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337-348 of 502 products

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    Secondary Sound by justin sirois

    Sometimes a ringtone is just a ringtone, but not very often. Mostly they say things like "hope you got away from yourself safe," or "reformat a thief into a reverted serf," or "felt more real watching it onscreen." This is not a technological book, it's about people, so it's techno-illogical-- it's about hiding & thieving & occasionally, love. sirois has written here a stunning documentary attempt at re-lyricizing our stupid alienations. He succeeds, we don't. Ahoy there Group Gropers, press send. — Rod Smith
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    Secret’s Exhibition and Other Introventions by Vernon Frazer

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    Vernon Frazer's Secret's Exhibition and Other Introventions is a delightful book, showing & showcasing once again, from the first poem on — "to repeal a tense present / riding the grammar surge" — the poet's ability to align words with other, often disparate, words, & then shape the resultant phrases into assemblages of insight & beauty. —Mark Young
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    Secrets of My Prison House by Geoffrey Gatza

    Geoffrey Gatza’s poems go straight to the point. From one to another the plane is consistent, the tone both literate and congenial; the feeling, one of an assessment of options while moving through choice to definition, a definition-in-progress of how to be, allowing large time outs for horseplay, an inventory of asides that end up occupying large chunks of mind. The book as ethos – you can live with it -- you wish – why not—Bill Berkson
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    Sensational Spectacular by Nate Pritts

    As its exuberant title suggests, Sensational Spectacular is a book of double energies, hurling out voluble, self-sparking poems on one side while clocking the reader upside the head with the essential loneliness of the lyric (and the universe) on the other. —Joyelle McSweeney
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    SHE, A BLUEPRINT by Michelle Naka Pierce and Sue Hammond West

    It is an ekphrasis of the female form, one which writes a woman into being where the woman cannot be. It is a reverse-ekphrasis of the formal female, one which images what might be a woman were woman not imagined. Pierce and Hammond West’s She, a Blueprint underscores that every grid is someone’s narrative, and there is only necessity in the thrust of us. —Vanessa Place
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    Showgirls – The Movie in Sestinas by Jeffery Conway

    It has been far too long since a collection of poems summoned us to a world of performers and voyeurs, catfights and choreography, lip gloss and lap dances. In fact, this has never been done before, and Jeffery Conway’s Showgirls: The Movie in Sestinas digs deeper than any collection in recent memory. —Mary Biddinger
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    SHRINKRAP, Litany in Quadraphony by André Spears

    AND NOW, AS THEY SAY, FOR SOMETHING COMPLETELY DIFFERENT. André Spears’ Shrinkrap begins with a claim to simple reportage – the who, what, where, and when that define the parameters of classic reporting – but this report will lead you down the proverbial rabbit hole and into an experience of our current condition unlike any you have had before. —Michael Boughn
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    Sidestep Catapult by Anne-Adele Wight

    In Anne-Adele Wight‘s monumental collection, Sidestep Catapult, she maneuvers time and space to bring us to a new sense of being. With fresh and gorgeous language, she makes a world where letters and colors come together... ––Dorothea Lasky
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    Silent Whistle-Blowers by Goro Takano

    Goro Takano's restless, deadpan, corkscrew imagination conjures prose poems, quatrains and stories that celebrate the life force and, if you believe his unreliable narrator, promote peace. I can't help thinking what this writer's "self-dramatizing practice" aims to unleash are not "silent whistle-blowers" so much as audible mind-blowers. Readers, be warned. —Alan Botsford
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    Siphonic (Volume VI, The Grammaton Series) by Irene Koronas

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    Irene Koronas’ Grammaton Series is a metaleptic myth of reincarnation in an Einstein-Rosen Bridge. —Anna Phylactic, Protagonist, The Reincarnation of Anna Phylactic
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    Sisyphus My Love (To Record a Dream in a Bathtub) by Laura Hinton

    Once there was a time, before this and before that, a time of metaphoric remembrances and repetitions, virtual rehearsals. “The rhythm of film like poetry” becomes the rhythm of poetry like film “to remain inside and outside at once.” Funny outrageous dark dreams are real, wherein a smaller point size of type determines infinitives. “Sisyphus died and came back that week,” back to the beaches of the Riviera, the old “New City,” where the radical “I” was an Orpheus who did not turn around but instead rhymes “bleak” and “chic.” —Norma Cole
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    Six Verse Plays: Or, Some Poems For Performance, by John Matthias

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    The poetry, essays, and fiction of John Matthias are widely known. Less known are the plays and performance texts that he has been writing and adapting from his longer poems in the course of the last several years. This book contains six of these texts, only one of which has been performed. However, the success of staged versions of “Automystifstical Plaice” suggests that performances of the other texts would be equally exciting. Both by the reader and the hypothetical producer of these plays, this book will be warmly welcomed.
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