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QuickviewFinger ExOrcised by Joe Amato
Poetry$16.00Amato gives us irrepressible ruminations, flash narratives, verbal collages. At times they seem to be struggling to rise off the printed page into our simulated 3D, stereo, holograph world, but then they recoil from it with speedy wit and righteous indignation, in a weave of rhetorics designed to ward off the 21st century's demons. —Anselm Hollo -
QuickviewFire For Thought by Reed Bye
Poetry, SuperstarsReed 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$16.00 -
QuickviewFirst Baby Poems by Anne Waldman with Collages by George Schneeman
Poetry, SuperstarsWith 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$18.00 -
QuickviewFive Sequences For The Country At Night by Mike Perrow
PoetryMike Perrow’s highly-anticipated book of poems is rich in its evocations of landscape and skyscape. His meditative voice is inflected with southern accents that linger and resonate. —Forrest Gander$16.00 -
QuickviewFlay, a book of mu by Caty Sporleder
PoetryWith the visceral precision of an anatomical textbook, Caty Sporleder peels back “dead stringencies”—Sylvia Plath's term, from “Ariel”—of language, desire, and narrative expectation. —Dodie Bellamy$16.00 -
QuickviewFLUTES AND TOMATOES A MEMOIR WITH POEMS by Wade Stevenson
Poetry“Flutes and Tomatoes” by Wade Stevenson is a compelling story of survival, love and resilience in the face of loss. Filled with a crackling energy these poems describe self-discovery, worldly discovery, and the discovery of the mutability of time that shapes the world through the ever-distancing, ever expanding waves of disorder and randomness that are left behind after the death of a loved one.$16.00 -
QuickviewFLUX by Jane Joritz-Nakagawa
PoetryGive moving a chance! Perhaps part Acker, perhaps part Ono, FLUX features language agent Joritz-Nakagawa as she writes her way out of a self-torn, flower-torn, money-torn zone . . . —MICHAEL FARRELL$16.00 -
QuickviewFootnotes To Algebra Uncollected Poems 1995-2009 by Eileen Tabios
PoetryJack Kerouac wrote, “Vision is deception.” Eileen Tabios’ version goes like this: “Go forth and prettily miscalculate.” —Jeffrey Cyphers Wright$18.00 -
QuickviewFor Days by Adam Strauss
PoetryOf For Days Adam Strauss writes that these poems record “what happens when ongoingness, dailiness, is mixed with highly wrought/overdetermining elements, and hence the use (abuse?) of the pantoum, sonnets, and terza rima.” That’s a fair description, but what’s missing in that little modus operandi but present in the work itself is the music of alliteration, assonance and rhyme schemes falling apart under the pressure of faux pedestrianism. —Tyrone Williams$16.00 -
Quickviewfor Holding Silence by Nura Yingling
PoetryGirl, adolescent, lover, wife, teacher, and grandmother turn into one another everywhere in these marvelous narratives. “To have your back against the horizon where darkness meets / its opposite in glory or grief,” Yingling posits in “Triangulum,” “ is this earthly life.” Hers is a poetry of becoming and of being. “The woman who you could be,” she writes, “is.” — Lisa Russ Spaar$16.00 -
QuickviewFor Love by Jared Schickling
PoetryJared Schickling makes no bones about his intent. Cribbing the title of one of the more famous books of poetry in the late twentieth century, Robert Creeley’s For Love, Schickling reorients it with the subtitle, (the order of the echoes), and sets out to rewrite love in a context where the lover becomes “the grape of my obscene lip.” —Michael Boughn$20.00 -
QuickviewFor the Ordinary Artist Short Reviews, Occasional Pieces and More by Bill Berkson
Critical Thinking"Opinions are not literature" Gertrude Stein famously admonished Ernest Hemingway. It's a maxim that puts most art critics behind the Eight-Ball. Not Bill Berkson. His criticism doesn't just deliver an opinion, it embodies an experience, matching the texture and plasticity of visual forms with a vividness and suppleness of language that gives the reader something shapely and immediate to respond to thereby opening path ways in the mind to the image or object being evoked and judged. His subject is art; his essays and critical prose poems are uncommonly graceful literary artifacts. —Robert Storr$16.00
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