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    26 Tears by George Tysh / Chris Tysh

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    What an abracadabra of abecedarian magic is 26 Tears! Evoking the Aramaic avra kehdabra, "I will create as I speak," this collaborative incantation weaves a magical spell of language. Two poets riff in alphabetical measure with illuminating literary texts, an epidemic, and a quotidian of political angst. — Maureen Owen
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    2X2 by Martine Bellen

    Smart, funny, at once spare and lyrically lush, this mythic tale of a lost girl stalking her lost double will pull you delightedly along with its swift narrative—pull you up short when it makes you stop and think. Martine Bellen is an astonishing writer. —Rilla Askew
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    3rd & 7th by Nicolas Mansito III

    Reading Nicolás Mansito's first book I am reminded that the Latin verb "to read," legere, means to choose, to select, and that reading, and in fact all writing, is an act of bricolage. This book of poems reminds that every free act, of both making and being, arises from a bondage to what simply /is/. And from there we fiddle and tinker our way to wisdoms. A book you'll be grateful to own. —Gabriel Gudding,
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    A Dictionary In The Subjunctive by Damian Weber

    In his new book, Damian Weber, one of Buffalo’s best-loved poet, publisher, singer and songwriter offers a magnificent display of minimalism. Fully illustrated, these short poems start as dictionary definitions that evolve into love poems, which in turn develop into poems detailing the pain of miscommunication that harbors within a relationship between two people.
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    A Field Guide to the Rehearsal by Dennis Barone

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    Dennis Barone’s A Field Guide to the Rehearsal is a most unique book, an open-form, subtly off-beat narrative, a mixture of poetry and prose, of memory and concrete, image-filled metaphysics. —David Cappella
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    A Lyrebird, Selected Poems of Michael Farrell by Michael Farrell; Editor Jared Schickling

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    Enter A Lyrebird and you open onto a polyphony of slang and nuance. Expect a humorous disorientation and deep travel through undersides of all that can be said and borrowed. Just in time, since mono-culture cannot know itself, Michael Farrell’s deft bravery transmutes English and gives us journeys out. —Sarah Riggs
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    A Mountain Of Past Lives & Things I’ve Learned by Skyler Jaye

    "Each of the Past-lives, each written into a Mountain its own, also seems to fit into an open hand. I found myself snapping and ooo-ing and mmm-ing along because even black on white paper, the words take a stage." —Ashley Wylde
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    A Shopping Mall on Mars By Patrick Chapman

    Many of the poems in A Shopping Mall on Mars, Patrick Chapman's fourth collection, take a wry and satirical look at the dangerous new world in which we find ourselves, looking back with a certain nostalgia at the relative innocence of the nuclear age. Others offer compassionate yet unsparing insights into death, madness and childhood. A few speculate with science-fictional clarity on the kind of future we might be heading towards. This is work of the finest order from one of the most original Irish poets of the last two decades.
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    A Testament To Love & Other Losses by Wade Stevenson

    The suspicion that writing will be the last utopia is wonderfully fulfilled by the extraordinary promise and quivering present of Wade Stevenson’s lyrical, deep and lustrous oeuvre. —Geoffrey Gatza
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    A Thousand Words and Others by George Tysh

    George Tysh's two-part take on presence and absence is rooted in jazz and painting, French and Mandarin, memory and longing, in a recto-verso approach to structure. Its first bareboned section, "A Thousand Words," is 100 pages, ten words per page, set in columns that give a nod to classical stanza form. Part Two, "and Others," a coda of sparse lyrics, fills out the tone of what is barely implied in Part One. In a mixture of vernacular and stark poetics, he produces a book-length series that experimental novelist Lynn Crawford calls, "Lush. Rhythmic. Disturbing. Gorgeous."
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    a womb-shaped wormhole by j/j hastain

    j/j hastain is a seer. Writing from the liminal space between the ethereal and the corporeal, filled with bestiaries of the soul and spine-broken books, hastain has composed ""an activist-narrative of place"", where the body is but ""a fretted tangle"" to be worried apart, and then knotted again. Stitched in the language of sinew and fiber, a womb-shaped wormhole is transcendent, stretching past our mere genders, our temporal selves. —Benjamin Winkler
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