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A Fiery Flying Roule

Eirik Steinhoff

A Fiery Flying Roule: To all the Inhabitants of the Earth; Specially the Rich Ones reproduces a series of pamphlets handed out during the Oakland Commune (a.k.a. Occupy Oakland) from 2 November 2011, the day of the “general strike” that shut down the Port of Oakland, to May Day 2012….

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Eirik Steinhoff

A Fiery Flying Roule: to all the inhabitants of the earth; specially the rich ones reproduces a series of pamphlets distributed during the Oakland Commune (a.k.a. Occupy Oakland) from 2 November 2011, the day of the “general strike” that shut down the Port of Oakland, to May Day 2012. These 25 front-line transmissions are chronicle-collages of poetry, prose, photographs, and diagrams that reflect and respond to actions and events as they transpired in those heated 6 months. Their name recycles the title of a pair of antinomian pamphlets circulated by the London Ranter Abiezer Coppe in 1649; the tenor of Coppe’s prophetic do-it-yourself political barnstorming is continuously operative in these latter-day missives, particularly in the irregular orthography of the proper noun by which he called his pamphlets. This color-printed archive edition of the Roules includes a 60-pp. afterword that situates the project in its historical contexts.


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Empty Your Mind and Achieve Your Dreams

Yogmata Keiko Aikawa

With meticulous attention and humor, she catalogs our human foibles in search of a happiness that, when the mind is clear, is revealed to be right here and now….

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Yogmata Keiko Aikawa

With meticulous attention and humor, she catalogs our human foibles in search of a happiness that, when the mind is clear, is revealed to be right here and now. Intermingled with a telling of her own miraculous journey of discovery and eventual self-realization, Yogmata-Ji explains the forms of mental entrapment by which humanity dreams away life. While clearly articulating the tenets of her own Himalayan Wisdom practice, she explains: “real yoga”; how the traditions of Jesus Christ and Buddha are synonymous with her own; the nature of true religion; what happens in the afterlife; and the wondrous efficacy of prayer. Written in a colloquial, down-to-earth, empathic style, this book is a must-read for all seeker of the truth.


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Glossodelia Attract

George Quasha

If William Blake’s “Proverbs of Hell” are poetry, then George Quasha’s preverbs are like a close cousin. Its core question is: can poetry say the unsayable? Preverbs wonder: what is poetry? A well established poetic tradition both modern and post-modern—some call it experimental—starts its poetics with: poetry is not what you think it is

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George Quasha

If William Blake’s “Proverbs of Hell” are poetry, then George Quasha’s preverbs are like a close cousin. Its core question is: can poetry say the unsayable? Preverbs wonder: what is poetry? A well established poetic tradition both modern and post-modern—some call it experimental—starts its poetics with: poetry is not what you think it is. Its work is journeying inside language, as if passing through a distant country or else another reality. It conveys news of alternate dimensions showing through in the here-and-now, embedded inside our everyday thoughts and speaking.


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Our Woodland Treasures: Peaceful, Startling, Rambunctious & Amazing Animals & Plants

Miriam Sanders

Starting in 1995 and for eight year Miriam Sanders wrote a weekly nature column for The Woodstock Journal, co-founded by the poet and musician Ed Sanders. With uncanny powers of direct observation, woven into a skein of luminous insights, she gives us a resonant field….

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Miriam Sanders

Starting in 1995 and for eight year Miriam Sanders wrote a weekly nature column for The Woodstock Journal, co-founded by the poet and musician Ed Sanders. With uncanny powers of direct observation, woven into a skein of luminous insights, she gives us a resonant field within which we may more than glimpse the web of creation. “Treasures” indeed, an enduring portrait of the natural world this book touches Catskills magic—bobcats, mallards and “Eric perched on a branch, enjoying a nut, his lovely tail curved over his back.” The poet, writer, and historian Peter Lamborn Wilson writes, “Back in the Dark Ages when I lived in the Lower East Side I used to go to the Gem Spa on 8th Street every week to pick up Ed and Miriam Sanders’s Woodstock newspaper, then take it to Tompkins Square and sit under a tree and read Miriam’s nature column and dream that I was in the country with her birds and deer. Now at last her charming essays return—and I live in the Hudson Valley. Hurrah!” Woodland Treasures includes over twenty-five, hand-drawn illustrations from the author.


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Piece of Cake

Bernadette Mayer & Lewis Warsh

Bernadette Mayer and Lewis Warsh wrote PIECE OF CAKE as a work of collaborative prose poetry, based on a process of each writing on alternate days in the course of August 1976. It recounts the quotidian nuances of young, married-with-child life, the artistic path and citizenship in the town of Lenox, Massachusetts…

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Bernadette Mayer & Lewis Warsh

Bernadette Mayer and Lewis Warsh wrote PIECE OF CAKE as a work of collaborative prose poetry, based on a process of each writing on alternate days in the course of August 1976. It recounts the quotidian nuances of young, married-with-child life, the artistic path and citizenship in the town of Lenox, Massachusetts. It has the “I did this, I did that” of a New York School poetry text, as characterized by the poetry of Frank O’Hara, and is somewhat reminiscent of Mayer’s work STUDYING HUNGER JOURNALS, written not long before taking up PIECE OF CAKE. As Mayer writes on August 24: “I will go just one step further and take the liberty of saying that writing this book is different, for me, so completely different from any other experience I have ever had with writing. Now, when I sit down to write I tremble with fear before the page, and from the reactions of my body I can tell that the possibility of finally telling everything, and telling it as if it were all a series of plain household events, is at last coming closer.” This work is also distinguished as arguably the first significant male-female collaboration in 20th-century American poetry. Regarding the possible derivation of the work’s title, and also exemplary of the work’s tenor, is the start of Warsh’s entry of August 29: “I also recall getting up and eating a piece of left-over cake (a very sweet store-bought cake with green or possibly pinkish icing) and drinking a glass of milk at the kitchen window. Empty streets, no moon. Michael and Twinkie asleep on the floor of Bernadette’s room, Guy and Karen in mine, Bill on the couch in the living room. Marie in her crib. Everyone ‘dead to the world,’ a phrase I dislike, what a full house.” This book also includes a section of photographs taken within the family from the period of PIECE OF CAKE’s composition.


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Tequila Mockingbird

Carter Ratcliff

The unforgettable sexy spirited fashion model Fiona Mays obsesses with supermodel best friend Brenda Rawlings in Carter Ratcliff’s hilarious Tequila Mockingbird. Fiona’s irresistible, loving, smart, sexually hyperactive, racing thoughts fill every page and make us fall in love with her. When Brenda receives death threats from Sergei Propokoff, the Russian oligarch she’s been dating, the story turns from the fast life in New York’s fashion world to thriller where the beautiful princess must be saved from the ogre, and it’s up to Fiona and Fiona alone.

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Carter Ratcliff

The unforgettable sexy spirited fashion model Fiona Mays obsesses with supermodel best friend Brenda Rawlings in Carter Ratcliff’s hilarious Tequila Mockingbird. Fiona’s irresistible, loving, smart, sexually hyperactive, racing thoughts fill every page and make us fall in love with her. When Brenda receives death threats from Sergei Propokoff, the Russian oligarch she’s been dating, the story turns from the fast life in New York’s fashion world to thriller where the beautiful princess must be saved from the ogre, and it’s up to Fiona and Fiona alone.


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The Syndicate of Water & Light

Marc Vincenz

In subtitling this book “A Divine Comedy,” the poet Marc Vincenz brushes up against Dante, and yet he does so “in the pulse of a breath, /waiting for the rain / to wash away the dream.” There is light here—not perhaps the roseate of the Florentine retinue—but one we can use right now: “All visions / gone, but this, a world, / a world / dancing ahead…”

Fall 2018

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Marc Vincenz

In subtitling this book “A Divine Comedy,” the poet Marc Vincenz brushes up against Dante, and yet he does so “in the pulse of a breath, /waiting for the rain / to wash away the dream.” There is light here—not perhaps the roseate of the Florentine retinue—but one we can use right now: “All visions / gone, but this, a world, / a world / dancing ahead.” Vincenz questions notions of humanity, the potency and power of language over time, implying perhaps that codes have driven us throughout history and that the emergence of the AI will yield the next stage in its evolution. After a long night of the soul, where formal religion yields to love and imagination, we emerge to a healing space that is both inner and outer, physical and spiritual. The Syndicate of Water & Light gives us a sense that we can grow in knowledge and that we can change—if not, perhaps, the world, then at least within ourselves.

Fall 2018


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The Weather in Normal

Carrie Etter

The fourth poetry collection by Carrie Etter focuses on her hometown of Normal, Illinois, in the American Midwest.  The Weather in Normal is not a set of straightforward memories but a slowly shifting entity, like a moving storm ….

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Carrie Etter

Carrie Etter’s fourth poetry collection focuses on her hometown of Normal, Illinois, in the American Midwest. The Weather in Normal is not a set of straightforward memories but a slowly shifting entity, like a moving storm. The book opens with ‘Night Ode’, a poem set on a single street at night, the protagonist walking and feeling the oppressive summer heat, the humming of cicadas and the various ages she has walked the same road: “sixteen, nineteen, twenty-four, thirty-seven…”. This introduces us to the main themes of memory and recollection, of mature reflections on youthful experiences, of multiple, shifting perspectives.

The first of the book’s three arcs explores the family’s relationship to the weather and place, from the father’s obsession with the weather, to the brutal effects of the winters on the family, resulting in broken bones, the recognition of poverty, and the father’s paralysis. Yet the relationship to place also includes its appreciation. Etter offers us a vivid impression of the American prairie with its cornfields extending to the horizon. She muses on the various meanings of ‘Prairie’ and understands a landscape can haunt the imagination the way the past haunts the present.

The second arc explores the effect of the loss of the family home in the long poem ‘Afterlife.’ The house is a place of memory and of dream, an upbringing in a house crowded with sisters and then with her sisters’ children: “once three sat atop/ the upright piano/ playing the keys/ with their feet”. What is it to return, in imagination, to the house in which her father died? Can one ultimately relinquish one’s childhood home to its new owners?

The book’s final arc concerns the effects of climate change in Illinois, in part through the long poem, ‘Scar’, chronicling these effects—the greater occurrence of extreme weather, the loss of species, etc.–as well as human responsibility for them. Just as The Weather in Normal begin with music in ‘Night Ode’, so it ends with ‘And Now for a Kind of Song,’ a eulogistic poem relishing the poet’s relationship to Illinois.

ADVANCE PRAISE

“Taking the temperature of memory, Etter’s deeply moving fourth collection maps family and personal history against the iconography of the seasons and the planetary slide into climate disaster. Etter’s richly inventive phrasing keeps this compelling range of concerns vividly opening up with immediacy, urgency, and sensitivity. Her connection of the global with the familial reminds us to “take it personally,” while implicitly arguing for the intimacy of our relations with the world at every level.”

Cole Swensen

Philip Gross: “One of the particular gifts of poetry is here in force: the power of a few words to create great spaces. The spaces of a prairie landscape round a small town or between present and past, between people in a family or between words on the page, these are not emptiness but tingling with resonance, with the poems’ fine attention. Touched and unsettled, we slip seamlessly between the intimate detail of loss and the vast perspective in which even the prairies are dwarfed by the scale of climate change.”

Philip Gross


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