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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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    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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    Alice Through the Working Class by Steve McCaffery, illustrations by Clelia Scala

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    McCaffery, with his customary linguistic wit, now takes [Alice] through the working-class, into the industrial revolution, where Mary Wollestonecraft is the Red Queen, and the Soviet workers’ paradise, where Lenin is the Lion and the Unicorn is Trotsky. And, horribile dictu, it works. Don’t miss the Bolshevik Jabberwocky.—Jean-Jacques Lecercle,
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    An Anatomy Of The Night by Clayton Eshleman

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    An Anatomy Of The Night by Clayton Eshleman is a magnificent new work by one of America’s foremost poets. In thirty-one parts written between December 2010 and February 2011, Eshleman’s long poem creates a choral effect that masterfully evokes fragments of candid observation shimmering in rhythmic intensity. In bold simplicities, illustrative sensibilities and lyrical integrity this work is imaginative, intimate and beautifully controlled. Hauntingly, these poems rip open the space of the long form poem and create something new and brilliant.
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    Apollo: A Conceptual Poem by Geoffrey Gatza : Based upon the ballet by Igor Stravinsky

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    At its heart, this book is about Marcel Duchamp but it is also about chess. It was thought for a long while that Marcel Duchamp gave up art to play professional chess. However, this was found to be not true with the revelation of his last major artwork, Étant donnés.
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    Around the day in 80 worlds By Rachel Blau DuPlessis

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    Around each day, she flies her rounds— tempestuous. DuPlessis revels in travel and records what unravels in one’s habits of attention when all the elsewheres return us to a home we are about to lose. “What is the true story of any time? / any itinerary?/ and of its traveling sorrows?” I encounter so many moments of startling honesty— each poem is a face as pert as day and as wild as night, looking up, from a labyrinth of drafts. —Divya Victor
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    Biennial: Poems by Michael Joyce

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    these poems split the seconds of daily life into splinters that, with time, catch the light —Charles Bernstein  
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    BIG ENERGY POETS: ECOPOETRY THINKS CLIMATE CHANGE

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    Big Energy Poets: Ecopoetry Thinks Climate Change, is more than another book on climate change, these disparate authors are collectively voices in the same struggle: How to ensure the planet’s survival, where planet and body (human or otherwise) are not separate but synonymous, are inextricably tied. There is a necessary insistence in this anthology on the body politic being the earth’s politic.
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    Black and Yellow Notebooks by Stephen Ratcliffe

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    The wonderful momentum of Ratcliffe’s clipped language echoes the staccato footsteps of his week-long hikes. It’s walking art in the tradition of Richard Long and Hamish Fulton, yet kept in motion through a constantly shifting, ever-piercing attention that keeps the reader acutely present to the changing light, the passing crows, and the meteors streaking through the August night sky. To enter this book is to go uncommonly outside. -- Cole Swensen
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    Canyonesque by Tom Clark

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    [Clark] really flows and gambles and plays it loose. I like his guts... He's the raw gnawing end of the moon. — Charles Bukowski
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    CLOUD / RIDGE by Stephen Ratcliffe

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    Stephen Ratcliffe is in his blue or green or yellow or mauve or brick-red or phthalocyanine period. That is, the serene repetitive seriousness of the shapes and colors of his work, like that of the late style of a great painter, who’s painting the same things, day after day, week after week, month after month, year by year (book by book) until what’s depicted, though absolutely precise and completely clear (located in space without exaggeration or attitude), modulates in color, picture by picture and day by day, until it disappears into its own blended shadings, becoming everything at once–and nothing. —Norman Fischer
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    COMMA FORK / MOVING PARTS by Ted Greenwald

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    Thrilled to be writing this blurb because I love Ted Greenwald's poetry. It is extraordinary lifelike in its interlocking pattern and surprise. I mean like life, if life were a made thing, a homemade pinwheel blown askew and ridden to the front-stoop carnival where your friends work and you can talk about how your mouth feels when you fill pronouns from the dictionary. And how you don't need the dictionary. Rearrange. The world's so modular! Set free for a minute. — Cathy Wagner
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