KATIE YATES grew up mostly in French West Africa with stints in India and Turkey and now finds herself in New Haven, Connecticut not a bad place to raise children. She has a DA from The University at Albany, an MFA from Naropa University and a BA from Carleton College which simply implies she’s well qualified to converse with a two-year old. She lives with her blended family in a brick house in the suburbs and looks for insight in Buddhist teachings as much as she can. She still considers the Pacific Northwest her home. She is the author of Morning Stories, High Watermark Salo[o]n Volume 3 Number 2. |
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ISBN 978-0-9840285-1-1
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poem for the house | Katie Yates Doorframes and daily “cutting into” breathlessness are the architecture of Katie Yates’ poem for the house. Lyric transport happens. Yates offers mustard balm, a humid room, her hand hesitating longer-than-necessary. These portals open and open then open again. Into what exactly? Human hearts. Unlawful lakes. Rest. Motion is choreographed with mental acuity and earnest generosity. This is a book to read to still oneself. This is a book to read to propel oneself. Yates offers a forgiving dock on which to anchor or launch. With tempered insistence, this poetry binds a child to her parents, a lover to another, danger to song. What accrues is an expansiveness that exceeds any room—a presence. A conference of birds. Hum along. |
KATE SCHAPIRA is the author of three other books of poetry: TOWN (Factory School, Heretical Texts, 2010), The Bounty: Four Addresses (Noemi Press, 2011) and The Soft Place (forthcoming from Horse Less Press in 2012). She's also the author of chapbooks from Flying Guillotine, Horse Less, Cy Gist and Rope-A-Dope Presses, from Portable Press at Yo-Yo Labs, and forthcoming from dancing girl press. She co-curates the Publicly Complex Reading Series in Providence, RI, where she writes, teaches, and works as a Writer in the Schools. |
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ISBN 978-0-9840285-0-4
How We Saved the City | Kate Schapira How We Saved the City examines gentrification, ghosts, and concurrent and successive cities in Kate Schapira’s chosen home of Providence, RI. Through a range of formal strategies and imagined dialogues, these poems raise urgent and timely questions: who decides what a city and its people need? Who has power, in various forms, to make real their versions of the city and themselves? Racketeers, artists, criminals, activists, profiteers and lovers cross and recross, build and rebuild the contested terrain of property, gender, habitation and change. |
FRED MURATORI'S previously published poetry collections are Despite Repeated Warnings (BASFAL Books, 1994) and a chapbook, The Possible (State Street Press, 1988). His poems and prose poems have appeared in The Iowa Review, New American Writing, LIT, Sentence, Boston Review, Poetry, Denver Quarterly, Matrix, and many other journals and anthologies, including The Best American Poetry (Scribners, 1994) and The Best of the Prose Poem (White Pine Press, 2000). A recipient of poetry writing grants from the New York Foundation on the Arts and the Constance H. Saltonstall Foundation, he is a graduate of the Creative Writing Program at Syracuse University, and is currently the Bibliographer for English-Language Literature, Theater, and Film at the Cornell University Library. |
The Spectra |Fred Muratori If what you relish about thought is its heft, velocity, its unpredictability, then Fred Muratori's The Spectra will transport you. Visceral particulars—Batman, buzzsaws, wax-lustered cars, beef, and, yes, even Roy Orbison—propel readers beyond finitude in blunt cascades of 15 lines. Enjambments facilitate speed, precariousness, volatility while asking: "What if everything we think, from first synaptic spark to the last, is one thought, continuously digressive?" Parsed out in 13 syllables per line, life besieges readers as Muratori charts the source of the unsayable. Locomotion and elocution bring us to life's brim, to the subliminal spectra therein. One could cite Kant, Leibnitz and Wittgenstein to explain how Muratori twists conventional notions of meaning formation. The poet himself tips his hat to Wallace Stevens and others who fall into consciousness—Dupin, Bronk, Dahlberg, and Zukofsky. The Spectra's thoughts-about-thought clang and balk, surprising us all. |
DEBORAH POE is the author of Elements, Our Parenthetical Ontology (CustomWords 2008) and several chapbooks--most recently The Sensual Infrastructure (also published with Stockport Flats Press in 2006). Her writing has recently appeared in journals such as Colorado Review, Sidebrow, Ploughshares, Filter Literary Journal, Denver Quarterly and Copper Nickel as well as in the anthologies A Sing Economy (Flim Forum 2008) and Fingernails Across the Chalkboard: Poetry and Prose on HIV/AIDS From the Black Diaspora (Third World Press 2007). Deborah is assistant professor of English at Pace University and fiction editor of the international online journal of the arts, Drunken Boat. For more about her, visit www.deborahpoe.com. |
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Elements |Deborah Poe Deborah Poe's Elements lyrically enacts structures and histories of 39 elements. Poe's experimental tactics bring "Phosphorus (P)" and "Calcium (C)" alive with the rigor of a scholar and the precision of a musician. Her visual play is as captivating as the politics of extraction she examines. We meet newborns, labor leaders, lovers and scientists. Poe satisfies our need for story, for discovery, for protest. We also encounter linguistic spaces which thwart narrative expectations: information is presented fragmentarily, out of order or elided completely. Through poems such as "Potassium (K)," "Titanium (Ti)," and "Ununtrium (Uut)," the language of science collides with the language of art, and we watch a literary "between space" emerge: earthquake syntax of / language and the mind" merge in "thought-flock constellations." We experience hypnosis in the nerve net // hybridization / a closer experience / with the geological body. A continual catalyst between worlds, Poe's poems push beyond the materials and materiality that initiate them. |
BELLE GIRONDA’S poems have appeared recently in Crayon, Confrontation and CRIT Journal. She is the author of two chapbooks: Start Here from St. Andrews Press andVolume 1 Number 4 with the artist Sheila Goloborotko in the High Watermark Salo[o]n Series, from Stockport Flats Press. She worked as an art critic for several years before attending graduate school and was among the editors who transformed The Little Magazine from a print to an electronic journal, one of the first of its kind. Gironda sometimes plays with video and performance, and currently teaches writing in Cairo, Egypt. As Buiding Codes when to press, she enjoyed a month’s residency at Takt Kunstprojektraum in Berlin, Germany. |
Building Codes |Belle Gironda Belle Gironda's poems mediate between domestic and public space, using the discourse of architecture and dramas of the dispossessed. She structures each poem anew to test the tensile strength of poetic tropes. In one, you hang by a finger on Bishop's Terrace in Yosemite; in the next, you circle The Mother of Orchards (Umm Al-Basatin) in Baghdad. Gironda navigates borders, recording language's obligations to material conditions. The book's orgasms are triggered by familiar ghosts: Frank Lloyd Wright, Michel Foucault, Ruskin and Byron. But those who haunt us are lesser known folks: Shameeka Johnson-Dixon, Cat Gironda, Robert Harbison or Farley Granger. The book moves us from "Plans" to "Structures" to "Dwellers"; we end in "Occupation." Through out the journey, "pure light" marks world's edges in "quick cuts like breaking glass-> rational space." We appreciate the risks Gironda takes in cultivating empathy. |
MATTHEW KLANE is co-editor at Flim Forum Press (flimforum.com). His latest chapbooks include: The- Associated Press, Sorrow Songs, and Friend Delighting the Eloquent. Other work can be found in: wordfor/word, Plantarchy, and string of small machines. Also see: The Meister-Reich Experiments, a hypertext, at housepress.org. He currently lives in Iowa City where is is working on a MFA at the Iowa Writers' Worksop. |
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ISBN 978-0-9819267-2-8
B_____ Meditations [1-52] |Matthew Klane Matthew Klane's daily meditations on being and the body politic evolve from Plato's "divided line" into a rotating T-square that boomerangs beyond Darwin, beats around Bush then heads back to Whitman. These experiments ponder geopolitics and the U.S. electorate. In a grand bow to Whitman, Klane's first section, Specimen Days, borrows edicts and shapes them into spatial sonnets. In re Republic, poems bifurcate into two columns. In a bipartisan act, readers read vertically and horizontally as Klane indicts pitfalls of political process and delights in human resilience. Haiku arranged in quadrants form |