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The Slip by George Tysh Now Available!

His engagement with the variable foot of William Carlos Williams gives a new spring and all to George Tysh’s remarkable collection The Slip.  For much of the book, especially the haunting title poem, an isolated phrase appears, then the next descends, and then another, each open space miming the way breath appears in human speech, as an aid to understanding and an absolute electric charge—at times one of volcanic intensity.  The “slip” between word and meaning shimmers, whitens, makes the page a visual playbook of repetitions and variation.  Then there are the quotes, gems from recent reading, so that, as in Spicer’s later books, the poem becomes a latticework of the great poetries of many Western tongues.  Pessoa, Patti Smith, Irigaray, Deleuze, Isaac Babel, Rancière, Maeterlinck, Laura Riding, beloved Reverdy, Freud, The Castle, Jane Eyre —an aleatory charge animates this work, like the old Merce Cunningham method of drawing slips of paper from a sack to reveal and define the next dance move. Finally I read slips between words, the way you might drop a letter from one word, add a new one, the word pivots and turns and reveals new facets of beauty, meaning, terror.  “Pole/ rhymes/ with/ stool,” he writes, in “Crosswords. ”   “A/ rebus/ for/ abuse.”  He’s an anagram kid, like me; you would be too, perhaps, were your name Tysh.  It’s a wonderfully young book, vivacious yet wise and vatic, like Jean Seberg in A Bout de Souffle.  And my God, so beautiful.

 
—Kevin Killian
 
 
In Paris in the '60s, George Tysh edited the journal Blue Pig with poet David Ball, and collaborated with conceptual artists Christian Boltanski and Sarkis. From 1980 to 1991, he directed LINES: New Writing at the Detroit Institute of Arts, and (with poet Chris Tysh) edited In Camera, a project devoted to works of the sexual imaginary. He teaches film studies and poetics at the College for Creative Studies, Detroit.
 
 
 
Book Information:
 
· Paperback: 100 pages
· Binding: Perfect-Bound
· Publisher: BlazeVOX [books] 
· ISBN: 978-1-60964-217-4
 
$16 
 
 
 
 

The Slip by George Tysh Book Preview by Geoffrey Gatza

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Nectar of Story by Tim J. Myers Now Available!

"Tim J. Myers connects story to poem, creating two experiences from one source, with an ingenious way to approach poetry. Legends, biblical stories, newspaper reportage, myth, and lore, are interpreted into present-day poetry, themes centralized, then kept in motion by prosody—passion, eros, despair, and triumph, each with its own identity. Myers displays an important craft in Nectar of Story where humankind’s first dreams are told and transformed, so that the page has two hearts— narrative and verse, infinite with possibilities.  I’m genuinely moved by the way Myers delves into ancient channels of communication— moving past memory— to ignite the imagination. Tim J. Myers is indeed Our Patron Saint of Story."

 
—Grace Cavalieri, poet, dramatist, and director of “The Poet and the Poem from the 
         Library of Congress”
 
 
"Nectar of Story considers wildly various, ever intriguing subjects with sympathy, passion, and self-effacing wisdom. And his prose introductions to the poems are often as fine as the vignettes in Hemingway's In Our Time. A rich and wonderful collection."
 
—Ron Hansen, National Book Award finalist and author of Mariette in Ecstasy
 
 
"At first glance, Tim J. Myers’ Nectar of Story appears to be a kind of call-and-response between stories and poems, but the book’s structure is far more complex than that. One might also assume that the stories function as epigraphs, or explanatory footnotes to the poems, but they are neither. Nor are the poems ekphrastic, created as formal responses to other works of art. Instead, Tim Myers has created an entire constellation of connections between stories—timeless embodiments of how we as a species take the world into ourselves—and poems, one mind’s unique assimilation and purified expression of that common human territory. What’s perhaps most remarkable about the poems is that although their umbilicals to the stories are often evident in the form of segues, spin-offs, answers-back, even subtle rebuttals, they are at the same time wholly independent of their origins. They are as unpredictable and thrilling as poems that seem to come from nowhere, as all genuine works of imagination do." 
 
—Chase Twichell, winner of the Kingsley Tufts Poetry Award
 
 
"There's a storytelling voice that informs and deepens all of Tim J. Myers' poetry. It seems as if each of his poems leads to a journey worth taking. His language, like that of the classic poets of the T'ang dynasty, is as clear as fresh water— a clarity that may hide at first the depth of thought behind each poem. There's also a deep humanity in his work, as well as a sincere awareness of and respect for the circle of being that surrounds us."
 
—Joseph Bruchac, Abenaki writer and storyteller
 
 
 
 
 
Tim J. Myers is a writer, songwriter, storyteller, and senior lecturer at Santa Clara University.  His children’s books (13 published and two in press) have won recognition from the New York Times, NPR, and the Smithsonian.  He’s published over 130 poems, won a first prize in a poetry contest judged by John Updike, has two books of adult poetry out and a nonfiction book on fatherhood, and won a major prize in science fiction.  He won the West Coast Songwriters Saratoga Chapter Song of the Year and the 2012 SCBWI Magazine Merit Award for Fiction.  Find him at www.TimMyersStorySong.com or on Facebook at https://www.facebook.com/TimJMyers1.
 
 
Book Information:
 
· Paperback: 142 pages
· Binding: Perfect-Bound
· Publisher: BlazeVOX [books] 
· ISBN: 978-1-60964-202-0
 
$16 
 
 
 
 
 
 

Nectar of Story- Poems by Tim J. Myers Book Preview 

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Starlight: 150 poems by John Tranter Now Available!

“AFTER a career of more than 40 years, John Tranter has become that paradoxical thing: the postmodern master. Ghosting others’ poems, using “proceduralist” approaches to composition and revising and mistranslating “classic” works (such as Baudelaire’s Les Fleurs du mal), Tranter produces something entirely original and — most importantly — superbly entertaining. The inventiveness of Starlight seems unending, offering us a countless array of brilliant images and atmospheres, hilarious ideas and compelling mélanges of styles and registers. Starlight could well be Tranter’s masterpiece.”

— David McCooey, The Saturday Age. Saturday 06 August 2011.

John Tranter's Starlight: 150 poems quite literally 'makes it new' - whether 'it' is Eliot's 'Four Quartets', Hitchcock's 'Vertigo' or Baudelaire's  Les Fleurs du mal. In Tranter's hands these classics evolve into new creatures with shiny new claws and fangs.

This is one poetry book you will want to keep reading!

—Rae Armantrout


It seems natural, in retrospect, that the first great surrealist poetry in English was written by an Australian, Ern Malley. The fact that he was a hoax hardly matters. The poetry is what does, and it’s superb. It seems like modernism was directed at Australia like arrows from all over the world, and gets shot back in tenfold multiplications of them. Certainly John Tranter, who has been an international phenomenon for some time, is not one to deny the influences from outside, or to slow down the discussion of whether it all (Beats, Black Mountain, New York School) may be a hoax itself. This open question is, after all, what gives them their plangency and liveliness. We can find here firmly planted echoes of O’Hara — (‘The Last Clean Shirt’) with its superb first line, ‘We have to make do with Third Avenue,’ Ashbery — ‘The Anaglyph,’ Charles Baudelaire — ‘The Age of Nakedness,’ with its lovely ending, ‘A way of being astonished / by little things: a tractor, a running fox, a harbour full of boats,’ and no doubt others as well, but Tranter’s genius is singular in both senses of the word. Does he contain multitudes? Yes, he contains multitudes. His version of ‘Lights on the Hill’ assembles an odd bunch of artists: Stanley Spencer, Fantin-Latour, Bacon, Rockwell, Picasso, Pollock, Whiteley (don’t know him) and Warhol, and concludes ‘These curses, these futile blasphemies, these / hangovers, larger than the Brooklyn Bridge, / sobs, headaches, hissy fits, pissing competitions, / they are a kind of veterinary vitamin injection, / to raise a snoring draught-horse to his duties...’ Welcome to Tranter’s medicinal coruscating world. You’ll like it. It’ll do you good.

— John Ashbery

John Tranter is a leading contemporary English-language poet. He has published over twenty collections of verse and several anthologies and has given more than a hundred readings and talks around the world. He has visited New York City over twenty times, and has lived in London, Melbourne, Singapore, and elsewhere, and is now based in Sydney. He is the founding editor of the free Internet magazine Jacket (jacketmagazine.com, now jacket2.org at UPenn), and the founder of the Australian Poetry Library project (poetrylibrary.edu.au) which publishes over 40,000 poems on the Internet and founder of the Journal of Poetics Research (poeticsresearch.com).

His homepage at johntranter.com features over a thousand pages of poems, articles, reviews, interviews and critical material, including reviews of this book and extensive notes to many of the poems in it.

Book Information:

· Paperback: 150 pages

· Binding: Perfect-Bound

· Publisher: BlazeVOX [books] 

· ISBN: 978-1-60964-165-8

$16

 
 

Starlight- 150 Poems by John Tranter Book Preview

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Flutes and Tomatoes by Wade Stevenson Now Available!

 “Flutes and Tomatoes” by Wade Stevenson is a compelling story of survival, love and resilience in the face of loss. Filled with a crackling energy these poems describe self-discovery, worldly discovery, and the discovery of the mutability of time that shapes the world through the ever-distancing, ever expanding waves of disorder and randomness that are left behind after the death of a loved one.

 
The howling emptiness of hunger runs through these poems like a river washing through a chasm. Stevenson invites us to look deeply into hunger, to take the empty spaces back so that we may find a gift of sorts in the beauty formed from music made upon the places where distress has made the foundations of grief into walls. Walls that are enclosing as equally as they are too feeble to hold out the noise of rain undisguised as tears. “How long would this state last? That was a question that had no answer and therefore it was never asked.”
 
The writing is meticulous; each and every word is a celebration. Its sentiments are genuine using the tomato as a humble object to demonstrate the other as a personal story that wanders into an inspired song of longing. Drawing ideas and metaphors around the tomato that circulate as a way to free one’s mind of the ego and find the self within its red skin, within the redness of blood.
 
Moving from the surreal to the very real tensions of love, sex and desire these poems are written with a sense of unfolding mystery, with voice that is sure in its tone. Both strong and vibrant these words play a crimson sound that seeks both release and containment. By the end of the book, there is peace that develops between the flute and the tomatoes, we see them all flowering – the tomato becomes a rose.
 
 
 
 
Wade Stevenson was born in New York City in 1945. He is the author of several books of poetry, a memoir “One Time in Paris”, and a novel “The Electric Affinities”.
 
 
Book Information:
 
· Paperback: 102 pages
· Binding: Perfect-Bound
· Publisher: BlazeVOX [books] 
· ISBN: 978-1-60964-221-1
 
$16 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
  

Flutes and Tomatoes- A Memoir With Poems Book Preview

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Metamericana by Seth Abramson Reviewed in New Pages

 

Metamericana

  • Image
  • Poetry
  •  Seth Abramson
  • 2015
  • ISBN-13: 978-1-60964-194-8
  • Paperback
  • 120pp
  • $16.00
  • Benjamin Champagne
A good poem places pressure on language in an interesting way. This mantra can be peeled from the pages of Seth Abramson’s Metamericana. However, his secret seems to be that a good poem places pressure on ideas in an interesting way—that a good idea places pressure on old ideas in an interesting way. Philosophy places pressure on technology and technology places pressure on philosophy. All of this interacts in a swirling and kaleidoscopic manner. 

The Metamodernists use the prefix meta, derived from Plato’s metaxis. In Metamodernism, it is the movement between modernism and postmodernism that grants a static and stable nature. Elements that were often opposed now seen to be one, mostly irony and sincerity. To achieve this, Abramson uses conceptual poetry, the creative methodology of which he describes at the end of the work. 

The book begins with two patterned pieces. The opening poem is called “Genesis”: “Much made of little. Little made of knowledge. Knowledge made of scholarship.” The poem continues on like that for an entire page, the movement from each subject fluid and logical, occasionally funny or transgressive. A further glimpse provides more insight:
Moonlight made of fantasy. Fantasy made of cleverness. Cleverness made of ridicule. Ridicule made of Hondas. Hondas made of steel. Steel made of Superman. Superman made of Marvel. Marvel made of DC. DC made of politicians. Politicians made of turkey. Turkey made of banks. Banks made of efficacy. Efficacy made of ink. Ink made of blood. Blood made of chocolate. Chocolate made of God. God made of Bibles. Bibles made of laws.
His commentary on what it takes to create a fantasy is all rolled up in the clever turns of phrase he delivers. These in turn help him to comment on politics and society from a position that lacks self­righteousness. The poems arrive in these positions naturally and move out of them just as easily, passing through God, Genetics, Uncertainty and Humanity. The poem finishes by saying “Men made of women. Women made of women. Women made of women. Women made of women,” assumedly into infinity. 
 
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