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    Inbox by Noah Eli Gordon

    Can we, as poets, create texts about how we think and feel by using the language of how others think and feel? Can we compose with the new streams of language flowing in and around us (e.g. the ephemera and minutia of everyday email) to express our own place in the world? In a well-informed gesture beyond Baudrillard’s null set, Noah Eli Gordon’s booklength conceptual poem, INBOX, opens a new chapter of intimacy—his, yours, mine, ours. Welcome to a new subjectivity; welcome to a new way to say from the heart—Robert Fitterman
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    incidental music by Jane Joritz-Nakagawa

    incidental music is attentive to the deep formal traditions of poetry in the western tradition: the sonnet, the pantoum, the cinquain, the rondeau, the triolet, the ghazal. And yet, as Jane Joritz-Nakagawa well knows, these traditions get their strength in how they intertwine with the contemporary. Incidental music is both innovative and inclusive of all that poetry can do. —JULIANA SPAHR
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    Inconsequentia by Dereks Henderson & Pollard

    In this sequence, the collaboration between word and reader, writer and responder, life and death, Derek and Derek, is an invitation, a dance card in which the dancer and the danced become not a duet but a crowd of possibility—“the shining market of us." —Eleni Sikelianos
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    Inside Narratives by Ethan Saul Bull

    There is a way of seeing expressed in Ethan Bull's poems—complex mimetic waves drifting from modernity, rippling through memory as a person or a state or flora. Proper nouns exploded, rent and mended—sometimes on the very same page. — Joseph Mains  
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    Inside The Walls of My Own House: The Complete Dark Shadows [of My Childhood] Book 2 by Tony Trigilio

    “The Complete Dark Shadows (of My Childhood) feels meditative, organic, and weighty far beyond what one would anticipate from a poem about a blooper-ridden ’60s TV show” (Rain Taxi).
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    Interstellar Theme Park by Jack Skelley

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    “Despite my dislike of seeing my own name, you’re really a good writer – never what’s expected.” —Kathy Acker
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    Interstitial by Sean Patrick Hill

    In Interstitial, Sean Patrick Hill lovingly renders the mundane into a world that is (quite literally) on fire. His poems are taut, perverse, and terrifying. As with all good poems, these leave the page to hound and haunt the reader. — Alan May,
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    Inventories by Paul Hogan

    A forceful, unapologetic exploration of the masculinity of creative impulse. Hogan looks at nature, life, disparate moments, mysticism, and fatherhood not with rose-colored glasses but with the obsidian eyes of a realist unafraid to be caught submitting to his poetic instincts. Inventories is a work of great relevance, power, and importance. —Gary Earl Ross
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    Iona by Andy Martrich

    Quince Eastwood: proud Iona alum, a man still drawn to that small Catholic college in New Rochelle. He's looking for love in all the wrong places, and tracking info down via the absolute worst subforum. And how could he not? Iona's a place where no one's safe from transmutation, from instantly viral dipshittery.
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    Ithaca: A Life In Four Fragments by Travis Cebula

    Ithaca points profoundly to the past as it creates a future with hope and precision. The story of a birth, it is also the story of her coming of age, her maturity, and her death. Ithaca is everyone, no one, word-filled and silent, as we humans are. Travis Cebula in his beautiful fragments captures the essence of being in life and its conversations with itself, others, and even God. —Maxine Chernoff
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    January Found by Michael Sikkema

    Michael Sikkema’s poems are both carefully honed and fun to read. Each word seems to be happy where it is, and this can be funny, too. —Aram Saroyan
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    Joys: a catalogue of disappointments by Christophe Casamassima

    Quietude = qui  etude: the study of the who , and who's studying it motivates this marvelous book, full of sharp moves based on acute attention to language.  At times directly honoring his sources­-- Jabès, Creeley­--and at times indirectly quoting many others from Joyce to Cendrars  to Lezama Lima, Casamassima proves himself a worthy inheritor of the postmodern tradition of writing that inscribes (and in doing so, refuses) its own impossibility. - Cole Swensen
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    KATA by James Maughn

    Robert Creeley wrote about poems that make rites of passage actual, poems that speak a primary language. In Kata, James Maughn speaks a primary language. He is inventing a world—and this beautiful book enacts a wry and patient intelligence, embodies physical grace. In these lines you will hear fullness of representation, and a luminous consciousness.  — Joseph Lease
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    Kewalo Blues and Echoes by Gary Pak

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    Gary Pak’s Kewalo Blues and Echoes reflects his profound, joyous, and critical grasp of Hawai’i as entangled site of local pidgin, Native Hawaiian, oceanic, and ethnic mores of world-dwelling and culture-making. —Rob Sean Wilson
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    Ladders In July by William Allegrezza

    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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    LAST by E.J. McAdams

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    I recommend reading E.J. McAdam's LAST out loud, singing/shouting each line in city parks, the subway, the office. Let it echo off the walls "amidst skyscrapers" in an elegy for our ecology/our planet/our lives that is devastating, but joyous still in its love for what was and what might still be possible —Marcella Durand
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    Le Trouvère Prétendu by Peter Siedlecki

    Congratulations, Peter Siedlecki, on a fascinating, dare I say 'heartwarming', book! His muse takes him in such unexpected directions, like writing a love song to his dog – that poem 'Heike' will always be one of my favorites. —Edward Field
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    Lecture Notes- A Duration Poem in Twelve Parts by Deborah Meadows

    Lecture Notes: A duration poem in twelve parts makes that subtle shift from seemingly raw appropriation to an act of art history right before our eyes so that the safe empiricism of "seeing is believing" is turned upside down, and believing (or culturally-driven perception) creates the scene.
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    Letters To An Albatross by Anita Mohan

    'No ideas but in things.' In lieu of abstraction and sentimentality, Anita Mohan presents 'real gardens' with real apperceptions in them. More inlooker than onlooker, she enlivens the flora and fauna of this volume with her being-in-the-landscape.  —Steven Felicell
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    Lexicartographies by Nicholas Alexander Hayes

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    Nicholas Alexander Hayes's Lexicartographies feels like a microscopic look at an ever-shifting organism, with language serving as a tool for mapping out its evolution and tiniest particles, both fragile and brutal in their raw, naked reality. —Dominik Miles
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    LIFT OFF: a journey of future tense by Stephen Bett

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    Canadian poet Stephen Bett has been called a legend internationally. His 24th book, Lift Off: a journey of future tense, like his recent ones, is a serial poem―minimalist in its poetics, and subtle enough to sustain repeated readings. The book concerns painful, but edgy, movement out of chaos and disrepair and into new beginning, into a ‘lifting off’.
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    Light at the End of the Word by Cheryl Pallant

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    Pallant’s poetry seeks connection transducing passed the tympanic membrane whilst continually registering the energy emitting materiality of one’s own body, the wounded other, and the conditions that quicken cosmic connect/to feral superfluity in full throttled resonance. —Kimberly Lyons

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    Light Reading by Stephan Delbos

    Light Reading ranges from micro-minimalist poems to all-encompassing lyric declarations and metatextual litanies. The book’s first section, “Light Reading,” begins with an aubade and ends with a lullaby. In between, these short poems grapple with the marks words make on existence, exploring themes of language and memory, and confronting the work of great poets and thinkers.
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    LIGHT-HEADED by Matt Hart

    In Matt Hart’s poetry, crackling diction and soulful exuberance take the wheel for a happily bent ride through waking and dreaming spaces. Hart works the contours of his chosen forms with precision and humor, and emphasizes reoccurrence as poetic value and material dynamic through which to channel further depths of possibility for the imagination. —Anselm Berrigan
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