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Archive for January 2016

The Age of Greenhouses by Anne-Adele Wight Now Available!

 I love this book––full of gardens so terrifying I wish they were imagined but described so brilliantly I fear they are not. I forget who said “Everyone is interesting in a jungle,” but only the delicately arranged are so interesting in the garden of a ranch house built in 1960. “Books,” the book warns us, “don’t come cheap in the garden.” Welcome Anne-Adele––who seems to have no fear, not even the one of looking squarely at the planetary catastrophe of modernity––to the Lucretian halls of poets who spare no science. All this courage, plus I never thought I’d read an ecopoetics this funny.

––Anne Boyer

The mash-up of our ecological and moral concerns may be navigating by “a map so changed by three million years that spare parts no longer apply.” Anne-Adele Wight’s gardens now stand in for that map; our labyrinth lost, our plague clue, our rumored history, our “heaven and hell”––but for how long? Amid observable shifts in climate and oceans, a poetics of the greenhouse prolongs the eventuality of no garden, a future where there may be “no telling what physical gravel might enter the mind.” Forget what gardens are for in your patent metaphysical realm; “everything is a palindrome or nothing is.”

––Edric Memser

It is exciting watching a new Anne-Adele Wight poetry fan holding her latest book, their faces beaming until they look up with Wow! Her poetry is a hidden American treasure no longer as more and more poets are sharing her books. It is a privilege to read a poet who has dedicated years to her craft, giving the world some of the best poems we will ever read. The Age of Greenhouses made me say Wow over and over! Let the celebration begin!

––CA Conrad

Anne-Adele Wight is the author of Sidestep Catapult (2011) and Opera House Arterial (2013), both from BlazeVOX. Her work has been published widely in print and online. She has read extensively in Philadelphia, where she is an active member of the poetry scene, and in other cities. If this book angers any environmental villains she will feel complimented.

Book Information:

· Paperback: 78 pages

· Binding: Perfect-Bound

· Publisher: BlazeVOX [books] 

· ISBN: 978-1-60964-239-6



The Age of Greenhouses by Anne-Adele Wight Book Preview

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Doug Holder Interviews Poet Alexis Ivy author of Romance with Small Time Crooks

Alexis Ivy is a poet and worker in a homeless shelter in Cambridge, Mass. She recently completed her B.A. in English from Harvard University. Her most recent poems have appeared in Main Street Rag, Off The Coast, Spare Change News, Tar River Poetry, The Santa Fe Literary Review, Eclipse, Yellow Medicine Review, Borderlands: Texas Poetry Review, J Journal and upcoming in The Worcester Review. Her first poetry collection, Romance with Small-Time Crooks was published in 2013 by BlazeVOX [books]. She is finding a home for her next collection, Taking the Homeless Census which has been a runner-up for University of Wisconsin's Brittingham & Felix Pollack Prize. Holder interviewed her on his award-winning Somerville Community Access TV show Poet to Poet Writer to Writer.


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Barbara Henning reading at the Poetry Project

Barbara Henning & Ed Pavlić

For More Information Head to the Poetry Project 

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Workshop with Barbara Henning at the Poetry Project


Chronology of Mind Workshop — Workshop with Barbara Henning

Over the years, I’ve developed a long list of approaches and experiments that
have helped me generate poems (and novels) and also helped me think differently.
Most of these experiments (or constraints) engage autobiographical material
(the self extending into the world) while at the same time disrupting or redirecting
an easy chronology. Some of the assignments will include: walking/writing meditation,
sequential quilting, prose sestinas, research/layering, a line an hour, thinking the opposite,
etc. The class will function as a workshop; we will read and discuss your writing. We will
also spend part of the time considering writing by others, such as: Matsuo Basho, Harry
Mathews, Jack Kerouac, Harryette Mullen, William Carlos Williams, Helene Cixous, Bill
Kushner, Bernadette Mayer, and Ed Sanders.


Barbara Henning is the author of three novels and seven collections of poetry, her most recent is 
A Day Like Today(Negative Capability Press  2015). Others include A Swift Passage (Quale Press), 
Cities and Memory (Chax Press) and a collection of object-sonnets, My Autobiography (United Artists).
She is the editor of 
Looking Up Harryette Mullenand The Collected Prose of Bobbie Louise Hawkins. 
Barbara lives in New York City and teaches for 
writers.com and Long Island University in Brooklyn.
More information about her work can be found at 

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Nine by Anne Tardos Reviewed in Jacket2


Stu Watson: A Review of NINE by Anne Tardos

· Paperback: 148 pages

· Binding: Perfect-Bound

· Publisher: BlazeVOX [books] 

· ISBN: 978-1-60964-226-6


Anne Tardos’s Nine is a sequence of nine-word lines grouped in nine-line stanzas. This metric which involves the counting of words rather than accents or syllables has a radically leveling quality. Suddenly “temporomandibular” and “I” are of the same metrical value, based on their simple, monadic quality as “words.” As employed through Tardos’s artistry, this form, sometimes referred to as “counted verse,” feels appropriate to our historical moment. It is as though these nine-by-nine grids are architectural blocks, constituent elements in a particular kind of linguistic structure. In its porous inflexibility the form mirrors the empirical reality of infrastructure, of the walls that separate our homes and the streets and subway tunnels that convey us through the world—the commonplace yet all-but-invisible concrete around which our lives are constructed. But it also parallels our desire for ratiocination and “numbers”—“more data”—on which to base our political or personal decisions. The meaning of these poems is often generated by the resistance, dissonance, and lateral freedom they demonstrate within such bounds.

This dissonance leads the poems to express a curious kind of self-referentiality aimed at their form. And so we see concluding lines that offer statements like: “The ninth line is often problematic, as we see.” “The ninth often gets to deliver a punchline.” “The ninth usually knows the way out of here.” Each line of each poem is end-stopped, which further delimits the language, yet Tardos at times follows up a line in such a way so as to hint at enjambment, as in “It’s So Quiet Somehow”:


It’s so quiet today—don’t know what to say.

The uncertainty of the uncertainty and then the uncertainty.

Is the road we take imagined or already given?

Are we inventing our lives as we live them?

Why do we ask questions no one can answer?

Have we finally found a groove, you and I?

A modus vivendi that’s livable for both of us?

Don’t you hate a poem that’s full of questions?

Shouldn’t I try to answer some of them somehow?


The way the second and third lines abut suggests a continuity, as though “uncertainty…Is the road we take…” but the poem resists this interpretation in its syntax, as the third line instead “resolves” into a question. The final seven interrogatory lines modulate between concrete images and abstract musings before concluding by turning on their own need for questioning—and raising the specter of an “answer” that, by virtue of its appearance in the terminal ninth line, cannot be offered. Just as an individual, when faced with some bureaucratic encumbrance will sometimes comply but do so unhappily, so these poems always reach their appointed end, but are not always “happy” in doing so, and they let us know this.

Read the whole review here

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Photos on flickr