Tenney Nathanson is the associate Professor of English at the University of Arizona. He has written three books of poetry. Chax published a full-length collection of Nathanson’s poetry Erased Art (Chax, 2004).
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A Reading Spicer and 18 Sonnets
“A warning is soothing/ a part of the landscape of sound/ in the inner ear/ this book nests in yr pocket hand/ vests interest in the larger structure/ the complex merger/ global markets.” So begins this new section of “A Reading,” the legendary long poem by Beverly Dahlen.
This lovely chapbook by well known New York poet Nick Piombino includes eighteen succinct haiku-like pieces. “If you need/ to fight// and you don't believe/ in fate// join the war/ on hat” – “Weapons of Mass Affection.” Piombino's THEORETICAL OBJECTS Is also available from SPD.
Ghost Snow Falls Through the Void (Globalization)
“In GHOST SNOW FALLS THROUGH THE VOID (GLOBALIZATION), Tenney Nathanson by abandoning conventions of presentation to glimpse animate nature of being invents wonderful links (passages in a dated sequence) as incredibly funny morphs of actual life/ suffering/death instances. Nathanson's inserted accounts of daily life such as war on Iraq are his versions of Spicer's notion of the poet taking dictation from the radio. As we read we discover that the multitudes of faces and voices as if funny black holes that flow and morph into Walt Whitman, Cheney, or Orpheus as Tenney singing, like the quicksilver terminator in Terminator 2 flowing into then arising from linoleum, are a stream form of his Zen practice as merely unexpected occurrences”–Leslie Scalapino.
“Poetry and sleep have always been related to me. What do we seek when we lie down to rest but a pleasant landscape of language? inaudible rehearsals of the auditory, invisible practice of the visual. It is possible of course to be asleep and awake at the same time, indeed we are mostly, examples: driving the freeway and missing the exit engrossed in meditation, or better the ineluctable state of napping in my chair, when I leave me there and go out for closer observation, hearing even seeing everything that goes on around but not noticing my own snores” (from the Introduction by the Author).
“Allison Cobb's BORN TWO brings monsters out of memory and an unexpected sweetness out of the firestorms of language. Hers is the mind of poetry, driven by history and lured by love, caught in the act of the need to know. Like a child after family secrets, Cobb turns up more truths than the ones she seems to be seeking. Childlike, too, are her characters, whose adventures carry them nearer and nearer the beautiful, erotic, and tragic world of knowledge.”—Susan Tichy
“For this new century, a poetry of minus signs. Like many of her generation, Allison Cobb's curious about the wheres, whens and whys of our predicament. Through compression, cubtraction, amputation and dispersal, she manages to scrape a hole across the ice on the windshield. BORN TWO peels away the myths of the American West to reveal the twitchy nerve beneath.”—Kevin Killian
A BOOK OF CONCEALMENTS
“A BOOK OF CONCEALMENTS is a followup to an earlier hundred-poem work, A BOOK OF WITNESS, with some notable changes in strategy and composition. In A BOOK OF WITNESS I was concentrating on the rescue of the first-person voice as our principal instrument of witness.By contrast the twenty-five poems in this first installment of A BOOK OF CONCEALMENTS suppress the witnessing “I” but draw from my accumulated works by collaging as italicized inserts small fragments of poems already written & published”-Jerome Rotherberg from Author's Not. Handstitched chapbook.
“TV EYE is a rich engagement with the preconditions of words and the advances of thoughts and bodies. Baron provides readers with insights into the ways of transmission – how 'the eye plunders,' how 'we indicate/what we sound.' He is a scout of the movements of meaning and lyrical enchantments” -Roberto Bedoya.
Chantry is song. Chantry is song that exceeds song structure in all dimensions to become invocation and enchantment. From “the vessel without a cover” to “late silhouette in / blue” it refuses to be contained, as a book wants to live outside its covers. Sing this: “linger so this grace of grace,” yet sing it so that “the door cracks in so many different directions.” It is in these cracks, these interstices, that Elizabeth Treadwell finds and makes song, and the song exceeds and excels. Wordsworth defined poetry as spontaneous overflow of emotion, recollected in tranquility. Hear the overflow: “lovelove. all back-slaps and gummy smiles; free for honest mating?” and hear the invocation of a tranquility available for recollection and celebration: “inventing an alphabet / and feast their Beloved for awhile.” Throughout all, hear a language that irrepressibly invites the reader in, and creates a world worth the while, worth the song.