Short Course, by Ted Greenwald & Charles Bernstein
Letterpress Covers on lovely pink papers, printed in two colors. Each book with an individually painted image by Cynthia Miller.
Text of book printed in two colors. Each copy hand numbered. 7 inches x 10 inches. 28 pages. Bound via hand sewing into pink paper covers with French flaps.
Poems are from an ongoing collaboration by Ted Greenwald and Charles Bernstein in which one author sends the other a few lines, and the next responds, until they decide the poem is finished. First poem of SHORT COURSE is “Breaking News,” which begins
Day turns paragraph
Proxy comma sighs
Medical meadow A
Séance in triple meter
Dull determination hedge
On silicone arrivals
If you or loved one
Without you and no they
No this magneto
Tango goes by code name
Divine pairings: tea & . . .
Mango presto chaser (to go)
All in all, the book is an inventive and experimental delight of language playing in the fields of the mind, and vice versa.
Published in April 2016, hand sewn by Charles Alexander (the book designer) and students at UHV Center for the Arts, where Charles Bernstein visited on April 28 and 29, 2016.
Since I moved In by Trace Peterson
Winner of THE GIL OTT AWARD
In Trace Peterson’s first collection of poems, SINCE I MOVED IN, “…desire is the restless remainder of body subtracted from voice, or maybe it’s voice from body. Whitmanian in its quick and tender grandeur, its penchant for direct address, and its abstract kinkiness and longing, SINCE I MOVED IN moves exorably from the transgendering (non) performance of ‘Trans Figures’ to the startled, suspended chiliasm of ‘Spontaneous Generation,’ where at last the fetish body, dispersed into landscape, becomes simply an ambient mode of seeing, or saying, in a post-everything ecology where voice broods over the face of the waters, becoming the (prosthetic) body of the world.”–Tenney Nathanson
Since I Moved In, by Trace Peterson
SINCE I MOVED IN, by Trace Peterson. Poetry / Transgender Studies. ISBN 978-1-946104-15-1.
A new & revised edition of the classic book by pathbreaking poet & cultural critic Trace Peterson. This edition contains a new Introduction by Joy Ladin.
The second edition of Trace Peterson’s Since I Moved In is a welcome re-issue, with a new introduction by Joy Ladin, of a landmark collection of poems by one of the most influential transgender poets writing today. Peterson, enacting her self-chosen name, traces connections and lines of flight between genders, between creative expression and acute observation, between her grounding and training in Tucson’s celebrated poetry scene and her on-going involvement in New York’s. Trace is an imperative, as well as a noun, and a name. It means to write over, as well as a faint remainder. Animated by the space of that double signification, and by the practice of making new life through transcribing an old life into a new register, Trace Peterson’s poetry — in life and in words — gives voice to something raw, inchoate, in-process-of-becoming. —Susan Stryker
These are the daring adventures of the voice, the voice that wants to be a body, and had no way to be a body in and for itself when this book was written: this book is maybe the first book of poetry in which I saw my own trans experience written and comprehensibly embodied, not allegorically or across a gap of anachronisms but as it is, as it was at the very same time. This is the voice that kept secrets from itself, that knows what it’s like to keep a secret and wonder whether it was never a secret; the voice, too, that knows how troubling it feels to be a voice, to be nothing other than voice, among readers and listeners who claim, in that early-2000s way, to hate voice (because they cannot hear their own). There is a Hartford in her heart, “no broken glass in it,” though “the map is not the map,” and alongside it there lurks, or flourishes, an “inability to be where I am.” This is a voice that sees: that sees “the boys at / lavender the girls in show,” a voice of experiment, a voice “wearing your socks.” I recommend it to anyone like me, and also to people who are nothing like me, who want to know how it has been. — Stephanie Burt
Some Kind of Cheese Orgy by Linh Dinh
“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).
Sound Remains by John Tritica
“John Tritica's SOUND REMAINS is as much a book of vision as hearing. Tritica register the emotions and motions of sound, taking a sounding, re-sounding, and tracking auditory adventure. He shows us fresh pathways via the word-routes and the root-words, particularly in the remarkable poem 'All Matter Is Encounter,' which presents us with 'sound that thinks, thought that resounds.' Tritica asserts that 'the hum of the room improves me.' I leave SOUND REMAINS similarly improved, and moved.”—Hank Lazer
“'Morning rise quiet, Satie's parade' is one line out of many that defines Tritica's rhythmic voice in a small space. Satie was a quiet composer, but in this book, the poet activates an intensity of feeling that magnifies the daily views of nature, of family and friends. There is a robust physicality here and the sense of a mind taking in the worth of language to expand being. This is a golden book.”—Gene Frumkin
“What we have in John Tritica's poetry is a phenomenology of the everyday, where the barely perceptible world right in front of our eyes and pressing against our skin appears in astonishing beauty and clarity, not as we normally experience it but as the poem allows us to experience it—a constellation of brilliant images, the inner life and music of words, the rush of juxtapostion and mind-body-spirit satori fusion: 'a matter of hearing what's slight significant.' Desert bloom and pulse of the sea create the apparitional expanse against which Tritica plays his magic, his inverted depth of field where 'The stillness is illusory / broom grass sifts the breeze.' 'All Matter Is Encounter,' Tritica proclaims in this poetic manifesto, and all encounter matters when we encounter it by way of the permission granted us in this book of wonder and ecstasy.”—George Hartley
Spiritual Letters (Series 1-5) by David Miller
“The word ‘spiritual’ is, in this volume, ripped away from the New Age and returned to its sources in Kabbalah and early Christian (gnostic) writings. But it carries with it the world as we have it now. A heap of horrors, remnants, a sense of the feminine under assault, and the drive to love. Therefore the dimensions are multiple and unstable. To be human is to be a spiritual entity more aligned with nature than with culture, and therefore to rebel. I am happy to have and to hold this book.”—Fanny Howe
David Miller was born in Melbourne, Australia, in 1950, and has lived in London, England, since 1972. His recent publications include THE WATERS OF MARAH (Singing Horse Press, 2003 / Shearsman Books, 2005), The Dorothy and Benno Stories (Reality Street Editions, 2005), and IN THE SHOP OF NOTHING: NEW AND SELECTED POEMS (Harbor Mountain Press, 2007). He has compiled British Poetry Magazines 1914-2000: A History and Bibliography of “Little Magazines” (with Richard Price, The British Library, 2006) and edited The Lariat and Other Writings by Jaime de Angulo (Counterpoint, 2009). He has been working on the Spiritual Letters project since 1995. A double CD recording of David Miller reading Spiritual Letters (Series 1-5) is available from LARYNX (London).
Stealth by Samuel Ace and Maureen Seaton
“STEALTH, this reeling motet, feels like a Tarkovsky film, all of them strung together, about the end of the world, these poems continuously spilling themselves into other spaces ad infinitum. And giving us a tiny window on that. It feels like a shell-game. Friendship and language. STEALTH is excited and joyous, while dying, dragging one’s tired ass through a desert, hallucinating. It feels like The Waste Land but the footnotes are fun. STEALTH is more boy than girl. I don’t think Philip Marlowe, I think of Philip Whalen with a pilot’s silk scarf tied around his neck. Man or a girl’s doll. These multiples never get solved, only raised here. I think I mean that stealth is simply the past tense of steal or living finally with everything you stole—living well in a paradise of your own.”—Eileen Myles
Samuel Ace has published widely in periodicals and journals, including Ploughshares, Eoagh, Nimrod, The Prose Poem, an International Journal, and the Kenyon Review. He is the author of two collections of poetry: Normal Sex (Firebrand Books) and Home in three days. Don’t wash. (Hard Press). He is a two-time finalist for a Lambda Literary Award in Poetry, a recipient of a New York Foundation for the Arts grant, winner of the Astraea Lesbian Writer’s Fund Prize in Poetry, The Katherine Anne Porter Prize for Fiction and the Firecracker Alternative Book Award in poetry. He lives in Tucson, AZ, and Truth or Consequences, NM. Maureen Seaton‘s recent publications include a collaboration with Neil de la Lor, SINÉAD O’CONNOR AND HER COAT OF A THOUSAND BLUEBIRDS (Firewheel Editions, 2011), her sixth solo poetry collection, Cave of the Yellow Volkswagen (Carnegie Mellon University Press, 2009) and a memoir, Sex Talks to Girls (University of Wisconsin Press Living Out Series, 2008), winner of the Lambda Literary Award. Her previous collections include Venus Examines Her Breast (Carnegie Mellon University Press, 2004), winner of the Publishing Triangle’s Audre Lorde Award; and Furious Cooking (University of Iowa Press, 1996), winner of the Iowa Poetry Prize and the Lambda Literary Award. She is co-editor, with Denise Duhamel and David Trinidad, of Saints of Hysteria: A Half-Century of Collaborative American Poetry (Soft Skull Press, 2006). Her solo and collaborative work has appeared in The Atlantic, The New Republic, The Paris Review, Prairie Schooner, Bloom, and elsewhere. The recipient of an NEA fellowship in poetry and two Pushcart Prizes for individual poems, Seaton teaches poetry at the University of Miami, Florida.
Swoon Noir by Bruce Andrews
The new book by prolific L=A=N=G=U=A=G=E poet Bruce Andrews, SWOON NOIR never fails to shake up linguistic expectations, without ridding itself of Andrews’ characteristically wide ranging diction and attention to sound, with lines like “Ventriloquism helluva Cinderella” and “Rapt literalist proxy poppers.” Andrews has published several dozen books of poetry and performance scores, many of which are also available from SPD. He has taught Political Science at Fordham University since 1975.