Head / lines by Jane Joritz-Nakagawa

Head / lines by Jane Joritz-Nakagawa

An unconventional poetic investigation into social norms, the non-normative body, aging and death against a background of technological innovation and longing for the pastoral. Joritz-Nakagawa juxtaposes narrative, anti-narrative, word experiments, quotations and photographs, always peering both inward and outward, including six evocative photographs by artist Mayu Kanamori, three of which form the entryway into the alphabet house of Joritz-Nakagawa, an entrance which captures a sense of desire, expectation and exploration, ending with three photographs which signal, perhaps, a final exit, but also the possibility of a new life via memory traces in the minds of survivors and acceptance of death.

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PoetryEtc: A Gathering edited by Sheila E. Murphy

PoetryEtc: A Gathering edited by Sheila E. Murphy

An anthology of poetry by members of the PoetryEtc listserv, an energized international community of poets engaged in discussion and sharing their poetic work. Founded in 2003 by Australian poet John Kinsella, today’s PoetryEtc is a smaller and vital group of poets who continue to create new work and actively respond to each others’ poems. This anthology offers a sampling of work by these poets.

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And Then I Wrote: The Songwriter Speaks edited by Tom Russell and Sylvia Tyson

And Then I Wrote: The Songwriter Speaks edited by Tom Russell and Sylvia Tyson

A collection of quotes about the art of songwriting by songwriters spanning the 20th century.

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The Wall at the Edge of Reality by Nathan Adams

The Wall at the Edge of Reality by Nathan Adams

The idea that the universe might not be as it appears is not new. Philosophers have speculated for centuries that reality may be an illusion or simulation. What if we allowed ourselves, for a moment, to step outside the boundaries of established models and imagine a different framework? One in which the cosmos is smaller, stranger, and perhaps more personal than we’ve been led to believe?

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Dying by Instalments by Norman Jope

Dying by Instalments by Norman Jope

A collection of articles about the quantity of poetry that is now entering the public domain, and the implications of this, both positive and problematic.

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Compulsive Words by Michael Ruby

Compulsive Words by Michael Ruby

During automatic writing one day, Michael Ruby noticed certain words repeatedly appearing, forcing themselves on him, taking over his surrealist poem. The number of these “compulsive words” steadily increased through the years, with hundreds of separate words appearing thousands of times, but only during automatic writing, never in other writing. What are these words? Do all of us have our own secret troves of supercharged words, our own private languages, which only ever appear during surrealist writing?

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O! fragmented glories by Joshua Martin

O! fragmented glories by Joshua Martin

O! fragmented glories is a collection of linguistic collages, word collisions, non sequiturs, absurdities, and radical juxtapositions. A playful, disorienting work meant to work against the rational and the conformist, the traditional and the realistic in order to search, question, and experiment with language and the poetic form. These poems are wild, rhythmic, exploratory, and chaotic. Reveling in the glories of the fragmented and the irrational in order to have fun with language and poetry, to create new connections, to think differently, and bask in the alternative fringes of literature.

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Co-options by Jimmy Crouse

Co-options by Jimmy Crouse

Co-options explores the dichotomy between the compulsion to write in the absence of overt content and the imperative to articulate meaningful expressions. The nuanced interplay between vacuity and substance forms a thematic undercurrent, prompting readers to reflect upon the inherent tension within the creative process.

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Moon Alignment by Jane Joritz-Nakagawa and Susan Laura Sullivan

Moon Alignment by Jane Joritz-Nakagawa and Susan Laura Sullivan

Moon Alignments is the latest collaboration between Jane Joritz-Nakagawa and Susan Laura Sullivan (who did the photography and design). It is a non-mainstream take on Japanese haiga from a gendered disabled and “foreign” perspective, in a culture where what is unseen and unheard is often the most important thing. Two of the poems are responses to Tokyo poet Philip Rowland’s work in his book Before Music. 

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Puzzle No Edges by Naomi Buck Palagi

Puzzle No Edges by Naomi Buck Palagi

‘Puzzle No Edges is built upon a love of language, including Gulieupshtut, so that some poems rest in down-home slang while others require the effort of reading a familiar but decidedly foreign language. Idiomatic speech patterns swim with startling idiosyncratic phrases, allowing untutored figures to achieve clarity and brilliance. In “South Florida”, for example, the same narrator muses, "I might never of left from South Florida" and repeatedly declares they are "moving to Tuscon", yet describes with evocative clarity the way "the rain grudged the windows". Through both language and subject matter, this collection mourns, celebrates, and embodies the way reality cannot be contained. "It gets so hard in the howl", Buck Palagi affirms before observing that "a small red fox is just now giving birth". Thus she illuminates how both joy and pain kick up evidence of the soul’s quickening.” (Sheri Reda)

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Unsafe by Norman Jope

Unsafe by Norman Jope

Unsafe is a sequence of short poems, written between May and December 2020. Whilst this is not a COVID sequence per se, but something that developed organically and often unexpectedly across several notebooks, it inevitably reflects the peculiar character of that period. In particular, there are strong contrasts between the author's immediate surroundings (described early in the sequence as 'Peak Plymouth') and global heterotopias including North Africa, Antarctica and Central Asia. A dialogue between intense localism and intense globalism pervades the sequence, which is also a celebration of human freedom - and possibility - in an unprecedentedly-restrictive time.

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From Dipstick Apocalypse by Rupert M. Loydell

From Dipstick Apocalypse by Rupert M. Loydell

Tomas Tranströmer notes that 'sometimes an abyss opens between Tuesday and Wednesday but twenty-six years could pass in a moment. Time is not a straight line, it’s more of a labyrinth', an idea which underpins Rupert Loydell's poems From Dipstick Apocalypse. Here are doppelgängers, doubles, mimics, impersonators and decaying ghosts lost in a maze of poetry, allusion, puns and forgotten memories. Here is a world between others, out of sync with itself, its inhabitants desperate for oblivion and a way to escape the whirlpool of time, echoes of tomorrow, and the 'smell of sulphur and soot'.

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Soot Tear Zest by Nava Fader

Soot Tear Zest by Nava Fader

Poems beginning with a line from an uncorrected proof of Federico Garcia Lorca, Selected Verse, edited by Christopher Maurer (FSG, 1994).

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Reviews of Poetry and Prose by Jeffrey Side and Jake Berry 2007-2013

 Reviews of Poetry and Prose by Jeffrey Side and Jake Berry 2007-2013

Reviews of Carrier of the Seed, Cyclones in High Northern Latitudes and Outside Voices: An Email Correspondence. The reviewers were: Adam Fieled,  John M. Bennett, Jake Berry (for Carrier of the Seed), Pam Brown, Andrew Duncan, John Couth, Carey Scott Wilkerson and Ami Kaye.

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Random Notes of a Messenger by Mark Harlow

Random Notes of a Messenger by Mark Harlow

‘The poems in this collection were composed during my stint as a driver/courier in Seattle, giving me a way to occupy his mind during long hours alone in a car.’ (Mark Harlow)

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Limping Symmetry by Jake Reeds

Limping Symmetry by Jake Reeds

'The poems in Jake Reeds' Limping Symmetry connect music to life, not on a superficial pop culture level, but on a primal and transcendent level. Animals and nature are not the "other"; they are connected to everything we experience—but humans in their limitation often do not recognize this reality, caught up in being humans'. (Terrence Folz, author of Dead Parrots and Bunt Burke)

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Odds and Ends: Essays, Blogs, Internet Discussions, Interviews and Miscellany by Jeffrey Side

Odds and Ends: Essays, Blogs, Internet Discussions, Interviews and Miscellany by Jeffrey Side

A collection of essays, blogs, internet discussions, interviews and miscellany, from 2005-2020.

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Aphorisms of Chance by Jake Berry and Jeffrey Side

Aphorisms of Chance by Jake Berry and Jeffrey Side

'In Aphorisms of Chance, Jake Berry and Jeffrey Side give us an elegant and witty deconstruction of a venerable genre. The aphorism is generally understood as a nugget of verbal wisdom, a deliberate, condensed moment of illumination. What happens when chance comes into its composition, disarranging thought and playing with the very notion of insight? The result, ironically, is a higher wisdom: “The / bridge will carry /your / weight / but not the depths of your / gravity.” Berry and Side plunge us into those depths.' (Norman Finkelstein)

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Sounds Anglo-American Robert Vas Dias interviewed by Robert Hampson

Sounds Anglo-American Robert Vas Dias interviewed by Robert Hampson

In this interview with Robert Hampson, which focuses on his American career, Robert Vas Dias discusses his introduction to modern poetry through a reading by Langston Hughes; his early grounding in Yeats, Whitman, Pound, and Eliot; his first New York reading at the Five Spot (during a break by the Thelonious Monk Quartet); his friendship with Paul Blackburn; New York in the 1960s; his collaborations with visual artists; the founding of the Aspen Writers’ Workshop and his meetings with poets and artists including Mina Loy, Jonathan Williams, Basil Bunting, and Claes Oldenburg in Colorado; his return to New York where he joined the faculty of NYU with the poets Jackson Mac Low, Michael Heller, Clayton Eshleman and Charles Levendosky; and the organising and directing of the National Poetry Festivals (1971 and 1973) at Thomas Jefferson College in Michigan.

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Temptation in Whispers by Anthony Howell

Temptation in Whispers by Anthony Howell

'Temptation in Whispers was written at a time when I was deeply committed to the notion of “abstract poetry”. This was neither simply “sound poetry” nor “concrete poetry”. I was interested in working with limited vocabularies and permutations. In those days I was engaged in finding a way of writing in key with innovation going on in other purlieus of art – Philip Glass’s musicians had stayed in my studio on their first visit to London, and I had conducted the first British radio interview with John Ashbery. Several times I visited Clark Coolidge in New Lebanon and often hosted readings by poets associated with the New York School. My work was contemptuously dismissed by the British poetry establishment, and this manuscript proved impossible to publish.' (Anthony Howell)

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