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Fantasias in Counting by Sophie Seita is Now Available!

Fantasias in Counting by Sophie Seita is Now Available!

 

  

Sophie Seita’s Fantasias in Counting furthers an evolving, intense and remarkable body of work with performative textuality, spatiality and ethics of presence. Her poetry and poetics test the very limits of prosody; her theatrics work the defamiliarised into the known: a fantasia of the writer’s making defaulting into non-ownership. Rhythm and its predications and failures are central to ‘speech’. Seita writes: ‘[Begins to play a rhythm on or with scattered sounding-material—whatever is available. Ideally, this is a polyrhythm or cross-rhythm, either 4:3 or 5:3, or even better 4/4 : 4/3 or 2/5 : 2/3 or something of that kind; over the repeatedly spoken phrases: no I cannot; no you cannot (ad lib with pleasure)].’ The rhythm becomes word becomes the ‘theatre’ itself. At first experience a viewer, a reader, a fly on the wall, might undergo the epiphany of the ‘new’. But in Seita’s melding of ancient and modern performative techniques, her investing the moment of articulation with an awareness of the social and political constraints it operates within, we actually start to question what is ‘new’. Rather, we might apply to her work something akin to Stravinsky’s observation that Beethoven’s Grosse Fuge was ‘absolutely contemporary’ and would remain ‘contemporary forever’. Sophie Seita is one of a handful of brilliant ‘new’ poets and performance-enhancers who are changing and will continue to change how we receive and resist the ‘limits’ of poetic form and performative spatiality. She creates texts that are investigative and synaesthetic. When we read ‘my theory is better than my praxis’, the irony ripples through the manuscript, because rarely do the metronome, the drum beat, the tones of voice resonate so strongly. The page becomes the acoustically desirable space, with all attendant ironies and wit. Character and writer are of no fixed address. Sophie Seita is a writer of genius who will never stay still, who will constantly work the boards in ways as yet unimagined. Watch, listen, and be changed.

—John Kinsella

Appearing in the drag of scale exercises, wrought and precise conceptual variations, and playful improvisation, the performance scores in Sophie Seita’s Fantasias in Counting might cause their readers/audiences to wonder whether they’re clothed or nude. Yet the pleasure of these works is their refusal—tartly apropos our digital times—of such binary codings: countable v. mass nouns, wholes v. parts, the one v. multiples, original v. proxy, integer v. fraction, feigned v. felt, and, perhaps most importantly, repetition v. difference. For while Seita’s jargonate arias may instrumentalize the count of the metronome, they also “ambivalize” to reach an “acchord” or “communichord”; remaining unaccountable to a beat, they transmogrify uniform temporal divisions into the bumpy, opaque spacing of socio-linguistic relations. In Steinian tradition (“a craving so little as that like as if it (then) would be then it would be simple. simple and countable. more simply countable. a slice please. much cream.”), Fantasias in Counting effects, against the preterit, new performative grammatical modes: “cannot be counted, only done,” “practised, not counted.” Likewise, the book forges forced ways of being among languages: Seita does not just notice how “lots of words sound like other words” but stages language in states of “hyperarousal,” finding, for instance, an opera within an opera by unfolding a narrative spelled by its paratextual musical directives cum characters: “Po may be generally slow or fast at wasp-speed.” “The subversive subject has lost. Now only irrational measures,” Seita writes, but perhaps that subject is not so much lost as distributed both within and without itself, just as protagonistic or quantifiable models of action have here fissured into mischievous, disturbing agencies, even the agency of aporia. Here’s more than “A little ‘hey’ for true mathematics”: “Please take some time with this line.”

—Judith Goldman


Sophie Seita writes poetry, performance texts, short plays, and translates contemporary German poetry. She makes videos and performs in the UK, Germany, and New York. Her work has appeared in various magazines in the UK and US and her first chapbook 12 Steps was published by Wide Range (Cambridge) in 2012. A collaborative artist book with Anna Moser is forthcoming. She co-organises the unAmerican Activities Transatlantic Reading Series, a simultaneous live reading series between NYC and Cambridge/London. Her doctoral research focuses on experimental poetry and poetics, as well as the formation, dissolution and self-definition of literary communities in avant-garde periodicals, correspondence, and ephemera.

 


Book Information:

· Paperback: 82 pages

· Binding: Perfect-Bound

· Publisher: BlazeVOX [books] 

· ISBN: 978-1-60964-172-6

$16

 
 

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Tim J. Myers is in the news!

 

 

Tim Myers the author of Dear Beast Loveliness has had some wonderful media responses to all of his writings. Below are interviews, reviews, and a short story for you to look over. Hurray and do stop by his book page to have a look at his poetry. Hurray!   

 

 

Tim Myers on East o’ the sun and West o’ the Moon

LA Review of Books:

https://lareviewofbooks.org/review/visions-beast/

 

 

Tim Myers interviewed with DASHKA SLATER on the writing life:

http://www.dashkaslater.com/index.php/blog/entry/the-many-paths-to-publication-part-5-an-interview-with-tim-myers

 

 

And here's a short story b y Tim in EAP: The Magazine:

The Fisherman and the Draug

http://exterminatingangel.com/eap-the-magazine/the-fisherman-and-the-draug/

 

Here's an interview on Tim’s children's books:

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Buffalo Small Press Book Fair 2014 is this weekend!

 

 

The Buffalo Small Press Book Fair is a regional two-day event that brings together cultural workers involved in book arts, printing, small press, and writing.

8th Annual Buffalo Small Press Book Fair Saturday, April 5th, and Sunday April 6th, 2014, Karpeles Manuscript Library Museum 453 Porter Ave, Buffalo, NY.

This is our eighth year participating in this event and we look forward to seeing you! Do stop by our book table at the fair, we’ll have many books on hand. Our books will sell for $5 to $10. We also have an online book table with 50 titles all at special prices. So hurray, its Spring and National Poetry Month. so get a little poetry in your life!!! Buy a book for yourself or a friend today.

 

BlazeVOX Online Book Table

50 titles all for $10 each!!!

•           2X2 by Martine Bellen

•           A Testament To Love & Other Losses by Wade Stevenson

•           Apollo by Geoffrey Gatza - Black and White Edition

•           Art Fraud by Jeffrey Schrader

•           atboalgfpopasasbifl: Irritations, Excrement & Wipes by Jared Schickling

•           BRUSHES WITH by Kristina Marie Darling

•           Cheltenham by Adam Fieled

•           COMMA FORK / MOVING PARTS by Ted Greenwald

•           Cruelty by Jefferson Hansen

•           Dear Beast Loveliness by Tim J. Myers

•           Dear Darwish by Morani Kornberg-Weiss

•           Deco by J.J. Colagrande

•           Does the Moon Ever Shine in Heaven? by Chuck Richardson

•           Domestic Uncertainties by Leah Umansky

•           For the Ordinary Artist Short Reviews, Occasional Pieces and More by Bill Berkson

•           From Delancey West by Brian Jackson

•           Gradually the World: New and Selected Poems, 1982 – 2013 by Burt Kimmelman

•           having been blue for charity by kari edwards

•           Headz by JJ Colagrande

•           In Your Dreams by Ted Greenwald

•           ITHACA: A LIFE IN FOUR FRAGMENTS by Travis Cebula

•           Katzenjammered by Norma Kassirer

•           LIGHT-HEADED by Matt Hart

•           Lost Poet, Four Plays By Jesse Glass

•           Miscellaneous Debris by Nick Mansito

•           MORPHEUS: A BILDUNGSROMAN by JOHN KINSELLA

•           On The Bus: Selected Stories by Dennis Barone

•           Oops! Environmental Poetics by James Sherry

•           Opera House Arterial by Anne-Adele Wight

•           Prior by James Berger

•           Quinn's Passage by Kazim Ali

•           Responsibilities of the Obsessed by Goro Takano

•           Robert Browning's The Pied Piper of Hamelin

•           Romance With Small-Time Crooks by Alexis Ivy

•           Selected Prose of Bobbie Louise Hawkins Edited by Barbara Henning

•           Slaves to Do These Things by Amy King

•           Soldatesque / Soldiering | Poetry by Anne Waldman, Art by Noah Saterstrom

•           THE CARCASSES A FABLE by Raymond Federman

•           The Unfinished by Mark DuCharme

•           Thirty Miles To Rosebud by Barbara Henning

•           to go without blinking by Aimee Herman

•           Trailers by Michael Basinski

•           Transcendental Telemarketer by Beth Copeland

•           Truth Game by Tom Clark

•           Uncomfortable Clowns ms #77 by James Hart III

•           Vertigo Diary by Larry Sawyer

•           I'm The Man Who Loves You by Amy King

•           House of Forgetting by Geoffrey Gatza

•           “now, 1/3” and thepoem by Demosthenes Agrafiotis Translated by John Sakkis and Angelos Sakkis

•           Captain Poetry’s Sucker Punch: A Guide to the Homeric Punkhole, 1980–2012  by Kenneth Warren

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Prior by James Berger reviewed in the New Haven Review

 

Priorities



James Berger’s first book, Prior(BlazeVOX, 2013), is not so much a collection as it is a condensed career. Drawing on decades of poems, Berger compresses his past into a book. We don’t read for a dominant theme but rather to see the different threads revealed. And yet this is also not a “selected,” where the volumes drawn from would be clearly marked. Berger has compiled his poems, we might say, and chosen an arrangement for them. And that’s what we read.

That said, we can isolate different versions of Berger the poet, and different interests over time. The book is divided into four sections, linked by recurring short poems entitled, severally, “Prior to Earth,” “Prior to Air,” “Prior to Water,” but the sections seem to blend the kinds of manner to which Berger is prone. There is the abstract poet, pursuing a more disembodied style, where a sense of language is the key pursuit; there is the family man poet, who reacts to a death, to the birth and growth of his children, who reflects on his sisters, and explores the imaginative dimensions of marriage; there is the discontented commentator on culture and, to use the Onion’s phrase, “our dumb century,” a poet who finds little enough to praise and chafes at his status quo; then there is the more profound poet, who sees that the purpose of poetry, after all, is its ability to contain life and thought, the actual existence and the virtual existence. Poetry may be cloying if it tries to be wisdom literature, and Berger is too ironic toward language to endorse gestures too large, but moments of careful reflection surface due to the poet’s willingness to attend to the implications in a turn of phrase, a new shade of the mind.

Read the whole review here 

Check out more about Prior here

 

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Romance With Small-Time Crooks by Alexis Ivy reviewed in Prick of the Spindle

 Romance with Small-Time Crooks
By Alexis Ivy
Review by Karen Weyant



BlazeVOX [books], 2013
ISBN: 978-1609641054
Paperback, 100 pp., $16

 

When I was ten years old, I wanted to be a pool hall girl—one of those teenage girls who hung out at the local dives in town. Pool hall girls were all tight jeans and tank tops and tattoos. They wore red lipstick and teased their hair high (this was the 1980s). Trails of cigarette smoke always lingered behind them. They were, in one word, cool. And as a young girl, I wanted to be cool. 
            
Somehow, I was reminded of those pool hall girls when I read Alexis Ivy’s Romance with Small-Time Crooks. Ivy’s first full-length poetry collection details a young woman’s life from youth to adulthood through booze and drugs, sex and violence, loss, and eventually, hope. Essentially, this book is the coming-of-age story of a heroine who is resilient, if not a bit rough around the edges, but always a fighter and survivor. 

Read the whole review here 

Check out Alexis's book here 

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Photos on flickr