In the visceral hallucination of walking around body and languages The Hallucinated puts a space between what you thought was said and why it was and wasn’t you who said it. Those whispers in your ear are the words that make forms of power into people. Or is it my ear, intimately addressed in highly-charged fragments with love, with disgust, as a projection of and protection from how I thought I felt? Larsen’s book conducts a not-at-all-reductive discourse with a destructive drive on the nearest ground, a city block’s empire or economy-sized neighborhood of knowing and not-knowing where we could not go without her.
HOW'S THE COWSby Jess Mynes
(temporarily sold out)
How’s the Cows fits it together and so opens it up. It’s the smoothest condensation, where objects are thought as words that themselves indicate locations of multiple occurrence. It’s a sentimentality with edges, where living passes before and after the words that seem to emerge from somewhere neither inside nor out, in a disorienting compression as astonishing as a day’s sky is in slowed-down time. This language tightens and loosens around an expertly tuned yet elusive location, springing from a need to say suffused by kindness, delight, and difficulty—a language Mynes is pushing toward total inclusion.
by Roberto Harrison
Far from pretending to dispense wisdom securely achieved, Harrison’s writing presents the search for a metaphysics fully in touch with the concreteness of personal, global and universal existence. The rhythm of these poems’ breath bears us across the book’s bridges, between the Americas, between life and death, love and pain, inscription and music, human and animal and cyberbeing, undoing their oppositions as the mind-poem seeks to open itself to each, to bear itself toward them across a gulf of difficulty. By juxtaposing stark diaristic report, chantlike rhythmic passages, and tightly woven instances of reflexive syntax and impossible image, Bridge of the World enacts a thought that exceeds conceptualization, a thought that only poetry can think—and needs to.
CAConrad’s (soma)tic reply to a knife aimed at his heart is a series of generous, dazzlingly diverse, compact poems bursting with the courage, humor and irrepressible energy that make his writing so important to so many. Friends are here, and enemies, neither left in shadow by the bright light of the ecstatic language that brings everything into a wide view of the living world. Meeting half-way the approach of our inevitable deaths, dissolving the boundaries between poem, everyday life and dream, MUGGED Into Poetry manifests the continuing expansion of Conrad’s poetics, rooted in the local and the realizing, speaking to us all.