Edited and translated from the Vietnamese by Linh Dinh. “Carefully selected for their literary significance as well as their antagonism towards state power, cultural orthodoxy and conventional wisdom, the hundred and sixty Vietnamese-language poems annotated, contextualized and expertly translated into English in THE DELUGE provide a stunningly original (counter) history-in-fragments of Vietnamese society from the 1960’s up till today. While Linh Dinh is typically known for his extraordinary poetry, fiction and journalism, THE DELUGE showcases his remarkable talents as a translator, anthologist and cultural historian. I love everything about this book: the sneaky-smart selections, the illuminating yet ruthlessly efficient author-bios, the fascinating addendum and, of course, the absurdly brilliant translations.”—Peter Zinoman
“The ever-precise and brilliant James Schuyler characterized Vladimir Mayakovsky’s poetry as brimming with the ‘intimate yell.’ Frank O’Hara got that energy pulsing in his work, but was tenderer, while Linh Dinh is more preposterous and full of outrage than either. Imagine a concoction that mixes Shakespeare’s Falstaff and Celine’s Bardum, frank, rollicking humor and hair-raising disgust. After adding fish sauce, a smelly cheese and sexual sweat, shake vigorously. Out of the bottle rises Linh Dinh. God talks to him and he talks about everything, including the body parts that Renaissance painters left out. No one does it better.”–John Yau
Linh Dinh was born in Saigon, Vietnam in 1963, came to the US in 1975, and has also lived in Italy and England. He is the author of two collections of stories and four books of poems. His work has been anthologized in Best American Poetry 2000, Best American Poetry 2004, Best American Poetry 2007 and Great American Prose Poems from Poe to the Present, among other places. Linh Dinh is also the editor of the anthologies Night, Again: Contemporary Fiction from Vietnam (Seven Stories Press, 1996) and Three Vietnamese Poets (Tinfish, 2001), and translator of Night, Fish and Charlie Parker, the poetry of Phan Nhien Hao (Tupelo, 2006). Blood and Soap (Seven Stories Press, 2004) was chosen by the Village Voice as one of the best books of 2004. His poems and stories have been translated into Italian, Spanish, German, Dutch, Portuguese, Japanese and Arabic, and he has been invited to read his works all over the US, London, Cambridge and Berlin. He has also published widely in Vietnamese. He lives in Philadelphia. His works from Chax Press are AMERICAN TATTS (2005), JAM ALERTS (2007), and SOME KIND OF CHEESE ORGY (2009).
Jefferson Carter directs the Writing and Literature Program, and teaches developmental composition and poetry writing at Pima Community College, Downtown Campus. His eight books of poetry include Litter Box (Spork Press, 2004), SENTIMENTAL BLUE (Chax Press, 2007), MY KIND OF ANIMAL (Chax Press, 2010), and GET SERIOUS: NEW & SELECTED POEMS (Chax Press, 2013). He has lived in Tucson, Arizona, since 1954. He has won a Tucson/Pima Arts Council Literary Arts Fellowship, and his poems have appeared in such journals and e-zines as Carolina Quarterly, CrossConnect, 2River View, and Barrow Street. His chapbook Tough Love won the Riverstone Poetry Press Award.
“Lisa Samuels’ beautiful ANTI M is a delicate, dark, expansive, and obviously elliptical text that explores not the opposite but the obverse side of memory. In ANTI M, memories are broken apart and intensified, they have become charged particles. They flicker, not cinematically (though the lovely, enigmatic images included in the book bring film to mind) but with electricity. It is that exciting play of light, cast by shadows and patches of even darker darkness, that makes the language of ANTI M luminous. And it is luminous—this is a gorgeous work.”—Lyn Hejinian
Lisa Samuels has a PhD from the University of Virginia and currently teaches literature and creative writing at The University of Auckland in New Zealand. She publishes essays and edited work on poetry, theory, and critical practice. She is the author of several books of poetry—including WILD DIALECTICS (Shearsman Books, 2012), TOMORROWLAND (Shearsman Books, 2009), THE INVENTION OF CULTURE (Shearsman Books, 2008), and THE SEVEN VOICES (O Books, 1998)—as well as a creative nonfiction book, Anti M, forthcoming from Chax Press. Her current projects include an essay collection, Modernism Is Not Enough, an audio recording of TOMORROWLAND with soundscapes, and a modular novel experiment, Tender Girl. Having lived in various parts of the United States, as well as in Sweden, Israel/Palestine, Yemen, Malaysia, and now New Zealand/Aotearoa, she is interested in transculturalism, especially as embodied in language and the digitas.
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.
“Maryrose Larkin’s surprising and rangy poem is part exorcism, part tour of the ruthless canals of the body where memories like ghosts hover, retreat, get startled and go astray. Decay and loss are present, but as movement, animation. Even the process of revision is palpably felt, not as groping for excellence but as openness to re-vision. Where some poets simply evoke contingency, Maryrose enacts it, and with a powerful sense of compassion. The ghosts here lead not to an underworld or to what may come, but to ‘touch and hazard.’ The effect is both haunting and inviting. Go in and meet everything outside, anew.”—Standard Schaefer
“In a land where FEELINGS shared is a transgression, we get propelled onward! If Elizabeth Murray’s promise that the subconscious is what we paint about, then Maureen Owen’s promise is by the poems. Always there first, as Freud said, ‘Where I go I find a poet has been there before me.’ Imagine Sigmund meeting up with the latest Owen book. ‘We think we look back / we just look outside / surface that is a state / of meringue / holiness that is a condition independent / of deity….'”—CA Conrad
Maureen Owen is editor of Telephone Books and author of over ten poetry collections, including American Rush, a Los Angeles Times Book Prize finalist, and AMELIA EARHEART, a recipient of the American Book Award. Formerly co-director of the Poetry Project, she now lives in Denver and teaches at Naropa University. Most recently, she is the author of EDGES OF WATER (Chax Press, 2013).
“Well-versed and well-read in Sufi mysticism, Joris appears throughout these captivating meditations as a nomadizing poet-scholar—a poeta doctus in the classical sense: whether it is the manners, or pockets of the desert, Baghdad bombings, or Hallaj's set of stations that caught his eye (a poeta vates?) and fired up the engine of his writing, Joris—poeta faber—also always guides us back to the material flux of language that constitutes these meditations.”—Peter Cockelbergh
Pierre Joris has published over 40 books of poetry, essays and translations. Since 2008, he has lived with his wife, the performance artist and singer Nicole Peyrafitte, in Bay Ridge, Brooklyn. Most recently, he is the author of MEDITATIONS ON THE STATIONS OF MANSUR AL-HALLAJ (Chax Press, 2013).
“Standard Schaefer’s work has consistently been little short of extraordinary. But now in this his fourth book, in the tradition of politically committed visionaries (almost as if he were a mix of Gerard de Nerval and Hannah Weiner), he calls us toward a ‘humbler arrangement’ of art and love, insisting in this set of triumphant and authentic aphorisms that nothing of or in this world is a fiasco, that if we mistake distraction for enchantment and fail to listen to the static of war, the lack of love, the codes of poetics and politics (which are one), we fail the real. Wonderment is an ethical discipline. Noons are all around us. I have never seen a poet do this to such an extraordinary degree. This is one of the few books that will remain, or so I would hope.”—Gabriel Gudding