UNDERSCORE by K. S. Ernst & Sheila E. Murphy

UNDERSCORE by K. S. Ernst & Sheila E. Murphy
This is a long-form collaborative visual poem which includes a dialogue between at least 2 voices and one or more crows, on themes of consciousness, time, place, and friendship. As the authors say in their introduction: "The combination psyche of KSEM [Ernst & Murphy] arrows our way in varying geometric / geo-mantric modes that we prepare to depict upon a score what we decidedly hear, alongside emblematic crows that sound themselves and show themselves across the work. They are our center as they anchor narrative and feeling, spanning multisensory tree-staged colorific definitions." 
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"Duchamp's Nude came eddying down the staircase carrying a chessboard & some sort of dictionary. 'Your move,' she said. I started with 'angular.' She won in less than ten moves. Kept on winning. Even when I painted the board red she beat me. It wasn't until I started opening with Smurfs or the sigils of YouTube & Facebook, things she'd never seen before, that I began to be competitive. I finally won when I brought Nelson Mandela forward. That's when Daddy stepped in. I never won again. 'A readymade Mark,' he called me," Mark Young - Conceptual and surrealist visual poetry constructed on chessboard grids by the Australia-based poet and editor of the international journal, Otoliths.

$16, FULL COLOR BOOK, 27 pp.

ISBN 978-1-938521-47-8



TRANSCENDENT TOPOLOGIES: Structuralism and Visual Writing by TOM HIBBARD

Is Structuralism a useful tool for engaging with the new visual poetry? Thomas Hibbard thinks so and this book is the fascinating and thoughtful result. As Jim Leftwich says in his Afterword, thinking about visual poetry is as good a way as any of understanding the world we live in: “Tom Hibbard's book, TRANSCENDENT TOPOLOGIES: STRUCTURALISM AND VISUAL WRITING, is as political as you are. It has no other choice. Read it and take notes (handwritten notes, like James Comey and his associates). Track down the books he writes about. Teach yourself how to do what the authors of those books do . Write essays about their work, about your work, about Tom Hibbard's work, about James Comey's work, Michael Cohen's work. Visual writing is trying to teach us one thing, over and over, in a thousand different ways: we live in a shifting constellation; we must read it and write it that way.”


ISBN 9781938521454




Tres tresss trisss trieesss tril trilssss: Transmutations of César Vallejo, by Jim Letfwich

Tres tresss trisss trieesss tril trilssss: Transmutations of César Vallejo

by Jim Leftwich


Jim Leftwich’s transmutations (not translations) of the poetry of César Vallejo are nothing short of brilliant. They feel more Vallejo in English than any previous translations ever have. Vallejo is certainly, bar none, among the greatest poets of the 20th century. Human, more than immediately human, tortured, both baroque and surreal, and lyrical beyond compare, his poetry defies translation, so difficult does it appear at times. This is especially the case with his early work Trilce (Tres tresss trisss treesss tril trilssss, Leftwich's title has it). Claimed by the surrealists as a master in that genre, Vallejo is that and more than that, opaque as Góngora or bittersweetly acerbic as Lorca, the complexity of his language and imagery find few parallels. Leftwich has created a Vallejo more Vallejo than Vallejo at times. These transmutations have all the speed, energy and enigmatic beauty of the originals on which they are based. - Ivan Argüelles


$11.00 US

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Ivan Argüelles, Lagarto de mi Corazón

y poseemos nomás la mente vacía del horizonte

sílabas pneumáticas! bailadoras go-go!

no me digas nada más porque me faltan orejas

esto aquí es blanco y eso otro es blanco

y puesto en cima del volcán Popocatepetl

el blanco es aún más blanco que blanco

respiración de diez mil elefantes!


El gran vato norteamericano Argüelles aquí nos escribe en una de sus dos lenguas maternas, el español, y es una revelación. - John M. Bennett


Poetry in Spanish / Poesía en español

29 pages


ISBN 978-1-938521-42-3


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