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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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    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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    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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    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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    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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    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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    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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    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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    Fire For Thought by Reed Bye

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    Reed Bye's meditations on meditation open out into lovely Hopkinsesque melodies. There's a clarity here spawned from questions about inside and outside, mind and body, and who we are as humans in our landscapes. —Lisa Jarnot
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    First Baby Poems by Anne Waldman with Collages by George Schneeman

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    With her warm subtle fleshy FIRST BABY POEMS Waldman creates an infant power that did not exist before in her words. These poems are complex joyful bioalchemy. —Michael McClure
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    Golden Age by Seth Abramson

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    Seth Abramson is author of The Metamodern Trilogy, which includes Golden Age (2017), DATA (2016), and Metamericana (2015), all published by BlazeVOX. He is also the author of The Insider’s Guide to Graduate Creative Writing Degrees (Bloomsbury, forthcoming 2018); Thievery, winner of the Akron Poetry Prize (University of Akron Press, 2013); Northerners, winner of the Green Rose Prize (New Issues/Western Michigan University Press, 2011); and The Suburban Ecstasies (Ghost Road Press, 2009).
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    Gradually the World: New and Selected Poems, 1982 – 2013 by Burt Kimmelman

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    The specificity of Burt Kimmelman's poems has, for more than thirty years, been a singularly locating force. It situates us in space, in relation to the luminosity of objects, art, and one another. That every shadow of wonder can stand forth in the most familiar words is the gift this poet offers his readers time and again. – Susan Howe
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    Hybrid Hierophanies by Clayton Eshleman

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    Adrienne Rich has stated: “As a poet and translator, Clayton Eshleman has gone more deeply into his art, its processes and demands, than any modern American poet since Robert Duncan and Muriel Rukeyser.” And Robert Kelly has written: “Nobody is like him in his struggle. At times he makes the wildness of most poetry seem merely effete. I know of no poet who has fed so richly from the thingliness of the world beneath his feet, none who so resists the glamour of beliefs. He is a shaman without a single superstition.”
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    I AM YOU by Anne Tardos

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    "I Am You reminds us of something we know but often forget: that identity is formed in relation to others. These poems are couched within the contexts of process-based, art-making practice and clear-headed philosophical inquiry. The result is a kind of philosophical investigation into the multiplicity of time." —Kit Robinson, American Book Review
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    In Your Dreams by Ted Greenwald

    Ted Greenwald's 30th book consists of 79 72-line poems, each with his trademark recombinatory drop-stitch weave. As a basic pattern, which is varied, each poem's 26 demotic lines is repeated in 9 interlinked free triolets (ABCACDAB-DEFDFGDE). In Your Dreams is almost, then is, hard to say, In Your Dreams is almost, hard to say, autopoiesis, In Your Dreams is almost, then is, autopoiesis, flickering fugal strobe of the everyday, or sublime sonic moir , autopoiesis, or sublime sonic moir, spoken and shimmering, autopoiesis, flickering fugal strobe of the everyday. — Charles Bernstein
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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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    LIZARD or EASY ANSWERS: They Are None Being a Novel Tracing of the Yi Jing/ I Ching Seen to by Thomas Meyer

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    Lizard offers the poet and reader a simultaneous process of personal narration, a creation evolving thought the constant change of form, the reading and the writing in a balancing act of creation, and divination improvisation. Lizard an ever being written and, therefore, changing form of poetic prose thought the I Ching: A form of interpreted life is a meaningful form of poetry. —Michael Basinski
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