covers of this book as An Intermittent Music. He describes it as “a serial work comprising eighteen books in four movements,” and it is therefore possible to situate it alongside key serial works by poets like Jack Spicer, George Oppen, Robert Creeley, Leslie Scalapino, and Barrett Watten. As is true of work by all of these (otherwise very different) poets, the parts of An Intermittent Music resonate within an evolving dialectic, intentionally avoiding a final chord. Writing poetry that is intensely bound to both song and intellect, Pearson has been ever alert to matter in its infinite detail, to social as well as erotic desire, to liminal identities, and to the circulating systems of idiom and opinion that construct the social spaces we inhabit. This magnificent work begins almost plaintively, building to the great crescendo of its end. An Intermittent Music tracks Pearson’s ever-expanding attention to the ever-increasing associative complex that is lived experience. By the end of the book, the music is impossible and the music is everywhere, generating exquisite, ubiquitous suspense. This is a book to read avidly and over and over again.
— Lyn Hejinian
A Mere Rica, by Linh Dinh
Poetry/Literature, including an interview with Linh Dinh. ISBN 9781946104045. 234 pages.
Getting back to the theme of writing from the outside, I published this in the American Poetry Review in 2004, “I’ve come to realize that I much prefer to live on the periphery of the English language, so that I can steer clear of the tyranny of its suffocating center. In this sense, I am a quintessential American. A Unapoet, I like to homestead just beyond the long reach of Washington […] Hearing the rapid syllables of a foreign language, a bigot is infuriated because he’s reduced to the status of an infant. Poets, on the other hand, should welcome all opportunities to become disoriented. To not know what’s happening forces one to become more attentive and to fill in the blanks. Hence, poetry.” (Linh Dinh, from the Interview with Tahseen Alkhateeb)
Linh Dinh is the author of five previous books of poems, plus two collections of short stories, a novel and a non-fiction account of the economic, social an political unraveling of the USA, Postcards from the End of America (Seven Stories Press 2017). His political essays are regularly published at Unz Review and other webzines.
Salamander: A Bestiary
Poems by Leonard Schwartz / Images by Simon Carr
64 pages; 24 poems with 24 images plus title/cover image
What do you get when you put ten frogs in a coffee pot? Answer: Salamander, the latest in a long, imaginative line of animal inventories that began in classical Greece, if not on Noah’s Ark, became popular during the medieval period, and includes such modern innovators as Leonardo da Vinci and Lewis Carroll, Jorge Luis Borges and J.K. Rowling. A collaboration among a father, his daughter, and a woodcutter, this poetic menagerie celebrates the intelligence and ingenuity of two dozen creatures, from elk to eel, orca to owl. A labor of filial laughter, this carved, quirky rolodex is also a mirror in which we see ourselves, as “Wildness withheld,” for the endangered species we are.
— Andrew Zawacki
Woodcuts — are they black on white or white on black?—cut through the woods of words. The wood shows what the words mean. And the other way round. You can’t be sure with animals.
Animals are there just enough for us to glimpse (a woodcut is more shadow than flesh) and have some working poet explain them to themselves.
This book is all explanation. Read “Blonde Raven” to learn what it means to live in a visible world
The poems are sparse — light shows through them — and tell us things about animals, and tell animals about themselves — so much so that I’m not sure, after reading through the 24 panels, whether I’m being explained or being enlightened. That’s a perplexity that comes when reading Rilke and Dickinson too, poets who can’t always tell themselves from what they see.
— Robert Kelly
photo by Carlos David
Reason and Other Women by Alice Notley
Reason and Other Women
“This is an immense book, one in which Notley takes language, as she has it, 'from hearsay to heresy' by the speed and awe of an unwavering attention to the seams, seems and semes of words and sentences. This is the work of an iconoclast, a semioclast, where semantics become seme-antics, and the byz-antics and -antiques from Christianity to Christine are molten down & recast into 21st Century mental shapes in the red-hot heart-red retort of a present day alchemist of mind. Alice Notley has the uncanny ability to go from the everyday mundane to the psycho-cosmic in one warp-speed stutter or typo-graphical stumble, at what Andre Breton called 'la vitesse grand V.' This is writing of the highest order.”—Pierre Joris
MANTIS, by David Dowker
MANTIS, by David Dowker
POETRY / LITERATURE $17 US / 64 pages / published 2018
The other that enters the text maintains its iridescence “through multiple woof” (and tweet or twitter) ambigrammatical basically a reading “all resin fled” this or that which verbals at the interstices ratiocinates and conjugates erasure valence emergent impetus on the verge of blur “mantid being” a gloss from the given harmonics.
To explore Mantis is to explore language as organic material in formation, information as material. The work is bit-mined, one might say, from The Maintains by Clark Coolidge, taking as rudiment processes of jazz improvisation, particularly as practiced by musicians who may take a single step, and then follow where that step leads. To follow Mantis where it leads is to enter the forest, the cavern, the word hoard, and to find oneself as “light” or “as rose,” and to cross that place into a realm of creative possibility, where the final “as if” may mean open to everything.