Ghost Snow Falls Through the Void (Globalization) by Tenney Nathanson
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.
HEGELIAN HONEYMOON by Nick Piombino
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.
Hopeful Buildings by Charles Alexander
“This book collects six works, different from each other in many respects, but all moving with a strong investigative force. Thinking is the experience of everyday living, and Charles Alexander's work is a poetry of thinking. But it is experience, not difficulty, that wonderfully complicates these poems and brings them very close. I hope many people will read HOPEFUL BUILDINGS and take great pleasure both in its detail and in the larger construct that the details, perceived, provide. I do”—Lyn Hejinian
Hostile by Heather Nagami
“Heather Nagami’s first book of poetry, HOSTILE, is written as though literature, and perhaps language, must begin again. It finds its way as it goes, as it finds out what poetry can be. That it does so with grace, power, and amazing courage, is obvious with every word encountered, every step around the parameters of what is possible”–Charles Alexander. “Hardly ever has found language, appropriated discourse, sounded more closely attuned to what Ms. Niedecker once referred to as the ‘condensery’ of poetry–not Reznikoff’s TESTIMONY, nor the early novels of Kathy Acker. Nagami is listening for all the elements in the language. What strikes me as a reader is the degree to which these texts remain true to their source materials while demonstrating a total commitment to the traditional effects of poetry–concision, a foregrounding of the formal elements of poetry, even a goofball elegance that has much to do with the New York School’s commitment to wit.
Huge Haiku by David McAleavey
“The poems here feature the best kind of innovation, that which retains the old in the new but also gives readers what they have never seen before. David McAleavey expands the form of the haiku into something alive and incisively of our time. Through the mathematical rigor of their stanzas and lines, the poems in HUGE HAIKU open themselves out to an astonishing variety of experiences and disruptive contrasts. Whether the subject is the natural world, the suburbs or the city, growing up or growing older, politics or language or absurdity, these poems never settle for easy answers, but pull us repeatedly back into a world that's both dangerous and full of possibility. In so doing, McAleaveay takes the great virtue of haiku – its exctness of detail–and focuses it resolutely on our own contemporary and wildly layered strangeness.” — Mark Wallace
Implexures (Complete Edition) by Karen Mac Cormack
Implexures (Complete Edition)
Karen Mac Cormack
“Karen Mac Cormack writes a play of voices and the voicing of places as they combine. The combination is one where what would otherwise be merely singular begins to overlap. Citation, statement and creation–a multiplicity of moments that are only present as a weave–work together to narrate. The reader is implicated from the start. However, there is no single place that calls. Voices continue to speak. Identities however–the names and voices–can only ever be glanced at. And yet, the writing suggests. Humor and a complex sense of pathos work together. The writing entices. As would be expected Karen Mac Cormack has written an important book. Its presence connects the pleasure that reading affords with the critical reflection that writing demands”–Andrew Benjamin.
In Felt Treeling: A Libretto by Michael Cross
“In IN FELT TREELING, Michael Cross has created a pastoral theatre in which elaborate patterns of resemblance are poetically measured by counter-voiced assertions of autonomy and difference. The world is invited to ‘err’ and to ‘air’ its intentions freely, treely, freewheelingly, treelingly. These poems are “felt” doubly, as both noun and verb, with their layered emotional registers and their playfully theatrical costume dressing. As this carefully scored work is animated by the vocal fabric of its setting in the woods, the reader becomes transfixed, like Daphne, within the lush, felt landscape of the poems.”–Elizabeth Willis
Michael Cross’s critically acclaimed debut, IN FELT TREELING: A LIBRETTO, was published by Chax Press in 2008. HAECCEITIES is his second collection of poetry. He is the editor of INVOLUNTARY VISION: AFTER AKIRA KUROSAWA’S DREAMS (Avenue B, 2003) and The George Oppen Memorial Lectures at San Francisco State University (forthcoming). Cross lives in Oakland.
Inside the Earthquake Palace: 4 Plays by Will Alexander
“Will Alexander's poetic universe could be a 1 + 1000 surface ('folded-in expanse') imbedded in a 1 + 1000 + X dimensional Historical Space-Time (the 'transverse'), with Ancient-Future Language particles and ?elds trapped on the folded-in expanse while Non-Institutional Unrepressed Images (NIUI's) are free to access the transverse. At least one of Alexander's extra spatial dimensions could be very large (cosmic proportional) relative to the Standard Global Media Scale of Capitalist Misapprehension of 'personhood,' which lowers the Fundamental Human Individual's Volitional Scale, possibly even down to Trans-Sub-Cultural Electroweak Level. This revolutionary picture arises in the framework of recent developments in Über-Performativity in Contemporary Poetics ® as regards Spontaneous Mass Bubble Nucleation of Language as possible New Life Form Generation (NLFG's). Generalized Over-Accumulated-Wealth SuckBot Aesthetics cannot describe Present Ever-Dying Noxious Cultures at high enough energies and so must be replaced by an Alexanderized PolyPerson Theory of Drama, picking up significant corrections as the Fundamental Ideological Corpus Energy Scale is approached. Thus, at high energies Infra-Continental Cultural Relevance 'leaks' into the transverse, behaving in a truly higher-dimensional way.”—Rodrigo Toscano
Born in 1948, Will Alexander is a poet, novelist, essayist, playwright, visual artist and pianist. He was the recipient of a Whiting Fellowship for Poetry in 2001 and a California Arts Council Fellowship in 2002. He was also the subject of a colloquium published in the prestigious African American cultural journal Callaloo in 1999. Author of 20 books (including MIRACH SPEAKS TO HIS GRAMMATICAL TRANSPARENTS, INSIDE THE EARTHQUAKE PALACE: 4 PLAYS, ABOVE THE HUMAN NERVE DOMAIN, COMPRESSION & PURITY, EXOBIOLOGY AS GODDESS, and TOWARDS THE PRIMEVAL LIGHTNING FIELD), Alexander has taught at various colleges including University of California, San Diego, New College (San Francisco, CA), Hofstra University, and Jack Kerouac School of Disembodied Poetics, in addition to being associated with the nonprofit organization Theatre of Hearts/Youth First, serving at-risk youth. He is a lifelong resident of Los Angeles.
Jam Alerts by Linh Dinh
“Linh Dinh is one of the most consistently surprising writers around. One can find sources & roots for his writing, explain the traces of surrealism through the presence, say, of the French in Vietnam (tho they were driven out a decade before he was born), note that he is hardly the only good or successful Vietnamese American poet, let alone the only poet to come from a working class background, yet he is not writing ‘about’ or even ‘toward’ nor ‘from’ any one of these contexts so much as he is through them—they are lenses, filters, that condition his perspective on everyday life. Imagine what any other poet with this strong a sense of form would have had to become in order to write such poetry. Ted Berrigan, for example. Berrigan shares Linh’s class background, which enables him to be as ruthless in a different way as Linh is in his. But the comparison stops there. Linh is writing straightforward poetry, but from a perspective shared by almost no one else. This kind of exile is far deeper than mere geography…you can feel Linh’s deep loneliness on every page & realize that there are aspects of his poetry that you can’t find anywhere else. We probably haven’t had a writer this singular since the death of William Burroughs.”—Ron Silliman
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).
Leaves of Class, by Kit Robinson
Poems by Kit Robinson
The title of Kit Robinson’s latest is a nod to the Great Includer, and its pages share something of that earlier writer’s peripatetic energy, his constant welcoming. Think also of Monk’s sidewinding testaments, Saul Leiter’s carefully sudden Manhattan kodachromes, Top 40 radio when it (sometimes) used to be challenging. But the call of thought is the tone most often heard—the summons to consider, to praise, to inveigh. Time now to roll up those “vernacular shirt sleeves” and get down to “tuning the work of days.” These are irresistible poems.
— George Albon
Like Whitman, Kit Robinson celebrates himself, the world, and the amplitude of time. In Leaves of Class, we are treated to poetic clarity and a sense of rectitude. Whimsical forays into the boundaries of meaning and language, “You could say poetry publicity puberty probity,” he characterizes planetary currents, of which he knows he is an intrinsic part, as “vertiginous, lofty, cerebral, lazy, and light.” In this collection, Robinson leaves the ecology of self to discover new wilderness. Powerful stuff.
— Anne Tardos
Life-List by Jessica Smith
Life-list, by Jessica Smith
ISBN 9780986264023 Paperback, 1st Edition
Jessica Smith, Founding Editor of Foursquare and name magazines and Coven Press, serves as the Librarian for Indian Springs School, where she curates the Indian Springs School Visiting Writers Series. A native of Birmingham, Alabama, she received her B.A. in English and Comparative Literature: Language Theory, M.A. in Comparative Literature, and M.L.S. from SUNY Buffalo, where she participated in the Poetics Program. She is the author of numerous chapbooks including Trauma Mouth (Dusie 2015) and two full-length books of poetry, Organic Furniture Cellar (Outside Voices 2006) and Life-List (Chax 2015).
Life-List is a meditation on memory, love, and grief organized through the language of birding. From a fluttering first kiss to the frantic flapping of the last captive passenger pigeon on Earth looking for her mate, Life-List explores the relation of the individual to her incessantly disappearing habitat.
“we have lost something in the translation / of time into language,” Jessica Smith writes in this lovely book of experimental poems, Life-List. But breaking open the words, she enables “that which would kill you” to burst into flowers, creating the space—of breath, of spirit, of imagination—to let the birds in this book of birds fly through. Ann Fisher-Wirth
Dinosaurs did not go extinct. Approximately 10,000 extant species of birds appear to be descended from a subgroup of theropods, a heritage that includes our childhood idol T Rex as well as the bee hummingbird. Birders know the richness of heeding their presence & variety, the divination of alectryomancy, the creation of life-lists. Any reader who heeds the n apart from hero in heron will recognize how birds articulate space & vice versa, how a life looking outward can be invested with our deepest interiors. The Brain, a very smart woman once wrote, is wider than the sky. Ron Silliman
Limerence & Lux by Saba Syed Razvi
Chapbook by Saba Syed Razvi. Limited to 100 copies.
Cover image hand painted by Cynthia Miller. Books are hand sewn with red linen thread. Cover printing is letterpress, with Gloucester Std Old Style and Garamond types.
Luscious, glimmering poems of life, desire, vision, and imagination.
Cacophony of Bells: the Origin of Disquiet
Fernando, the self you see reflected
in the liquor in your glass is not
your self. He follows you, though,
commenting on the silences you resume.
Can you blame him if he emerges
sometimes, holding your hand while you
hold the pen? Lover of ink, he is
in love with your blood.
What he doesn’t see when he looks
back at you is like the sound of breaking
glass, sliver of bells crackling
between your teeth.
He will consume you, Fernando: do not
look at him.