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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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    DATA by Seth Abramson

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    BROWN-EYED POLISH 5’8.602” MASSHOLE FLATFOOTED HAIRY SKIN-TAGGED RUSSIAN 227 POUNDS BADGER FAN DARTMOUTH ’98 BROWN-HAIRED NEAR-SIGHTED JEWISH DANIEL BOOK REVIEWER AGNOSTIC LITHUANIAN ATTORNEY DEMOCRAT GAG REFLEX BEARDED CUP-EARRED COWLICK BALDING FACIAL DEFORMITY PALE 5.6” LONG BARITONE POET BULB-NOSED CIRCUMCISED SLOPE-SHOULDERED IOWA WRITERS WORKSHOP ’09
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    Day by Kent Johnson

    If the 836-pp. Day established Kenny Goldsmith as without a doubt the leading conceptual poet of his time, the 836-pp. Day by Kent Johnson may well be remembered for nudging the politics of Conceptual Poetry out of blithely affirmative, institutional framings, and into truly negational, critical spaces. —Juliana Spahr
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    Descent of the Dolls Part I by Jeffery Conway, Gillian McCain, and David Trinidad

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    Dante’s Inferno meets the 1967 movie Valley of the Dolls in this collaborative descent into a Hollywood camp classic. Over ten years in the writing, the first installment of this epic poetic conversation sees poets Jeffery Conway, Gillian McCain, and David Trinidad pair up with their respective Virgil-esque guides: Frank O’Hara, Sharon Tate, and Anne Sexton. Our three poets follow the film’s heroines—Anne, Neely, and Jennifer—backstage into the murky circles of Showbiz and PoBiz. Down, down, down they go. Anything can happen: Allen Ginsberg kicks a talented poet out of the show, Joan Crawford makes a drunken visitation, the heads of ambitious M.F.A. poetry students roll!
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    Distance by Tom Clark

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    "One of the reasons why language is so sick right now and cliché-ridden and lame and boring and laid-out, and about to go to sleep, is because there aren't a thousand Tom Clarks. If I were writing a prescription right now, you know, if I had my shiny thing here, a stethoscope around my neck, that's the prescription I'd write. Take one thousand Tom Clarks before going to bed.” —Edward Dorn
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    Doggerel for the Masses: A Post-Scandal BlazeVOX Booke by Kent Johnson

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    Helen Vendler recently referred (letting off not a little pent-up steam) to the “Mickey-Mouse-Ears avant-gardism of U.S. Conceptual Poetry.” Well, here’s a riposte to that, Dame Helen: Because Craig Dworkin’s Doggerel for the Masses (“by” Kent Johnson!) wears the golden helmet of Achilles, whose antennae listening-mechanisms shoot into the heavens beyond Pluto. Hold onto your Hats, Boys and Girls; it’s going to be a wild ride! —Kenneth Goldsmith
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    Ekstasis by Peter Valente and Kevin Killian

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    Kevin Killian and Peter Valente’s haunting collaboration Ekstasis comes on like one of those dark dreams you can’t seem to shake – it’s memory and sensations still lingering long after you’ve awoken. —Michael Salerno, artist, filmmaker, and publisher.
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    Ephemera 1995-2022: On people, politics, art, justice, torture, and war by Bruce Jackson

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    Bruce Jackson’s Ephemera finishes his recent triplicate of essay collections. This one, which starts with an almost breezy account of his own near heart-attack, feels as undeniable as his Places and Changing Tense.—Benj DeMott
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    Epigramititis : 118 Living American Poets by Kent Johnson

    "Thanks for sending me the epigrams.* Superb. It's about time for something of the sort, I'd say, what with the ass licking that rules the day. Especially the ass-licking that some ass-lickers want to pass off as "avant-garde confrontation." My salute... And as to your question, well, yeah, absolutely: Olson, if he'd lived to see what has happened, would have loved these." — Ed Dorn
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    Evening Train by Tom Clark

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    In Evening Train we witness people on a bus, a window in the night, greenery, a bird on its perch—and then at the center of this world, something nameless seems to open. It’s hard to say just what happens, other than the words of each poem itself. But that isn’t quite right. It’s as if the words are a way for the poet to inscribe silence. You turn the page, wondering, and it arrives again—something quite beyond what is told. Tom Clark is a master. —Aram Saroyan
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    Everything Turns On A Delicate Measure by Maureen Owen

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    What is the restless energized measure for an expanding universe? Maureen Owen is one of our most exploratory poet inventors whose sound and sense insure what’s hidden from view gets more mysterious. ... This book is a reason to celebrate and continue. —Anne Waldman
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    Fantastic Caryatids, by Anne Waldman and Vincent Katz

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    Fantastic Caryatids, by Anne Waldman & Vincent Katz, is a lush, vivid and spectacular reading/album/book of poetry, conversation and photographs. Note that the subtitle is A Conversation with Art. The "with" has the particularities of city, specificities of the senses, of memories, of an ethos whose upper limit is friendship, companionship. It is a model, a remarkable “alternative version of how to be alive.” (Anne Waldman) Dynamic, urbane, intimate, “the occasion of these ruses” (Frank O’Hara) is synergy from chronos to kairos. —Norma Cole
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    Feeling for the Ground by Tom Clark

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    "Pretty much exactly like Tom Thumb's Blues, Mr. Clark goes on as ever letting his sensibility seep like rain through all the great American vernacular sites — film noir, baseball, the shore, dreams — and the result is a sequence of utterances that feel both timeless and inexhaustibly resonant." —Jonathan Lethem
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