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The MERCURY POEM by Jared Schickling Now Available!

 THE MERCURY POEM sifts through the aftermath of nuclear meltdown and lets the senses piece us together. A puzzle: in this our time of ever-expanding exclusion zones, how to take cover / take care inside foregone conclusion? What is not forgone? What is poetry inside such disaster? Ear to the ground, eye on the facts, and with heart and subtle humor, Jared Schickling offers a volatile music where “flammable animals cavort / bioplastic / in the bioplast” and the fish choir takes over. Here is poetry that pulses, in search of. Read up.

—Ryan Eckes


Writing from the liver of what he’d call a National Sacrifice Zone, Schickling’s oozy syntax mixes tire fires and shrimp songs, transboundary waste dumping and hungry babies. And against easy, blissed-out landscape poetry, he gives us ecologies as they are: wondrous saturations of life and matter disturbed by floods of mutagenic pollutants in poems like damaged double-helixes that make a jagged sense read forward or backward. This collection is, by turns, playful and ethically rigorous, performing playful flips in language but also never forgetting we live in a world that will remain marked for millennia by acts of corporate and governmental malfeasance. The poems remind us that environmental catastrophe and quotidian life touch each other in intimate, ongoing ways.

—Joe Hall


With THE MERCURY POEM, Jared Schickling brings us an oddly reversible apocalypse—the story of individuals grappling with their own bleak place in history. “A tsunami ruining the beach / during an election season,” “the exclusion zone is breeding,” and as an elegy to television, the poet finds normalcy in the unlivable.

—Jonathan Penton

Jared Schickling is the author of several BlazeVOX books, including the trilogy The Pink + ATBOALGFPOPASASBIFL: Irritations, Excrement and Wipes + Two Books on the Gas: Above the Shale and Achieved by Kissing (2013-15) and Province of Numb Errs (2016), as well as The Paranoid Reader: Essays, 2006-2012 (Furniture Press, 2014); the chapbooks Prospectus for a Stage (LRL Textile Series, 2013) and A Packet of Food (Omnia Vanitas Review, 2013); two Trump Locofo chaps, Donald Trump and the Pocket Oracle and Donald Trump in North Korea (Moria, 2017); and he edited A Lyrebird: Selected Poems of Michael Farrell (BlazeVOX, 2017). He lives in Western New York and edits Delete Press and The Mute Canary, publishers of poetry.

Book Information:

· Paperback: 72 pages

· Binding: Perfect-Bound

· Publisher: BlazeVOX [books] 

· ISBN: 978-1-60964-300-3

$16

 
 
 
 
 

The MERCURY POEM by Jared Schickling Book Preview 

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So Long, Napoleon Solo by Patrick Chapman - micro review

 

"Patrick Chapman's latest book is one I know I will finish all too
soon, but will also return to. The writing seems so effortless yet
every second sentence is an aphorism or read-out-loud quote. I have
found myself with tears of laughter in one eye and of sadness in the
other. With six books of poetry, a novella, a collection of short
stories and now this, Patrick is a bit of a legend."

— Denis Goodbody

For more information or to by this book, go here 

 Paperback: 242 pages

· Binding: Perfect-Bound

· Publisher: BlazeVOX [books] 

· ISBN: 978-1-60964-287-7

$18

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

So Long, Napoleon Solo by Patrick Chapman Book Preview 

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Ekstasis by Peter Valente and Kevin Killian Now Available!

 This collaboration between two poets who also work in the visual arts, is a near perfect work of concision. Peter Valente turns the camera into poetry and Kevin Killian entices the poem to work with visual mastery.

—Neeli Cherkovski is currently finishing his new book of poems, Elegy for the Beat Generation


While Valente’s photographs appear coolly intimate, the deeper revelation is individual memory. What, exactly, have we been invited to witness? Is a face and body in the blue light sufficient? Or do we crave more? More tension, more ambivalence in the decision to share: what and how much? Ekstasis is a ménage à trois that rivals anything one could experience on Google+.

—Vanessa Norton is the cofounder and editor of Wasted Books.


Kevin Killian and Peter Valente’s haunting collaboration Ekstasis comes on like one of those dark dreams you can’t seem to shake – it’s memory and sensations still lingering long after you’ve awoken.

—Michael Salerno, artist, filmmaker, and publisher.

Peter Valente is the author of several books, the most recent of which is a translation of Nanni Balestrini’s Blackout (Commune Editions, 2017), and a couple of chapbooks. His poems, essays, and photographs have appeared in journals such as Mirage #4/Periodical, First Intensity, Aufgabe, Talisman, Oyster Boy Review, and spoKe. In 2019, City Lights will publish his co-translation of 33 of Artaud’s late letters (1945-1947) with an introduction by Stephen Barber. Presently, he is at work on a book for Semiotext(e). In addition, he has made 60 short films, 24 of which were shown at Anthology Film Archives.

Kevin Killian, one of the original “New Narrative” writers, has written three novels, a book of memoirs, four books of stories, and three books of poetry. For the San Francisco Poets Theater Killian has written forty-five plays, and the anthology he compiled with David Brazil—The Kenning Anthology of Poets Theater 1945-1985—has become the standard text on the subject. Recent projects include Tagged, Killian’s nude photographs of poets, artists, writers, musicians, filmmakers and intellectuals; and forthcoming, with Dodie Bellamy, The Nightboat Anthology of New Narrative Writing 1977-1997.


Book Information:

· Paperback: 102 pages

· Binding: Perfect-Bound

· Publisher: BlazeVOX [books] 

· ISBN: 978-1-60964-292-1


$22

 
 
 
 
 
 
 
 

Ekstasis Images by Peter Valente - Text by Kevin Killian Book Preview 

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Excentrica: Notes on the Text by Steven Reese Now Available!

It’s a rare poet who can look the muse in the eye and speak through or with her as Reese has done in this fragmentary and insightful collection, which reads both as a form of exegesis, literary criticism and dialogue, as well as a love poem to literature. It is at once a beautiful composition in its own right, and an illumination of the magic and mystery of composing verse, addressing the poets’ many sources of influence and inspiration. Reading it, I envisioned a stone skipping across the surface of our literary history, leaving ever-expanding circles behind it before sinking into the water. And while the muse, Renate Ștefan perhaps the alter-ego of Steven Reese, or the reborn Reese as the name suggests, might be like the skipping stone, it is the circles left in her wake that the writer is left with, that he delineates and celebrates in this remarkable text.

—Nin Andrews


Steven Reese’s poem/essay/disquisition on/history of poetry stretches the boundaries of not only our definitions of poetry, but also the limits of language and its ongoing challenge to loosen itself from its leashes. True to its thesis, this work itself extends our definition of what a poem, as well as a poet, should be. His argument describes that quality of poetry that (similar to what Robert Bly says) “leaps” beyond the strictures of inhibiting poetic form, away from the ethno-, ego-, concentric, to the ex-centric. He brings along for the tour some of the greatest voices in poetry—not only in English, but in many other languages—including Yeats, Emerson, Rilke, Sappho, Dickinson, Paz, Mallarme, Elizabeth Barrett Browning, and others who describe poetry’s out-bound force. Someone once said a great poet should think as well as sing, and Reese proves it can be done by taking us on a breathtaking poetic/aesthetic ride. And don’t even think about fastening your seat belt.

— William Greenway


Exhilarating. Expansive. Two margins charging the space between with eros.

—Caroline Longstreet

Steven Reese is the author of two previous volumes of poetry, Enough Light to Steer By (Cleveland State) and American Dervish (Salmon), as well as two volumes of translation, Synergos (selected poems of Roberto Manzano; Etruscan) and Womanlands (selected poems of Diana María Ivizate González; Verbum, Spain). He teaches literature and poetry writing at Youngstown State University in Ohio, where he currently directs the Northeast Ohio MFA in Creative Writing. Visit him at screeseonline.com.


Book Information:

· Paperback: 110 pages

· Binding: Perfect-Bound

· Publisher: BlazeVOX [books] 

· ISBN: 978-1-60964-279-2


$16

 
 
 
 
 
 
 
 
 
 
 
 
 

Excentrica- Notes on the Text by Steven C Reese Book Preview 

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So Long, Napoleon Solo by Patrick Chapman discussion on Writing.ie

The great Russian-American author Isaac Asimov once remarked that if he were given only six months to live, his response would be to type faster. Famously, he published hundreds of books in his lifetime, so such a prognosis could have yielded him about twenty novels, an opera, five collections of stories, and a shopping list. Not everything he wrote was rendered in glistening prose, but he was a genius whose ideas helped shape the world we live in. It is not just any writer who can say that, or be so prolific. For most of us it takes a bit longer to write a book.

My new novel, So Long, Napoleon Solo, took fifteen years, on and off. That was not intentional. I started work on it in 2001 in response to the self-deliverance of a childhood friend, who was and is utterly unlike the fictional Tom, whose suicide sets the story of the novel in motion. My first draft was laughter in the dark, written blindly in marathon sessions made possible by solitude; I needed to get everything down as fast as I could, in a fugue of energy and work, banging it out until I’d got an ending. The result looked like a novel and read like a novel but what it wasn’t quite, not yet, was a novel.

Being a poet, I came to the task of writing a long prose piece as one who didn’t realise what he didn’t know. I learned that there’s a different art to it. An agent, when I showed an early draft too soon, said that the writing was good and the dialogue amusing, but the characters and story needed work. His advice made the book better. As the process went on, I found myself detaching creatively from the cathartic origin of the book. It assumed its own surprising course. What a trip it was to hold an entire world in my head, as the characters become semi-autonomous and their journey took on a life of its own.

Words are a time machine. I’d put the text aside for long periods then take it out and the characters would still be there, as they were, waiting to tell me what they needed. In between, I wrote other things. Poetry and stories, scripts for film, and plays for Doctor Who and Dan Dare. I also worked in advertising, the profession of my protagonist Jerome, and felt his nostalgia for a world long departed. Revisiting the book, I’d make changes and polish the prose until it gleamed and I was done. Then, every time, the flaws would appear, and I’d realise it needed more work after all.

A book is done when it’s done. In 2008 a publishing company accepted So Long, Napoleon Solo, then folded when the publisher himself disappeared. That mystery remains unsolved and I often wonder what happened to him. In the grand scheme, the fact that my novel no longer had a home, was a very minor consequence of a possibly tragic story. In the years since, the book matured while I wasn’t looking, like a literary sourdough starter kept in the hot press of my mind, as I put it away again and wrote more poems.

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