People are moving effectual distance Inhabiting self owns nothing’s purpose—sound’s hearing Allays death’s headache. Night consumes all men. Trajectory’s belief Rises in Xiasm unseen becoming Ear-infected lessening toward banners unfurled Preteritic loss. Traces have moved marking nothing, saving Learning’s expensive habit untold, thus We are vitalic relation omni-presentable! Sound’s straitjacket whited offense Nothing’s bark won’t give death’s grip. We move through Opposing justice Thus find a wood nothing composes, for instance A bench. Nations over matter descended to view Then shrugged proposal by smashing its atom. History’s trace begs forgiveness Calling all sound’s dupeable Doable tyrannosaurus.

Root-Cellar to Riverine

Literature & Fiction

Thilleman, Tod

Poetry

Meeting Eyes Bindery

The New Frequency

Ma'arri

A World of Nothing But Nations

Hive Press

On the banks of Gowanus Canal, a fetid stream in a squalid Brooklyn neighborhood, Hans Knudsen, son of a liberal Lutheran minister, seeks among the warring pressures of consubstantiation, transsubstantiation, and no-substantiation, the old world and the new-new world, the ideal and the real, the Cogito and the un-self, Martin Luther and Descartes, the abstract and the concrete, for a way into modern, post-religious culture, hope, and life.

Gowanus Canal, Hans Knudsen

Humor & Entertainment

Humor

Spuyten Duyvil

No single note can contain or describe this work, nor is there a quiet sameness which will lull one beyond question. Instead there is a composed concentration in the center of calamitous movement—movement which embodies inquiry, which listens as a means of locomotion, transferring setting to sound, venturing out along many circumstances. Laynie Browne, from the introduction Tod Thilleman began to attract attention with his sequence collection Wave-Run and has continued to mine secrets and depths inherent in language, but often ignored. The magic of words—that they have lives of their own beyond their obvious power to communicate information .... Between continues that process, informed by his conductus, the Daemon. It is a great privilege to have been allowed to follow the quest. Theodore Enslin Zukofsky tells us that those without greek can still pick up the sound of the sea— and know that it is the sea—from hearing Homer’s language. Those who sound the language of Tod Thilleman’s Wave-Run may at first feel submerged in a foreign language only to arrive at a later—and deeper, more alive—realization of English and of a different sea. “Cupped, cupped coiling wave contains/somewhere line’s form’s language.” The same is true vice versa. John Taggart

Three Mouths

The Author shows, thru the sectional and serial and a-periodic poetry of Three Sea Monsters—as well as his conjuration of history in the succeeding notes—that modernist themes provide the source-ground for our present disengaged appearance. It is into this fissure all acts, real or imagined, have fallen. “One aspect of the monster concept,” observes Stephen T. Asma in his book On Monsters: An Unnatural History Of Our Worst Fears, “seems to be the breakdown of intelligibility. An action or a thing is monstrous when it can’t be processed by our rationality, and also when we cannot readily relate to the emotional range involved.”   John Olson at Tillalala Blogspot

Three Sea Monsters: Our History of Whose Image

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Books by Thilleman, Tod