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Animated Landscape by Robert Gibbons Now Available!

 


Robert Gibbons (Salem, MA, 1946) is one of the great secrets of contemporary US poetry. Gibbons says that Animated Landscape is the collection he was destined to write. One hopes too that it’s the collection destined to reveal him to a wider circle of readers. It places him firmly in the tradition of modern US poetry, following Olson, Creeley and the Objectivists, and alongside some of the best contemporary Anglophone poets, like Jean Sprackland, and great poets writing today in Spanish, like Cristian Aliaga and Sergio Raimondi. —Ben Bollig, Professor of Spanish American Literature, Oxford University


Robert Gibbons’s new collection of poems lays bare the vast expanse of human history as a widening landscape of the most august imagination. Gibbons, a born maximalist, carries Charles Olson’s excavations into the present tense, but does so in his own measure of music, personal and specific, yet universal and inclusive. Animated Landscape never forgets history is not a then, but always now, always all around us. —Richard Deming, Director of Creative Writing, Yale University


The Animated Landscape that is Robert Gibbons' concern in these dazzling poems stretches from the Pleistocene to the present, from prehistoric images of human and animal presence to the work of contemporary painters, poets, and jazz musicians. If there is a poet in America possessed of a broader vision, I have not encountered him or her. Gibbons' stereoscopic vision, which he has kept faith with across eighteen books, is nothing less than the quest for a metaphysics, centered on the experience of time, by which we might be restored to wholeness. He wants to acknowledge the "uncoiling scroll of brutal force, horned/ weapon, testeronic origin of energy, not syntax" as he writes of the prehistoric painting of a bull at Altimira. He is not content with mere emblems or images of the life-force; he wants to understand the ways that both the erotic and destructive issue in the present, in our own historical moment, in our lives. —Richard Hoffman, former Chairman of PEN New England


Animated Landscape is a revelation. Like Marsden Hartley with his painted mountains or John Marin with his written seas, Robert Gibbons, through the mastery of his own medium, reminds us that writing and painting (and sculpture and architecture and music) move in the same way, are part of the same topography, share the same substance, are the same thing. His passages carry us along many paths and lines of thought to the essential places where stone is stone, water is water, and art is art. All the while Gibbons kindly suggests, to borrow a favorite phrase from the polymath Guy Davenport, that the "geography of the imagination" is boundless. -Charles Brock, Associate Curator for American and British Paintings, National Gallery of Art


In Robert Gibbons' new collection Animated Landscape there is much that brings the pleasure of familiarity to one who knows his previous work: the obsession with art in all its forms from cave paintings to abstract expressionism; the love of the flow and beat of music from Bach to Coltrane; the erudition that springs from his knowing literature, especially poetry, and the heritage of critical thinking that has travelled intertwined with literature for centuries. —Bent Sørensen, Associate Professor of English, Aalborg University, Denmark

Robert Gibbons is the author of nine books of poetry, numerous chapbooks, and a unique study of the affinities in approaches to art in language by Charles Olson and that of Clyfford Still in paint: Olson/Still: Crossroad. In 2006 he was awarded a John Anson Kittredge Fund grant to travel and read his work at the Poetry & Politics Conference at the University of Stirling, Scotland. There, he met Ben Bollig, now at Oxford, who recorded the meeting online writing that, “he is the most passionate advocate of poetry I have met.” National Book Award Finalist, William Heyen, calls Gibbons “one of the great writers of our time.” In 2013, after publishing his Trilogy of prose poems, This Time, Traveling Companion, and To Know Others, Various & Free, the poet was invited to give the Creative Keynote address, titled Kerouac & the Ecstatic Act of Writing, at the 2nd annual European Beat Studies Conference held at Aalborg University, Denmark. For the past 12 years he’s lived and worked in Portland, Maine. Former chairman of PEN New England, Richard Hoffman, wrote, “Gibbons is in the process of sacralizing Portland, lodging it in the imagination of readers, as Williams did for Paterson, Cafavy for Alexandria, Joyce for Dublin.”

Book Information:

· Paperback: 146 pages

· Binding: Perfect-Bound

· Publisher: BlazeVOX [books] 

· ISBN: 978-1-60964-257-0

$16

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

Animated Landscape by Robert Gibbons Book Preview

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Those Godawful Streets of Man by Stephen Bett reviewed

 Today's book of poetry:
Those Godawful Streets of Man: A Book Of Raw Wire In The City.  Stephen Bett.  Blazevox[Books].  Buffalo, New York.  2015.

Stephen Bett is damned sure that none of us is going to get out of this city unscathed.  Those Godawful Streets of Man: A Book Of Raw Wire In The City is a little light when it comes to optimism, this book is a sneer from a mouth full of broken teeth.

Those Godawful Streets of Man (64th St.)

Then there was cousin
Billy (Edinburg)
down the shop
for smokes

Wife & baby daughter
at home for five
minutes

Twenty years later
detective tracked
him in NYC

Heavy-duty
abandonment,
huh

And it's all
about cities
(& borders)

And people really
fucking each
other up

It's cruel as
all get out,
& someone
ought to
die for it

Or lose
heart
(at the
least)

...

In Bett's city someone just played the joker against any chance of a winning hand.  People smear themselves like bloodstains all over their attempts to find love. 

Those that do find love discover just how flawed love can be.  Those Godawful Streets of Man... is an illustrated fall from grace, one gut punch at a time.



___________



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The Metaphysician’s Daughter by Richard K. Ostrander Now Available!

  In The Metaphysician’s Daughter, Richard K. Ostrander’s poems combine a recollection of an uncomfortable past with a large dose of Americana, strip malls and dry wit. His speakers yearn for freedom as they navigate their wounds and losses, synthesizing Southern culture with TV and technology (“They say radio waves never die, just ripple / Out into space, their signal growing inaudible / As this flight of leaves 

in currents of air”) that tantalizes, yet also isolates. After reading this collection, you’ll hear and nod to the music of the ordinary and transcendental.

—Alice Osborn, author of Heroes without Capes

"These poems are intriguing , packed with surprising situations, encounters and characters. The poet often captures moments that hit the jackpot such as with "Beauty of the Beast." This is poetry that not only needs to be read more than once, but read out loud and then discussed and pondered."


—Sara Claytor, author of Waiting on Unknown Roads

"They say radio waves never die, just ripple / Out into space, their signal growing inaudible / As this flight of leaves in currents of air" writes Richard K. Ostrander in his marvelous new collection, The Metaphysician's Daughter. The ear and eye at play and work in this work stun. If you love Niedecker (and who doesn't?) and Bunting and Williams (both Jonathan and William Carlos), this book will grab and gladden you. Ostrander's multi-layered, punchy poems declare and declaim our various conditions in a voice infused with energy, subtle sorrow, and wry wit.

—Aaron Anstett, author of Moreover


Richard K. Ostrander is the author of The Epic of Hell Freeze, from BlazeVOX Books. He has been published numerous times in print and on line. He currently resides within the Carolinas. Richard is active within his community, volunteering from time to time in the local school systems to lecture its students on poetry and literature.


Book Information:

· Paperback: 58 pages

· Binding: Perfect-Bound

· Publisher: BlazeVOX [books] 

· ISBN: 978-1-60964-258-7

$16

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

The Metaphysician's Daughter by Richard K. Ostrander Book Preview by Geoffrey Gatza on Scribd

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New interviews with Kristina Marie Darling!!

 

There is a lot of great new interviews with Kristina Marie Darling’s collaborative work with John Gallaher, GHOST / LANDSCAPE

 

 

A new interview with Kristina Marie Darling in Writer’s Digest:

http://www.writersdigest.com/whats-new/kristina-marie-darling-poet-interview-2

 

GHOST / LANDSCAPE is reviewed in The Rumpus: 

http://therumpus.net/2016/07/ghostlandscape-by-kristina-marie-darling-and-john-gallaher/

 

And Kristina Marie Darling and John Gallaher are featured in The Conversant:

http://theconversant.org/?p=10427  

 

Dora Malech included her book The Moon and Other Inventions: Poems After Joseph Cornell, in her essay on the work of Joseph Cornell, in The Kenyon Review:

http://www.kenyonreview.org/2016/07/still-unknown-objects-belong-together-poetry-assemblage/


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Ghost | Landscape by Kristina Marie Darling and John Gallaher reviewed at Ploughshares

 

ghost landscape mainGhost/Landscape
Kristina Marie Darling & John Gallaher
Blaxevox, February 2016
102 pp; $16

Buy: paperback

In the collaborative poetry collection Ghost/Landscape (Blazevox, 2016) by Kristina Marie Darling and John Gallaher there is no beginning or end. The first poem is “Chapter Two.” So begins traversing a time loop of poems where the reader can really “begin” anywhere. What is a beginning and what is an ending? Is moving forward and looking behind you the same thing? A circle never ends. “Chapter Two,” begins like a bed time story:

“We must have known there was no going back…that morning, before our windows had been broken, you asked about the lock on the door. I realized it was only a matter of time before the alarm sounded, which always seemed out of place in the dead of winter.”  

The reader is a happy prisoner in this manikin-like frieze: feelings are suppressed into the pages of Goethe novel. Timelines, like broken glasses, need to be glued back together. If the reader needs to assemble a puzzle to establish a linear map, one should look to the corners first. In Ghost/Landscape, the edges are gray and decrepit. The backbone seethes.

Darling and Gallaher use color to drip the poems in surprising apathy. In this illusion to the underworld, “Thermopolis as a concept” they paint this canvas:

“The scenery is used to being blamed for such things, red,
beige, and more red with some yellow. And blue and black
and white.

I’m busy looking at everything I’m looking at. It rises and falls as I sit and stand. It’s shadowy or bright or neither, really. Navys and grays. I expect great things from it.

A little jump and it’s leaping. There on the bluffs overlooking
the town I see it leap as I’m looking at it leaping.

If, late in summer, it’s late summer, then it’s late in summer.
That weird feeling of being cheated when the forecast of bad
things happening doesn’t come to pass…”

The outer world is constantly in flux, unforgiving, and ambivalent towards the humans who gaze upon it no matter if the grass is green or covered in snow. There is also an apt correlation: if the outer surroundings are corrected than inner relationships may heal. In the poem “Landscaping,”

“We’re looking out the kitchen window, and we have this opportunity to go back and undo our errors. But where do we start? We mowed poorly around the trees. We didn’t marry well or have pleasant children…”

The landscape reflects a sadness.  There are repeated domestic objects noted throughout the collection: drinking glasses, the phone, a calendar, a television, torn photographs.  The objects reflect how the speakers convey the passing of time: selling them, losing them, realizing something was stolen. The objects may change but our connection to them remain the same. We sell certain objects just to want them again. In another poem in the middle of the collection, also titled “Chapter Two,” 

“Next thing you know, the whole house is a yard sale. Your bed is three feet under other things. Here, there’s still some room between it and where the bureau was, a kind of depression you can lie on…”

The succinct wordplay here illustrates a heavy woe: one can lay down on a bed and make a depression with one’s figure as well as succumb to an emotional albatross.



Read the whole review here

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Photos on flickr