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Against Misanthropy by Eileen R. Tabios Now Available!

 2015 marks the 20th year anniversary of Eileen R. Tabios’ “career switch” from banking to poetry. AGAINST MISANTHROPY presents her life as a self-educated poet—from, as a newbie poet, reading through all of the poetry books of her local Barnes and Noble as she scratched her head over what poetry is supposed to be … to more recently creating a poetry generator capable of making poems without additional authorial intervention. Along her journey, she also released about 30 poetry collections, two fiction books and four prose collections with the help of publishers in eight countries. Ultimately, however, her so far 20-year poetry journey has taught her that poetry’s greatest gift is the means by which to forge a new life as a better person. As one of her Facebook friends Maxwell Clark told her, and she agrees, “The best person is the best poet.”


Excerpts from AGAINST MISANTHROPY:

I think the human race is on a suicide path.…where are the moments of joy, of beauty, of grace within this doomsday path humans are on? From where or how do we come up with reasons that make it worthwhile to continue living? To rush out of our beds to greet the day? To smile? To laugh? Well, for me, these moments would occur through the positive interactions made possible by love and respect for other people, creatures and the environment….I look at these moments, and if I bear in mind my own apocalyptic forecast for the human race, I view these moments—the stubbornness of their continued existence against all odds—as poetry in the sense that poetry's task is not to affirm the (unjust) status quo but to disrupt it.

—from ARDUITY’s Interview of Eileen R. Tabios

...the moment, the space, from which I attempt to create poems. In the indigenous myth, the human, by being rooted onto the planet but also touching the sky, is connected to everything in the universe and across all time, including that the human is rooted to the past and future—indeed, there is no unfolding of time. In that moment, all of existence—past, present and future—has coalesced into a singular moment, a single gem with an infinite expanse. In that moment, were I that human, I am connected to everything so that there is nothing or no one I do not know. I am everyone and everything, and everything and everyone is me. In that moment, to paraphrase something I once I heard from some Buddhist, German or French philosopher, or Star Trek character, “No one or nothing is alien to me."

—from Eileen R. Tabios’ “Babaylan Poetics”


Eileen R. Tabios loves books, and has released more than 20 print, five electronic and one CD poetry collections; an art essay collection; a “collected novels” book; a poetry essay/interview anthology; a short story collection; and two experimental biographies. Forthcoming 2015 books include two poetry collections: I FORGOT LIGHT BURNS and INVENT(ST)ORY, a Selected List Poem collection. She has also exhibited visual art and visual poetry in the United States and Asia. Recipient of the Philippines’ National Book Award for Poetry for her first poetry collection, she has crafted an award-winning body of work that is unique for melding ekphrasis with transcolonialism. Her poems have been translated into Spanish, Italian, Tagalog, Japanese, Portuguese, Polish, Greek, computer-generated hybrid languages, Paintings, Video, Drawings, Visual Poetry, Mixed Media Collages, Kali Martial Arts, Music, Modern Dance and Sculpture. She also has edited, co-edited or conceptualized ten anthologies of poetry, fiction and essays in addition to serving as editor or guest editor for various literary journals. She maintains a biblioliphic blog, “Eileen Verbs Books“; edits Galatea Resurrects, a popular poetry review; steers the literary and arts publisher Meritage Press; and frequently curates thematic online poetry projects including LinkedIn Poetry Recommendations (a recommended list of contemporary poetry books). More information is available at http://eileenrtabios.com


Book Information:

· Paperback: 172 pages

· Binding: Perfect-Bound

· Publisher: BlazeVOX [books] 

· ISBN: 978-1-60964-207-5

$16

 
 
 
 

Against Misanthropy, A Life in Poetry (2015-1995) by Eileen R. Tabios Book Preview

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Review of Eileen R. Tabios’ Footnotes to Algebra: Uncollected Poems 1995-2009 By Thomas Fink

Review of Eileen R. Tabios’ Footnotes to Algebra: Uncollected Poems 1995-2009

By Thomas Fink

Footnotes to Algebra by Eileen R. Tabios
Every poem and every collection of an author can be seen as a Footnote to Algebra, gesturing toward the elusive algebraic equation that could somehow represent the totality of a poet’s oeuvre. However, Eileen R. Tabios has a more intricate explanation in her blog, The Blind Chatelaine’s Keys, on Aug. 14, 2009 as she discusses Footnotes to Algebra: Uncollected Poems 1995-2009 (Kenmore, NY: BlazeVOX Books, 2009):

To collect a bunch of uncollected poems is, in a manner of speaking, another test of whether a poet has, as a saying might say, done it right. Does a collection hold together under the random manner in which it was formed? I always suspected that if Poetry is inherently a matter of interconnections (what we Pinoys also call pakikiramdam and what I lately have been calling algebraic as a result of three months of tutoring a 13-year-old boy in four years worth of math), such a book can hold together—also recall Gertrude Stein’s observation (I paraphrase) about how a word arbitrarily placed next to another word will rub together for some unexpected frisson if not generate some meaning. Many poets have written under such an inspiration—it’s not that ambitious, I thought, to create a book on that basis, too.

What the poet does not tell us is that there are section-headings, and these signposts not only echo concerns in Tabios’ earlier work but create—as Charles Bernstein characterized his 2001 book, With Strings—a “modular structure,” in which “a string of interchanging parts” inform “the book as a whole”: “Political, social, ethical, and textual investigations intermingle, presenting a linguistic echo chamber in which themes, moods, and perceptions are permuted, modulated, reverberated, and further extended” (131). While the first section, “New Poems,” which I take to mean poems that have not appeared in magazines, is an arbitrary ordering device, the next two sections, “Triptych for Philip” [Lamantia] and “Chant for Kari” [Edwards], are elegies for poet-friends, and other parts involve postcolonial (or in Tabios’ formulation, transcolonial) thinking (“A Filipino Accent”), poetry involving wine (“Wine Country Honeymoon”), poetry taking its beginning intention from visual art (“Ekphrasis”), and a lyrical series inspired by the work of Jose Garcia Villa (“Girl, Singing”). Yes, “poetry” may be “inherently a matter of interconnections,” but the principle of “a word arbitrarily place next to another” is not going to guarantee the collection of generative interconnections; the poet needs to have written the poems carefully and then to have thought vigorously enough to establish effective groupings. And she did.

Read the whole review here 

Check out Footnotes to Algebra Here 

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