The Tongue Moves Talk by Karen Mac Cormack
The Tongue Moves Talk
Karen Mac Cormack
“Sense is made and remade word for word in Karen Mac Cormack's THE TONGUE MOVES TALK. Exquisitely refractory, incessantly modulating, sumptuously uttering, these poems attain a state of aesthetic grace without recourse to hooks or props”–Charles Bernstein.
Traffic by Gil Ott
Traffic by Gil Ott. CHAX edition.
“As an architect of the gap, Gil Ott provides many doors whereby this place may be entered and whereby you may encounter and be part of the ‘traffic’ of that occurrence. It’s not a house of many mansions, but it is poetry, a place which may not take place unless you enter. So: a different sort of gesture, one of welcome invitation. Think it over. What have other hands offered you lately?” – John Taggart
Transcendental Studies: Graphics of Poetic Intent by Keith Wilson
The fourth book in the New West Classics Series published by Chax Press, TRANSCENDENTAL STUDIES, is an essential new work by Keith Wilson which reconstructs popular notions of what is commonly thought of as “western” literature in America today. “Here are poems as intimate as breathing, recognitions quick as a lizard’s moving in the sudden sun. Back of it all is the abiding love for those one’s lived a life with. May this circle forever be unbroken.”—Robert Creeley
TRANSDUCER by Jeanne Heuving
TRANSDUCER, Jeanne Hueving's book of poetry, speaks of the literal and figurative meanings of an actual transducer, a device that converts one type of energy into another for purposes such as measurement and information transfer. The book is broken into four sections: Frequency, Flora, Chthonic, and Limning. All characterize the internal and external processes happening in the natural world (the act of killing ants and waves traveling over oceans). She brings to life the energy transfer occurring between these nominal subjects and further transforms their images into poetry. TRANSDUCER is “a trance inducer. Watching its petals fall, I am hypnotized into hearing frequencies audible only to the blind”-Andrew Joron. Hueving facilitates a conspicuous conversion of energy between her readers and her intensely electric, magnetic poems.
TV EYE by Todd Baron
“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.
Under Virga by Joe Amato
“'An ingenious gathering of poignant leapfrogging…a muscular memorializing…a sly haunting.' This is the book that's everything Amato says it is and is not. It bounces on water, refuses to be paraphrased, and invites itself to dinner. Buy it by the case while there's still time.”—Cole Swensen
Visible Instruments, by Michael Kelleher
Poetry/Literature. ISBN 9781946104069. 74 pages.
What is the meaning of light? Can humans even comprehend such a thing? In Visible Instruments, Michael Kelleher invites the reader
to be mindful of these questions, and to ask what she can know, what he can do, how they might live in the present, the future. Everything “is visible” in these meditations, “like an x-ray,” though that might only begin to help us understand what it all means, what we mean.
Michael Kelleher is the director of the Windham-Campbell Literature Prizes at Yale University. He formerly served as Artistic and Associate Director of Just Buffalo Literary Center in Buffalo, New York, where he founded Babel, an international lecture series in which he interviewed authors such as V. S. Naipaul, Salman Rushdie and Zadie Smith.
His published collections of poetry include Museum Hours (BlazeVOX, 2016), Human Scale (BlazeVOX, 2007), and To Be Sung (BlazeVOX, 2004). His poems and essays have appeared in The Brooklyn Rail, Colorado Review, The Poetry Foundation Website, Sentence: A Journal of Prose Poetics, ecopoetics, The Poetry Project Newsletter, EOAGH, and others.
From 2008-13 he produced a blog project entitled “Aimless Reading,” in which he documented the more than 1,200 books in his personal library.
wardolly by Elizabeth Treadwell
“Elizabeth Treadwell's writing, in which human (usually female) figures appear amidst fantastically embroidered surfaces, demonstrates volubility, humor, and intelligence in spades.”—Joyelle McSweeney, Rain Taxi
“What is strange, then, is the way Treadwell's refusal, her backing off, functions to generate worlds whose ambiguities and erasures function, to my reading, as fully determined. I don't feel the labor of needing to fill in the gaps (perhaps because Treadwell's gaps are enormously hard to fill are, in a real sense, honest); I feel instead the way in which those gaps speak and explain their inability to be filled.”—Simon DeDeo
Waterwork by Sarah Riggs
“In five stunning sequences, Sarah Riggs has created a poetics of elastic migrations that imagines the world as clusters, skeins, and motions whose innate peril is miraculously saved in hte act of naming: ‘each name for a thing seems intent to curl from its shelled meaning.’ Places, histories, persons, myth and object, intimacy and incident, are precision shorelines of simultaneous apprehension and erasure. In this subtle and luminous first book, Sarah Riggs has engaged our most fundamental quandaries in a poetry that announces, in Stevens’ phrase, ‘a new knowledge of reality.'”—Ann Lauterbach
“[Riggs] turns her acute eye to contemporary culture as well as natural history and her ear to the subtle balances of rhythm and assonance. The result is a beautiful attention that illuminates nuance, making the everyday world more detailed and thus more grand.”—Cole Swensen
Sarah Riggs is the author of WATERWORK (Chax Press, 2007), Chain of Miniscule Decisions in the Form of a Feeling (Reality Street Editions, 2007), 60 TEXTOS (Ugly Duckling Presse, 2010), 36 Blackberries (Juge Editions), and . Her book of essays, Word Sightings: Poetry and Visual Media in Stevens, Bishop, and O’Hara was published by Routledge in 2002. She has translated or co-translated from the French the poets Isabelle Garron, Marie Borel, Etel Adnan, Ryoko Sekiguchi, and, most recently, Oscarine Bosquet. Several of Riggs’s books of poetry have appeared in French translations by Françoise Valéry and others, with the publishers Éditions de l’attente and Le Bleu du ciel. A member of the bilingual poetry collective Double Change and founder of the interart non-profit Tamaas, she divides her time between the U.S. coasts and Paris, where she is a professor at NYU-in-France.
Wax World by Robert Mittenthal
“In Mittenthal’s work, it’s the idea of comedy in an explosion of craft that catches you. He’s quiet about it. He understands it will adhere—and it’s designed to—to linger. There’s almost a battle going on—an intellect that exists only to be destroyed by itself so that all that was is as it was—only clearer. And his sound sounds the most sounded out a boxer squaring off to take on the psychology of currency and its effects on labor. Not political OR only political. A clarity and honest posture mixed with poignant sarcasm about how the world sees itself. It’s about seeing inequality. ‘Paid to forget, I recall more.'”—Nico Vassilakis
What We Do: Essays for Poets, by Michael Gottlieb
Poetry/Essays/Literature 122 pages
How do we live our lives as poets?
In these three critical essays, plus an afterword, Michael Gottlieb addresses issues faced by us all, even if we are not poets or artists. Michael Gottlieb is the author of nineteen books including most recently, I Had Every Intention, Dear All, and Memoir and Essay, the authoritative recounting of the early days of the Language school. He was one of the editors of Roof, the foundational 1970s and 80s poetry magazine. A number of his works have been adopted for the stage, including his definitive 9/11 poem, The Dust, hailed by Ron Silliman as one of the “five greatest Language poems.” The Dust was stages by fiona Templeton and company at the Poetry Project at St. Marks on the tenth anniversary of 9/11.
Learn what it is to be a poet, what it takes, in order to grasp and live in the art and the life. One essential need is listening. For Gottlieb, “I am still at least somewhat capable of taking the first step when it comes to doing what we do as poets, that is: listening.”
What’s the Title? TITLE
What’s the Title? TITLE, by Serge Gavronsky
The title is TITLE. What’s the title? TITLE. That means the book is the book, or “A” book, and implies that the book questions itself along the way, or perhaps just makes a lot of leaps, flops, and fade-away hook shots, though all is not in cinders. But life and words manage to burn, and if you burn too, it might be for thirst of knowledge, and you will at least have a chance to quench such thirst if you read this book, if you attempt to understand the nature of a title. You are Odysseus, and you’re trying to get home, or toward another goal, and you need a few challenges along the way; or, you’ll get them whether you need them or not.
No more silence of memory! Because you will need your memories, even as you begin to lose them. But letters hold the prospect of words, and words of sentences, sentences of paragraphs, paragraphs of chapters, and chapters of books. And what is it that a book needs? TITLE. If all the dates are her favorites, she still wants to look at a calendar, and if she misses one, or two, she needs a reminder. Or she needs to pour herself a shot of calvados. Calvados or calvary, or cavalry. Oh my avocadoes! On sunny days, he had that certitude, but Auschwitz and Dachau happened nevertheless. Half of the country was bombed out, but the afternoons kept and keep coming. And one day you will remember (or not, or who will?) that a violinist was needed for a marriage of American history to its right political place. There is no language without speech, there is no Olivetti without a green cover. Too green in the land of pairs of graphs. Life is touching each other, and may have no intertextualities. Or all may be so.
This is that book This is TITLE!
— Charles Alexander