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DATA by Seth Abramson Now Available!

 BROWN-EYED POLISH 5’8.602” MASSHOLE FLATFOOTED HAIRY SKIN-TAGGED RUSSIAN 227 POUNDS BADGER FAN DARTMOUTH ’98 BROWN-HAIRED NEAR-SIGHTED JEWISH DANIEL BOOK REVIEWER AGNOSTIC LITHUANIAN ATTORNEY DEMOCRAT GAG REFLEX BEARDED CUP-EARRED COWLICK BALDING FACIAL DEFORMITY PALE 5.6” LONG BARITONE POET BULB-NOSED CIRCUMCISED SLOPE-SHOULDERED IOWA WRITERS WORKSHOP ’09 PLATELET COUNT 328 FAT-TONGUEDMEGALAPHOPIC SCHOLAR RING FINGER LONGER THAN INDEX INFLUENZA-VACCINATED NEW HAMPSHIRITE HYPOVITAMINOSIS D NON-ANGLO NON-DRINKERABUSE VICTIM HDL 36 NERD BROTHERLESS FORNICATOR MALE CAUCASIAN KOHEN GERD DEPRESSIVE IVY LEAGUER SETH R.J. GREY JHS ’90 TWO-FINGER TYPIST DEBTOR FORMER NOTARY WISCONSIN ’10 EDITOR NEW ENGLANDER CHAIMPROFESSOR LONG LASHES NEUROPATHY SUFFERER BP 129/87 AGE 39 INNIE 5,000 FACEBOOK FRIENDS ~73 RESTING NATIONAL MERIT SCHOLAR KLOUT 59.9HALLOWEEN BABY 1976 SCORPIO EXCESSIVE SWEATER AFOL ABD METAMODERNIST1490 GRE SUPER-SMELLER MARRIED 4.0 GPA AVID READER HETEROSEXUAL LDL 131AMERICAN CLASS D DRIVER HARVARD LAW ’01 AUTHOR “UNACCENTED” SOX FANAWP MEMBER HOMEWRECKER STUDENT EX-PUBLIC DEFENDER FAKE TOOTH17½-32/33 BLUE SUBSTANTIAL GIRTH ABRHS ’94 MUSIC COLLECTOR 204 CHOLESTOROL VERIZON RED CELL COUNT 4.80 TICKLISH HEART PALPITATIONSBLOGGER ABRAMSON GMAIL USER LIKELY HERNIATED DISC NON-SMOKER SMALL BUSINESS OWNER IQ 137 XY UNCLE LITTLE LEAGUE ALL-STAR SUBMISSIVECONFIRMED YOUNGEST CHILD REFORM LIGHT SNORER COLUMNIST CREATIVE WRITING MFA EXPERT TRIGLYCERIDES 187 SLIDING HIATAL HERNIA DOMINANTHEPATITIS A-VACCINATED MAC USER COLD FEET CROOKED NOSE MINUTEMEN FAN36 x 28 JEANS ACTONIAN VOTER NON-CLINICAL AGORAPHOBE MANCHESTERITEFANBOY 75 WORDS PER MINUTE LAWFUL GOOD 03101 2,810 FOLLOWERS GERMANJURIS DOCTORATE ENGLISH MAJOR TUTOR 21B T75 MA BMI 34.83 PC USERMCCARTHY-TOWNE ’88 CHAPPED LIPS BIG GREEN FAN ACTIVIST INFP GODFATHERSUPERTASTER BEST MAN ROTO OWNER DATA SPANISH SPEAKER FORMER WEED SMOKER GENERATION X 1360 SAT AKRON POETRY PRIZE WINNER  DOG-LOVER 177 LSAT BEAR ABLE-BODIED TAXPAYER AUTOMATONOPHOBE HONDA CIVIC $66,500BLOOD TYPE UNKNOWN GRAYING LIPP RECIPIENT PARIAH HUSBAND LIGHT-SENSITIVE LEASEE SCANDOPHILE SELF-TALKER PHOTOMORPHIC CONCORD NATIVEENGLISH-SPEAKING POOR VISION PESCATARIAN ARACHNAPHOBE SIZE 9 XX6-X4-5X4X STEVE BLASS DISEASE VERTIGO SUFFERER SOMETIME NOSE-PICKER NHBA MEMBER TENURE-TRACK INSURED ANGLOPHILE NYCTALOPIC IN ONE EYE UNH FANEAST COASTER PROBIOTIC USER U.S. CITIZEN 555 CANAL STREET FIREFOX USERAMAZON AUTHOR RANK 86,898 #33 MOST FAMOUS SETH IN U.S. CHEIMATOPHILECINEPHILE SETHABRAMSON.NET GREEN ROSE PRIZE WINNER LOW-GRADE PTSDANTI-AUTHORITARIAN HYPERBOLIC IDEALISTIC DISPIRITED SENSITIVE GENEROUSTALKATIVE IMPATIENT ANXIOUS GENTLE THOUGHTFUL EMOTIONAL CONSIDERATESINCERE CANDID PASSIONATE HONEST NAIVE VERBOSE NOSTALGIC FRIENDLYEGOTISTICAL LAZY TRUSTING ATTENTIVE KIND SPENDTHRIFT ARTICULATE GOODPROUD SELF-HATING COURAGEOUS IMAGINATIVE OPEN-MINDED INTROVERTEDEMPATHETIC LONER

 
 
Seth Abramson is the Series Editor for Best American Experimental Writing and an assistant professor of English at University of New Hampshire. Author of six books, he writes on metamodernism for The Huffington Post and Indiewire. In 2015 he published a prequel to DATAMetamericana, with BlazeVOX Books.
 
Book Information:
 
· Paperback: 156 pages
· Binding: Perfect-Bound
· Publisher: BlazeVOX [books] 
· ISBN: 978-1-60964-246-4
 
$16 
 
 
 
 
 
 
 
 

DATA by Seth Abramson Book Preview

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Notes on a Past Life by David Trinidad Now Available!

In Notes on a Past Life, David Trinidad exorcises the ghosts of New York with a compulsively readable, wrenching memoir in verse. His “Goodbye to All That” offers a critique of ambition, an ode to community, and a sip of the poison that poetry is, in the end, the antidote to. —Eula Biss


David Trinidad’s poems in Notes on a Past Life are breathy and breathtaking. Forgoing traditional formal gestures, these memoir-verses burst with energy, finding their own shapes. No one writes nostalgia like Trinidad. He chronicles friendships with poets and the influence of poets who came before. He chronicles a glorious love affair and its aftermath, bad jobs, art, ambition, fame, 9/11, AIDS, dreams, meals, real estate, ghosts, lyrical gossip, the slights that haunt us, and the hurts we rise above.  Notes on a Past Life is a mature, wise, and enlightening book. —Denise Duhamel


This reader was depressed by the rancorous settling of scores but exalted by the homage paid to the great dead—a record of lived life, every second of it, and a love letter to New York (a letter written after a disappointing but gripping affair). —Edmund White


Notes on a Past Life catalogs in “Trinidadian” detail an outsider’s relationship to the insider world of New York City poetry—cutthroat parties, fragile egos, heartbreaking losses, as many endings as beginnings. Trinidad refuses the safe distance of “the speaker” in these autobiographical, intimate (sometimes searing) poems. This is a book for outsiders and insiders, for romantics and cynics. Some will be pissed. Some will be thrilled. And everyone will be “dishing” (as poets do) about this astonishing book, afraid to admit how much they love it. —Aaron Smith


David Trinidad’s other books include Dear Prudence: New and Selected Poems (2011) and Peyton Place: A Haiku Soap Opera (2013), both published by Turtle Point Press. He is also the editor of A Fast Life: The Collected Poems of Tim Dlugos (Nightboat Books, 2011). Trinidad lives in Chicago, where he is a Professor of Creative Writing/Poetry at Columbia College.

Book Information:

· Paperback: 238 pages

· Binding: Perfect-Bound

· Publisher: BlazeVOX [books] 

· ISBN: 978-1-60964-211-2

$16

 
 
 
 
 
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POEM FOR THE UNBORN| NOTE TO THE GREATEST GENERATION by Chuck Richardson Now Available!

 The hip thing these days is to be a poet and write fiction. It is not the hip thing these days to be a fiction writer and write poetry. The former brings possible public reward and greater numbers of readers; the latter brings no public reward and notice but by a few. That is the surface reason this book of poetry--a single dark, weird, shattering poem, really--by the singular fiction writer Chuck Richardson might trigger curiosity and attention. Even as its title fairly announces a refusal to hope for what the poem, given the rules and odds of the current game, will almost certainly not receive. Within the noise and clutter of the present situation, where, how, does a poem with no expectation or desire of reward fit in the frame of familiar poetic motive and need? That the poem is written out of such a question (and negative capability) is another, deeper reason it might trigger curiosity and attention. If not now, then perhaps when readers now unborn are reading... Perhaps. But even then probably not. Because the unborn, to poach from Richardson the poet, torque their cerebral tombs to tacitly melt the dreams of all poetry beams. Which were always the real bones of fiction, anyway.

—Kent Johnson

From the invocative opener of “Chant Divine Syrup,” onward through the “Ussing” of his “Emergent Satori,” the “Ash heaps smoldering / with refugees” that characterize Chuck Richardson’s Poem for the Unborn strike me as a needed addition to the American poetic milieu. Armed with the postmodern novelist’s sensitivity to “social speech types” and metanarrative (& Sade, Celine and Acker), Richardson manages to unearth and make striking, with an unrelenting parataxis and lethal dose of poem parody, an “alien optimism” of “Hubris,” nostering away in the quietude of his Love Hut. This devotional nihilism is a strange, beautiful and horrifying, all around frolicking work of a singular poetic instinct. Welcome Chuck Richardson’s debut in the form.

—Jared Schickling


Book Information:

· Paperback: 166 pages

· Binding: Perfect-Bound

· Publisher: BlazeVOX [books] 

· ISBN: 978-1-60964-237-2

$16

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

POEM for the UNBORN by Chuck Richardson Book Preview

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Writers Who Read interviews Kristina Marie Darling

 The Writers Who Read series continues this week with Kristina Marie Darling. Welcome, Kristina!

Who are you?
I’m a poet, fiction writer, and critic. My most recent books are Women and Ghosts and Failure Lyric, both available from BlazeVOX Books. I also serve as Associate Editor at Tupelo Quarterly, Founding Editor of Noctuary Press, and an editor at Handsome, the magazine publication of Black Ocean Books.

Which book or series was your gateway into the world of reading?
I loved C.S. Lewis when I was younger, but it wasn’t long before I became interested in nineteenth century Russian literature. Honestly, it’s like I went straight from sipping on a beer to guzzling scotch. Once I read War and Peace, there was no stopping me from reading Crime and Punishment, Dead Souls, all of Turgenev’s fiction, and all of Chekhov’s plays.

Nowadays, what makes you crack open a book instead of pressing play on your favorite Netflix show?
I’ve been traveling to various artist residencies for the past year, so usually, Netflix isn’t an option. Or if it is, there’s a tremendous amount of shame and guilt involved when you’re surrounded by smart, talented, creative people and you’re trying to find out who won on The Voice. And who would want Netflix anyway when these smart, talented artists are offering you book recommendations?

Which authors are auto-buys for you? Why?
If I could hit a button and pre-order everything by Joshua Clover, I would. I admire the ways that he uses the resources of poetry to make compelling interventions into contemporary literary theory. He suggests that poets can make necessary contribution to complex academic and philosophical conversations, ultimately democratizing the act of literary criticism.

Read the whole interview here 

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Wade Stevenson interviewed on Green Life Blue Water

 

Wade Stevenson

[Photo courtesy of the author]

An Interview with Wade Stevenson

First off, congrats on the success of Flutes and Tomatoes, one of Kirkus Review’s Best Indie Books of 2015. What an honor.

I read Dear You and Flutes and Tomatoes in relatively short order. There is such a full blown range of longing, despair, grief, and, dare I say, an exhilaration in the expression of it all, maybe more emotion packed into two slim volumes than many would experience in a lifetime. So — are you reconciled with the events that took you to such a dark place, maybe at peace, and if so, how did the writing help you to get there?

Writing for me has always been an act of catharsis, of purification, of healing. The stories described in Flutes and Tomatoes and Dear You did indeed take me to dark, difficult places. No one would want to stay for a long time in that kind of emotional cell, and the only path I could find to free myself went through words. The words that make up the fabric of those poems became me. I lived them as if they were real. The events that caused the original pain happened again, in real time. Holding those two books in my hand, I can say, “You are the proof of that love that was lived and lost.” That feeling is one of wonderful release, it creates peace.

Both books were published in 2015. How much time passed between the events and the writing of the books? Did you find yourself agonizing anew as you wrote them?

Both books were published in 2015 because they’re related in terms of their emotional context and impact. Flutes and Tomatoes grew out of an experience I had in Paris when I was in my early twenties. That was in the late 1960s. I still have the notebooks that formed the basis of the book. The story narrated in Dear Youtook place in 1992. I started writing about it then but I couldn’t finish it. It hurt me to finish it, and in one way I didn’t want to finish it because that meant putting closure to it. And I felt I needed to keep the wound open. It’s strange how that happens, no? You don’t want to stop reliving in your memory something that hurt you very much.

Dear You is a very intimate exposé of your feelings at a specific time in your life, but also an intimate portrait of the mother of one your children. You share a daughter and shared a life, the details of which now are very public. I think it would be hard to be written about in such an intimate fashion. How does the Mlle. X. feel about your characterization of your relationship and particularly of her part in it? 

I like to think that my poems are written from the center of my stomach, what the Japanese call “Hara”. You could also say: from the gut. You’re absolutely right: “Dear You” is a very intimate portrait. Extreme intimacy. I was afraid of showing it to Mlle. X, the mother of my child. But I also felt it would be wrong to publish it without first letting her read it. So I sent it to her and said, “If you don’t like it, or don’t approve, I’ll just keep it in my desk drawer.” She called me up a few days later and said, “It’s a beautiful book. I’m so sorry, I never realized I caused you so much pain.”

Do you think there are patterns in life and that people succumb to certain ones or that there’s much more of a randomness to the universe? For example, Greg Braden talks about something called Fractal Time and how, like the inside of a nautilus shell or the repeating patterns of a pine cone, life spirals out in ever-widening circles, but the pattern remains the same. Braden posits that there’s a precise mathematical formula to prove his theory and with certain bits of information such as the date of the inciting event, among other things, he can predict when the next event will occur, allowing you to prepare yourself for a disaster or maybe keep it from happening, or conversely, accept a blessing. I’m fascinated by this concept and wonder if you’ve heard of it and what your opinion of it may be. 
 

Greg Braden’s idea is intriguing, but I deal in my texts with emotional time, not mathematical time. My own books, such as the memoir One Time in Paris, or the novel The Electric Affinities, or my prose poem, The Little Book of He and She, draw on such different experiences of life and love that it would be impossible to say they conform to any preset pattern. In your own book, Six Sisters, you write a passage about how nothing happens by chance. I agree, but I don’t think that’s the same thing as saying that people succumb to certain patterns that keep replicating themselves.

I’m sure your familiar with the work of Joseph Campbell and the power of myth and archetype throughout the ages. You have two stories of lost love, both of which might have shattered you, but you proved resilient. Do you think that we are all living our lives under the umbrella of a few archetypes developed early on in our childhoods, and if so, what archetypes resonate with you? 

Joseph Campbell’s book The Hero with a Thousand Faces, is one of my favorites, and I strongly believe in his mythological narratives. The archetype that resonates with me is that of the hero, the man who, assuming his own destiny, ventures out on a dangerous quest, meets several obstacles, overcomes them, and is victorious. There are many types of “quests” and the victory is always a spiritual one, symbolic, but it must be fought for and achieved. My books are all about a quest for love, or what happens in the aftermath of a broken love.

What’s your next project? Another hybrid book of memoir/poem or something completely different?

My next book is actually about the moon. It’s called Moon Talk. It will be published by BlazeVOX next month. It’s divided into three parts, a long poem, an essay, and some quotations. It’s a poetic, spiritual, and philosophical journey through all the phases of the lunar cycle. It’s a lyrical riff on the moon as myth and symbol. Joseph Campbell would have liked it.

Sounds wonderful.  So what’s a regular writing day look like for you? Part time? Full time? Some time? Every day or only when the muse strikes?

I’m a nocturnal poet, I need the night to write. A certain solitude is essential. I don’t believe in the Muse. Writing comes from patience and discipline. For me, it’s almost like a Zen meditation. When I’m in it, I’m ready to kill any distraction.

I gather you are not a religious man, yet you write as though there is a real spirit of the divine in your work. Reconcile this for me.

I’m not religious in the sense of going to church or following any established ritual. But I went to a religious school (St. Paul’s School in Concord, New Hampshire), and at one time I even converted to Judaism. My forthcoming Moon Talk book is quite mystical. It talks about that “Name who, moving among darkness, sheds light”.

What is your greatest hope for the future of mankind?

If mankind as a whole read more poetry, the world would certainly be a greener, more peaceful place.

I know a few poets who would agree.  Good luck with your next book. I look forward to reading and reviewing it.

p.j.lazos 1.20.16

Read the whole interview here

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