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CALL THE CATASTROPHISTS by Krystal Languell
PoetryWhat then is a catastrophist? In the cosmography of this incredible first volume, she is a mobile force that screams: There is plenty to say, say it, say it! In the case where it is the critical reality of the daily life of a person, a thinking person, a person with a sex that is not one, with a class not a cache, who bumps against reality being easily bruised, and doing it again, and saying so. Krystal Languell reinscribes poetry to its rightful spot where we begin, and keep beginning, inside our catastrophe, where it lives. —Rachel Levitsky$16.00 -
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camera obscura by erica lewis
Poetryerica lewis’s camera obscura is a stunning meditation on the relationship between things in the world and our perception of them. Beginning with a photograph “that made me think about how time and the constant mutability of everything is . . . the underlying story of all the stories we write,” her words show us – indeed literally see – how “the object exists outside us without our taking part in it”; how “to bring the picture into focus”; how “an image sparks another image” ... —Stephen Ratcliffe$16.00 -
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Canyonesque by Tom Clark
Poetry, Superstars[Clark] really flows and gambles and plays it loose. I like his guts... He's the raw gnawing end of the moon. — Charles Bukowski$16.00 -
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Celluloid Salutations by Elizabeth Block
PoetryIt's all here: love, work, child. And the writing. Mainly the writing. It takes over all these other things and yet it is built out of all these things. This is how Elizabeth Block erases Elizabeth Block, as one poem claims. She does this automatically, animalistically, while wailing forward, gracefully and with improvisation. —Juliana Spahr$16.00 -
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Chaperons of a Lost Poet by John Vick
PoetryThis book by John Vick is fearless. —-Valerie Fox$16.00 -
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Cheltenham by Adam Fieled
PoetryO this is fierce writing, dirty & sweaty, rain-drenched& squalid, caught out in the back seats of parked cars, all that mess of actual young lives – Adam Fieled’s poetry moves with & through all this, carefully recording and arranging, natural history notes of the actual ecosystem so many of us live or lived within, savage, implacable and there on its own terms. —Peter Philpott$16.00 -
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Chimes by Adam Fieled
PoetryAt times so painful and lovely and fragile that Chimes made my mind's eyes weep. My body's eyes, however, refused to cry as they did not want to stop reading-- Chimes paradoxically is a page-turner even as the words compel you to linger on each page. Chimes is one of the most moving autobiographies I've read--actually, language's beauty makes it irrelevant whether this is fiction or non-fiction; its authenticity is felt to be true. —Eileen Tabios$16.00 -
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Circles Matter by Brian Lucas
PoetryA triple play. Brian Lucas— painter, poet, musician—eye, heart, mind. Written with a sense of unfolding mystery, his voice on the page is sure in its tone, the ongoing quest and questioning is awake with profound and restless detail. Out of the ballpark. I await more. — David Meltzer$16.00 -
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CIRCULAR DESCENT by Raymond L. Bianchi
PoetryAt the dangerous intersection of Liberty and Empire, Raymond Bianchi breaks the sound barrier. These “multi-colored sequences” are up to date heart-breaking cubistic international songs in “real time,” trafficking in corporate corruption and working people, desire and everyday life. This is wild and honest work. — PETER GIZZI$16.00 -
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City Bird: Selected Poems (1991 – 2009) by Millie Niss Edited by Martha Deed
PoetryMillie Niss draws from so many different poetic influences and writes in so many different tones – wistful, sneaky, sincere, outraged, outrageous, sweet and funny and snide – that it makes me nearly dizzy. This is a wonderful, whimsical compendium of a mind on fire, devoted to poetry, mad for malarkey. In rants, e-mails, poetic forms, collaborations, school notebooks, mock epics, found text, imitations, concrete poetry and intercepted letters, Millie calls it like it is and we are so lucky for it! —Kazim Ali$18.00 -
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CLOUD / RIDGE by Stephen Ratcliffe
Poetry, SuperstarsStephen 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$22.00