Attention Span 2011 | Craig Dworkin

Derek Beaulieu | Seen of the Crime | Snare | 2011 (forthcoming)

Collected short essays from the fearlessly indefatigable, inquisitive, and generous poet, letraset master, micro-press publisher, and collector of literary curiosities. I haven’t seen the final manuscript, but an early draft suggests that this will be the practical, earnest compliment to the abstruse theoretical wink of Notes on Conceptualisms.

Gregg Biglieri | Little Richard the Second | Ugly Duckling | 2011

A gorgeous new book by my favorite poet. Little Richard offers a lyric meditation on doubling (echo), words (and letters), and the +ow (/wo) effect. Wow. The philosophical aviary of these post-objectivist stanzas resound with all the interlingual puns that can pass in the augenblicke of Minerva’s insomniac bird (which blinks rarely, and has two eyelids, but is the only bird to blink like humans do). Printed letterpress on luxuriously doubled sheets of laid Neenah paper, with elegant hand-sewn Japanese stab-binding and a device evoking the culture ministry of some central asian dictatorship.

Kieran Daly | Plays/ For Theater | bas-books | 2011

I’ve been genuinely surprised and excited by everything I’ve seen from Daly, which suggests that there is still some room left for both the reduction and expansion of conceptual writing before the mode is played out (and Daly pushes in both directions simultaneously). This is hard-core conceptual theatre in which bibliography takes center stage. Gertrude Stein meets Jarrod Fowler.

Judith Goldman | l.b.; or, catenaries | Krupskaya | 2011 (forthcoming)

The concatenated series of poems in Judith Goldman’s l.b chart the narratives formed by texts of uniform density hanging freely from two fixed readings not in the same semantic line. On the one hand, the book dramatizes language under the regimes of contemporary communication—the protocols and phatics of privatized and publicly traded language—with all the false and inescapable sociality of networked media and commercial memoranda. On the other hand, the motivated material play of the signifier points to the paths of greatest resistance: chance, ludic laughter, and the recalcitrant residuum of the body.

At the level of composition, l.b is also a kind of catena patrum: a series of extracts from earlier writings, forming a commentary on some portion of scripture. Goldman’s finely sutured microcollage of forms and phrases moves from Aristotle to Andy Warhol, Kathy Acker to William Wordsworth, Abu Ghraib to Thomas Wyatt. Where the traditional catena is also a chronological series of extracts to prove the existence of a continuous tradition on some point of doctrine, here the discrepant result is a more thoroughly, honestly, chronic text: not the false time of doctrine and tradition, but something more true to its own time, and to linguistic time itself.

Helen Hajnoczky | Poets and Killers: A Life in Advertising | Snare | 2010

As if Rob Fitterman wrote a season of Mad Men, Hajnoczky gives us the life story of a character told exclusively through the language of corporate advertising, with the publication date of the (actual) found text keyed to the corresponding year of his (fictional) life. Given the degree to which North Americans are all shaped by the interpellating hail of commercial media, this is also the biography of many of its readers as well. The book, sporting a handsomely textured purple cover decorated with ‘pataphysical gidouilles, contains a generous and considered Afterword. Snare, run by Jon Paul Fiorentino in Montréal, has rapidly established itself as a press to watch and a venue of envy for conceptual writers.

Yedda Morrison | Darkness | Make Now | 2011 (forthcoming)

Morrison has produced an edition of Joseph Conrad’s Heart of Darkness in which only references to the natural world remain. But what counts as “natural” is far from self-evident, and Morrison’s erasures open onto a range of philosophical and ethical questions. At one extreme, the reader begins to suspect that perhaps we can never recognize a truly natural world, one uncoloured by our human perspective, at all. And at the same time, at the other extreme, one begins to suspect that maybe there is nothing—including our own artifice—that is not in fact a part of an all-encompassing natural world after all.

The test of conceptual writing is the degree to which the distance between the concept and the execution creates enough friction to generate a spark across that gap. Here, the ethereous space between the idea and the text—between mind and body, artifice and nature, erasure and source—ionizes with violent disruption and report.

Joseph Mosconi | Galvanized Iron on the Citizen’s Band | Poetic Research Bureau | 2009

Each poem here is a mash-up of euphemistic cant, with one half taken from the slang of soldiers and the other from the code of truckers (the G.I. and C.B. of the deacronymized title). The results come across like eroticized slogans, often with an uncomfortable and vaguely aggressive comedy. The thin, oversize hardback is bound like a primer for early readers, with the text set in an enormous 25-point Times New Roman, as if Jenny Holzer were excerpting lines from mid-career Bruce Andrews’ poems, to be printed on billboards or bumperstickers. Conceptual, wry cultural critique, with one ear to the art world and one ear to the microphonemics of the best Language writing. Two poems, just to give a taste: “Gucci/ Kit/ Diesel/ Cop”; “Shamurai/ Cash/ Box.”

Travis Ortiz | Variously, Not Then | Tuumba | 2011 (forthcoming)

The book I have been most anticipating for the longest time. Ortiz has taken a finely polished series of prose poems (originally composed in a west-coast, post-language, ‘90s mode of socially motivated radical parataxis) and written through them both lexically and typographically. The result simultaneously displays both the remixes, with their delicious lines like “geography towers is narrative,” and also the original texts. Those originals are the epitome of their genre, and so opening Variously is like discovering a forgotten time-capsule containing a pristine print from a lost, never-screened film documenting its own vanished golden-age. A treasure chest, in other words. Luxuriously designed, and a rare issue from Lyn Hejinian’s revamped Tuumba press.

Baroness Elsa von Freytag-Loringhoven | Body Sweats | MIT | 2011 (forthcoming)

Edited by Irene Gammel and Suzanne Zelazo (an interesting poet in her own right – see Parlance [Coach House, 2003]), this long-needed collection remaps the frontiers of Modernism by allowing us to fully see, for the first time, just how radical von Freytag-Loringhoven’s writing was. We know her performative persona was something to be reckoned with (she scared the shit out of William Carlos Williams, offering to infect him with her syphilis in order to help free up his poetry – they ended up more than once in fistfights on his suburban front lawn), but her linguistic fearlessness puts her in the same league as Mina Loy, Gertrude Stein, and Abraham Lincoln-Gillespie. Moreover, these poems will be a wake-up-call to many contemporary poets: a century later the Baroness’ work is still as drastic as anything being published today.

Eric Zboya | Translations | Avantacular | 2010

Two volumes, in collaboration with Andrew Topel, of “algorithmic” translations, which transform the letters of a poem into extruded dendrites of exploded non-lexical exclamation. Abstract, illegible geometric patterns in a densely inked but subtly-shaded blue-black sheen, each shape is determined by an alphabetic logic that human viewers can appreciate but cannot reconstruct. A new idiom for digital poetry, visual poetry, and appropriation.

Steven Zultanski | Pad | Make Now | 2010

Ultimately more about the tension between the literal and the figural imagination than the Beavis and Butthead idée fixe of its domestic inventory (the book purports to catalogue every object in Zultanski’s apartment and whether or not his dick can lift it), PAD nonetheless suggests a new kind of confessional autobiography, filtered through the strategy of a clinically deodorized conceptualism. In the process it creates a new meter, and gives a parodic send-up of the charge that Conceptual writing is a phallocentric guy-thing. Zultanski’s premise begs its anatomical sequel—whether every object in an apartment fits in a writer’s vagina—which would offer yet another a new scale for classifying possessions but with a radically different psychological twist. I’m looking forward to that book, which I trust is being written as I type, if it’s not already in press. In the meantime, the bottom line: I can lift Steven Zultanski’s PAD with my dick.

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More Craig Dworkin here.

Dworkin’s Attention Span for 2010, 2009, 2007 . Back to 2011 directory.

Attention Span 2010 – Brent Cunningham

Mel Nichols | Catalytic Exteriorization Phenomenon | Edge | 2009

The title of Nichols’s book, to my ear, indicates a kind of linguistic density that actually the poems inside don’t much have—instead you get poems of such emotional authority and seriousness of purpose that immediately I was ready to go anywhere with them. There’s lightness and levity as well, lots, but it’s in the refreshing context of feeling like the poet really, deeply knows what she’s doing, I mean really. Even the formal moves, the spacing, leaving phrases off in space, composition by field and the like, has a kind of rightness and intentionality to it that I don’t often accept so unquestionly. This is the kind of book I take around with me to remind me how to write as well as how to read. What else can I say? I know it came out last year and was mentioned often then, but I just love this book

Aaron Kunin | The Sore Throat & Other Poems | Fence | 2010

A lot of writers are influnced by philosophy, but Kunin is one of very few living poet I know where I feel like I’m reading someone with truly philosophical sensibilities and skills, i.e. who really lives in a Kantian or maybe in this case more a Spinozian reality. What his work shows, I think, is in part how much feeling there is in thinking, and also how much pleasure there is in the artistic distanciation of self-conciousness

Khaled Mattawa | Tocqueville | New Issues Poetry & Prose | 2010

I’m not entirely persuaded by all the elements of Mattawa’s work, but I like to mention him since I think he’s completely worthwhile yet almost completely off the radar of most self-identified experimental writers. This makes sense if you read his early, more conventional and overly-wringing writing, or if you look at those who blurb his books, etc., but this book is serious and thoughtful about its politics, courageous in its formal experimentation, and fervent in its contempt for false emotion. If you read one book blurbed by Yusef Komunyakaa this year, it should be this one, etc.

Brenda Iijima, ed. | eco language reader | Nightboat | 2010

To the properly sceptical this book probably won’t, and probably shouldn’t, prove there’s a new movement or even a new sensibility afoot, but whatever Iijima’s anthology is or isn’t claiming in those terms it is certainly very well edited, filled with a great group of contributors, and embarrasingly rich with new ideas and new passions.

Laura Moriarty | A Tonalist | Nightboat | 2010

I should perhaps recuse myself here since I’m one of Laura’s “A Tonalists,” but whether the pseudo-movement/anti-movement/non-movement of the title has any reality or not, Moriarty has used the idea of groups and groupings to make a fierce, delicate, layered text that stands as a work, and an art, of its own.

Douglas Rothschild | Theogony | Subpress | 2009

Rothschild has, basically, a classical sensibility (where “classical” is considered as running the gamut from the unadornedness of certain ancient greek writers to the unadornedness of Ted Berrigan), which is then shot through with a whole lot of eccentric, baroque intelligence. I may have been a little less taken with the long middle section about NYC than some: it’s what seem to be framed as the more “minor” poems that really have stayed with me. And in a way that makes perfect sense because the significance of the minor is what Rothschild himself is so productively interested in.

Tan Lin | Heath (Plagiarism/Outsource) | Zasterle | 2009

There’s something fascinating about limit cases, and Lin has been exploring those frontiers for a few books now, but this is the first time I really & completely got it. I like to carry around what I’ll call Heath (the title is a subject of debate by the way) just to show aspiring conceptualists how tepid and obvious their plans often are, by comparison. Really I can’t think of another book that seems to have gone farther off the grid of our presumptions about “the book” and “poetry” than this pleasantly transgressive text. It’s a further mystery that it remains, inexplicably, rather readable (with the right kind of approach). Everything in it—images, computer code, emails, texts—have the feeling of being placed, not overly systematically, but such that they beg for your own thinking to complete them.

Michael Cross, Thom Donovan, Kyle Schlesinger, eds. | ON: Contemporary Practice, Issue #2 | Cuneiform | 2010

Some will say the structure of this magazine, where poets talk about the work of poets, will only add to the feeling that experimental poetry is a small coterie with a secret knock to get in. Others, including me, find ON to be just what was lacking, and will find it far less about in-group backslapping than one might presume (very much like the Attention Span project, which has a lot in common with ON). Coterie is a sword of the two-edged variety, and ON is a much needed venue for poets to not only talk about works by their contemporaries but to fashion a renewed sense of basic, shared critical values.

Yedda Morrison | Girl Scout Nation | Displaced Press | 2008

This is the oldest book on my list but I only just got to read it. I had the pleasure of hearing a lot of the poems in this book for a few years at various readings, but the effect of reading them all together is fierce and splendid and at an entirely other level. Anger and love seem to be Morrison’s twin obsessions here and in other works—the love that both lies and lies in every anger, maybe. These concerns dovetail into her starkly eco/feminist/activist/understandably-pissed-off approach in ways that I find enviously original. She’s doing some great work and to me this book is both sweeping and, despite or because of the intensity, suprisingly personal.

Tyrone Williams | The Hero Project of the Century | The Backwaters Press | 2010

Unlike a decade ago Williams is not a secret anymore, but he’s still one of those poets I always read no matter what. I’d say I liked this book just a sliver less than On Spec, but it’s still terrific. Compared to On Spec it’s driven a bit more by content than form, but regardless TW is always, to me, most compelling in the way he works with linguistic density, counterpunctuating it with sudden moments of simple anger and direct content. I never thought enjambed aesthetic complexity could come across as so persuasive and natural, but it is here.

More Brent Cunningham here. Back to directory.

Attention Span 2009 – Joseph Mosconi

Dodie Bellamy | Barf Manifesto | Ugly Duckling Presse | 2008

Elisa Gabbert & Kathleen Rooney | That Tiny Insane Voluptuousness | Otoliths | 2008

Tan Lin | Heath: Plagiarism/Outsource | Zasterle Press | 2009

Roland Magazine: Featuring a Guide to POOR. OLD. TIRED. DEAD. HORSE. | Eds. Charlotte Bonham-Carter & Mark Sladen | Institute of Contemporary Arts | 2009

Yedda Morrison | girl scout nation | Displaced Press | 2008

Brad Flis | Peasants | Patrick Lovelace Editions | 2009

Lawrence Giffin | Get The Fuck Back Into That Burning Plane | Ugly Duckling Presse | 2009

Steve Zultanski | This and That Lenin | Bookthug | 2008

K. Lorraine Graham | Terminal Humming | Edge Books | 2009

Ara Shirinyan | Your Country Is Great | Future Poem | 2008

Joseph Mosconi co-edits Area Sneaks.

Attention Span 2009 – Craig Dworkin

Nathan Austin | Survey Says! | Black Maze Books | 2009

All of the answers from a two month stretch of Family Feud game shows, alphabetized by the second letter of each phrase. Survey Says! is the literary version of those vernacular works of obsessive fan collage made popular on YouTube (every curse on the Sopranos; every “what?” from Lost; every “Buffy” from the first season of the eponymous show; et cetera). The next task would be to match Austin’s answers to the appropriate questions in Ron Silliman’s Sunset Debris….

Derek Beaulieu | Local Color | ntamo | 2008

A visual translation of Paul Auster’s 1986 novella Ghosts, in which the characters are named—Reservoir Dog style—by primary colors. Beaulieu has removed Auster’s text, but left a rectangle of the eponymous color wherever the names appear. Each page thus looks like a manic, rigid version of a Hans Hoffmann abstraction, with overlapping monochromes floating on a narrative field. To be read alongside Alison Turnbull’s Spring Snow (London: Bookworks, 2002) and All the Names of In Search of Lost Time (Toronto: Parasitic Ventures, 2007).

Clark Coolidge and Bernadette Mayer | The Cave | Adventures in Poetry | 2008

Long awaited, this publication is like finding an old home movie from the ’70s. Or maybe one of Stan Brakhage’s home movies from the ’70s (well, at least one of Ed Bowes’ films from the period, though they seem to be irretrievably lost). A Rashomon-like account of a trip to Edlon’s Cave near West Stockbridge, Massachusetts in the Fall of 1972, the book is a banter you want to press your ear to: a paratactic battery of deliciously opaque (but always ultimately referential) phrases featuring that prime ’70s mode of dense internal rhymes, hard saxon consonant clusters, and bopped akimbo rhythms. Lots of geology, lots of Wittgenstein, and an unaccountable obsession on everyone’s part with breasts (which may explain the lines “bearer/ dome milks,” from Coolidge’s contemporaneous Space). The work was at one time tentatively titled Clark’s Nipples.

Robert Fitterman and Nayland Blake | The Sun Also Also Rises; My Sun Also Rises; Also Also Also Rises the Sun | No Press | 2009

The first of these three pamphlets extracts all the sentences beginning with the first person singular pronoun from The Sun Also Rises in a grammatical analysis of Hemingway’s masterpiece. The second booklet rewrites those sentences to account for Fitterman’s move to New York in the early 1980s. And Blake’s contribution rounds out the trilogy by reducing Hemingway’s prose to truncated intransitives and catalogues of definite nouns, rewriting the novel in the mode of John Ashbery and Joe Brainard’s Vermont Notebook.

Kenneth Goldsmith | Sports | Make Now | 2008

The final installment in Goldsmith’s New York trilogy, inevitably following Traffic (2007) and Weather (2004) with the logic of an AM news station. Like those other books, the interest here is generated from the distance between the deodorized and totalizing paratexts (a year’s worth of weather reports; a day’s worth of traffic reports; the transcript of the longest baseball game ever broadcast) and the messy specifics of the texts themselves, riddled with inexplicable gaps, lacunae, and aporia. Like the photograph of a Mexico City traffic jam on the cover of Traffic. Or the photo of a basketball game on a book about baseball.

Lawrence Giffin | Get the Fuck Back into That Burning Plane | Ugly Ducking Presse | 2009

Heir apparent to Kevin Davies’s pitch-perfect spin of idiomatic vernacular, critical theory, and a range of references spun between stunned horror and laugh-out-loud humor. “Is this thing on [?]” Giffin asks at the end of the second section. Absofuckinlutely YES.

James Hoff | TOP TEN | No Input Books |2008

Hoff compiled a decade of “Top Ten” columns from Artforum, in full facsimile but with the illustrating images blacked out like funereal Mondrians. The frustrated indexicality recalls Robert Smithson’s nonsites, but the images were never representative to begin with and always pointed more to the magazine’s decorative turn toward a frivolous hatue fashion, obsessed with runway models on aircraft carriers and the design of Prada boutiques. The prose, however, remains some of the decade’s essayistic best. Perfect bathroom reading.

P. Inman | ad finitum | if p then q | 2008

Absolute hardcore. After two decades of carefully reading Inman’s work I still have no idea what he’s doing. But whatever’s going on, it involves a thrilling frisson of microphonemic densities, a radical torque of grammar, and an obdurate materiality whose unassimilability is the test of its politics. I hope I never really figure it out so I can keep re-reading ad (in)finitum.

Dana Teen Lomax | Disclosure | Ubu Editions | 2009

Ihre Papieren, bitte! It has been a long time since poets were expected to be authentic, and the government doesn’t much care either, so long as your papers are genuine. Under the regime of the modern bureaucratic police state, identity is less an essence than a manner of presentation—not self-fashioning, but self-documenting. Here is the documentation, in the most radically confessional work of poetry ever published: parking tickets, loan statements, rejection letters, report cards, lab results, a drivers license, et cetera. Identity, we learn in Disclosure, is always nostalgic: these documents freeze a moment in time—when Lomax was 145lbs, or in sixth period study hall, or placing fourth in the Junior Golf Program or delinquent on her payments—but while those papers remain a fixed part of her permanent record she will continue to change, unstable, mutable, unpredictable. Full disclosure: I know less about my girlfriend of ten years than I do about Dana Teen Lomax, and I’ve never even met her.

Yedda Morrison | Darkness | Little Red Leaves | 2009

The first chapter from an edition of Joseph Conrad’s Heart of Darkness with everything but references to the natural world whited out. Like most works of conceptual writing, the premise at first sounds mechanical, but what counts as “the natural world” is far from self-evident, and opens onto a range of philosophical and ethical questions. A lesser writer would have been paralyzed by indecision, their bottle of correction fluid drying to a brittle pallid skin before the little brush could set to paper (or the photoshop tool mouse to screen, as the case may be).

Vanessa Place | Statement of Fact | unpublished MS | 2009

Just the facts, Ma’am. The only way to be more clever than Kathy Acker, it turns out, is to be less clever. Charles Reznikoff sampled the National Reporter System of appellate decisions for his verse in Testimony; Acker incorporated legal documents from In re van Geldern as part of her modified plagiarism; but Place recognizes that such documents are far more powerful left unedited. And they read, frequently, like the reticent syllogistic prose of Hemingway short stories. Reframed from the public record as literature, the results are emotionally unbearable.

More Craig Dworkin here.

Attention Span 2009 – David Buuck

Rodrigo Toscano | Collapsible Poetics Theater | Fence | 2008

Simply put, one of the most important steps-forward (& outward) in embodied politicized poetics & performance in years.

Bhanu Kapil | Humanimal: a project for future children | Kelsey Street | 2009
Bhanu Kapil | Rabbit Butoh, Bunny Butoh | Trafficker | 2009

Liberatory bio-perversity mediated through colonial memory, metabiology, & interspecies tongue-play.

Yedda Morrison | Girl Scout Nation | Displaced | 2008
Yedda Morrison | Darkness (chapter 1) | little red leaves | 2009

Ecopoetics, appropriation, class politics, & conceptual photography, via uncanny excursions through deforested gurl’hoods & art-choked hearts of darkness; field-guides & escape-routes for the yank-yank crises.

Tan Lin | Heath (plagiarism/outsource) | Zaesterle | 2008
Tan Lin | ambience is a novel with a logo | katalanche | 2008

Fan-chatter, reading-as-scanning, disco as method, celebrity-death as product placement; might just out-Warhol Kenny G. I is a cursor—you’ve been list-served.

al-Husayn ibn Ahmad ibn Khálawayh, trans. David Larsen | Names of the Lion | Atticus Finch | 2009

One of the most compelling translation/research projects I’ve seen in years. Philology as performative scholarship, transduced into a heroic list poem ripe for the growling.

Christina Peri Rossi, trans. Marilyn Buck | State of Exile | City Lights | 2008

Condensed lyrics written in 1972 while on the run into exile from Uruguay, torqued by translator Buck’s own forced-exile as a political prisoner in the federal prison in Dublin, CA.

Dennis Lee | yesno | Anansi | 2007
Dennis Lee | un | Anansi | 2003

Neologisms for neologics, composting pre-necro toxiholic bombbalm into ecopoetic anthropox. My thanks to Christian Bök for the turn-on.

The pamphlet is personal is political:

CA Conrad | (Soma)tic Midge | Faux | 2008
Anne Boyer | Art is War | Mitzvah | 2008
Dodie Bellamy | Barf Manifesto | Ugly Duckling | 2008
Dana Teen Lomax | Disclosure | Dusie | 2009

Fervent & fevered missives for those who think that conceptual writing practices somehow must preclude the embodied heat of class politics.

New Zines!

Model Homes (eds. Flis & Buck), President’s Choice (Zultanski), With+Stand (Thomas-Glass), Abraham Lincoln (Mohammad & Boyer), Bad Press Serials (Lindsay, Morris, & Stevenson), Fold (Timmons & Apps), Area Sneaks (Mosconi & Gonzalez), Cannot Exist (Gricevich), Try (Brazil & Larsen), ON (Cross, Donovan & Schlesinger), Plantarchy (Katko)…

A wealth of compelling new mags demonstrating once again that the counter-institutional is where the new(s) really happens.

Eve Kosofsky Sedgwick | Touching Feeling: Affect, Pedagogy, Performativity | Duke | 2003

“Paranoia is anticipatory.” RIP, Eve.

—Aug 15 09 : Oakland

More David Buuck here.

Attention Span – Elizabeth Treadwell

Sarah Vap | Dummy Fire | Saturnalia | 2007

“Sitting around in paper gowns, in deep study.”

This book twirls faithfully its own slippy vernac.

Veronica Forrest-Thomson | Collected Poems | Shearsman | 2008

“Folded & re/folded the/map of the/town is pass/ed through/our lives/& hands ac/ross the table.”

A conjure board for the recent nearby.

Kim Hyesoon, trans. Don Mee Choi | Mommy Must Be A Fountain of Feathers | Action | 2008

“she hammers away till the keyboard is bloodied”

“I want to shove a finger into the silence and make it vomit.”

Etel Adnan | In the Heart of the Heart of Another Country | City Lights | 2005

“There should be only one school, the one where you learn the future…without even any students. Located in the guts of the species.”

Ines Hernandez-Avila, ed. | Reading Native American Women: Critical/Creative Representations | Altamira | 2005

“This is not a treaty!”

Myung Mi Kim | Under Flag | Kelsey St | 1991

“These men these women chant and chant”

Rereading in anticipation of her new book Penury. As Sarah Anne Cox said to me recently, “it’s hard to find something that truly moves you.”

Diane Glancy | Pushing the Bear: A Novel of the Trail of Tears | Harcourt Brace | 1996

Rereading. A recent article in the New Yorker, mired per usual in the vast inaccuracy of the ruling class, jokingly compared a boycott of the Beijing Olympics on account of Tibet to a boycott of those in Salt Lake City on account of the Cherokee. I wish more people would read this luminous, frightening, deeply informative book, which to me has an affinity with Toni Morrison’s Beloved.

Christian Wiman, ed. | Poetry: the Translation Issue | Poetry Foundation | April 2008

The first issue I’d read. I liked it.

Alice Notley | In the Pines | Penguin | 2007

Sarah Anne Cox | Truancy | Dusie | 2007

VA | board books, picture books, & chapter books | various | various

I could live without some of the tropes, others I probably could not.

Caroline Bergvall & C.S. Giscombe | Reading at Small Press Traffic | November 2008

I am eagerly awaiting this event.

Yedda Morrison | girl scout nation| Displaced | 2008

“and yet/a doe”

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More Elizabeth Treadwell here.