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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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    Devil-Fictions by Lance Phillips

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    Lance Phillips is an exacting, brilliant, graceful poet. His Blakean vision of contraries (opening the self, seeing in an oppositional mode) and the sources of the human is nothing short of stunning ("What the sleep garners // Ghost in // Certain insignia:"). ...This is a stunning, necessary book. —Joseph Lease
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    Die Die Dinosaur by Michael Sikkema

    Candy and rust abound in Michael Sikkema's new collection of poems. Die Die Dinosaur is a series of short psychobilly stanzas that run from humorous to poignant and across the growth and decay of both the natural and man-made worlds. This book looks to the future and its possibilities even if that possibility is probably our own extinction. —Kenyataa JP Garcia
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    Directed by Lilly Obscure by Dana Curtis

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    This book is full of visionary poetics, of poems which stare into various sorts of suns and films and pseudo-biographies; it is full of lenses, like scattered raindrops on windshields. But essentially it is a mad dance with imagination and fear and eros and error. —Bin Ramke,
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    Disapparitions by Joseph Harrington

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    Joseph Harrington is a maestro of hybrid form. His latest book, Disapparitions, collages politically urgent poetry and prose with an array of sampled and remixed voices that speak from the ghost-margins of our historical moment. —Tony Trigilio
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    Disappearing Address by Simone Muench and Philip Jenks

    here’s wit here — “Dear Nothing” begins “why’d you have to cut out & make everything come back,” “Dear Obtuse” begins “Be straight with me” — but the best of the poems revel in novel images and a diction for which the only possible term is “hothouse gorgeous.” —Robert Archambeau

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    Disparate Magnets by Nico Vassilakis

    Disparate Magnets presents the scintillating variables of time and its complex philosophical relationship with experiential space. Your guide is the inimitable Nico Vassilakis who cajoles, beckons and posits. The coordinates are pulsations of music, staccato intensities—syntax is unraveled in each set. Morton Feldman floats through this work as the simultaneities build. I feel the glee of ontological recognition reading his book. —Brenda Iijima
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    Disparity by Steven Timm

    This book is part of our moblis in mobli series, a free ebook with a printed books that is for sale from us as well as Amazon.com.
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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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    DISTANTS by Gordon Hadfield

    Before a star signified a brilliant point in infinite expanse, it marked the boundary; it marked the cosmic wall. Galileo knocked that wall over with his eye. But as Gordon Hadfield acutely shows, the bricks from one wall knocked over are recollected, and put to use again, keeping out what isn't allowed in, and keeping in what isn't allowed out. The human world repeats the cosmic one. But no boundary fully holds. —Dan Beachy-Quick
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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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    Dolphin Aria/Limited Hours: A Love Song by Luke McMullan

    Luke McMullan is prising the nails out of the lyric and holding it ethically accountable for any passivity that might lurk in its corridors. This is a call to occupy, to resist the feasting and destruction. As 'we all dance the liberty frogmarch', he reprocesses the responsibilities of speculating and creating the spectacle of consumer lives. What stuns in this sequence is the performative quality of the work as it negotiates subtle moments of utterance and gesture. — John Kinsella
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