Beautiful Rush

Literature & Fiction

Vincenz, Marc

Poetry

Unlikely Books

The painter and poet, in a death-wrestle, try to disentangle their protean identities, or at least to maintain a numerical tally of the limbs, heads, and torsos their shifting persons comprise. As in Family Romance (Jaded Ibis Press), Tom Bradley has accepted the challenge posed by a stack of preexisting art. In this case the ekphrasis is in verse, and the images have sprung from the cranium of David Aronson. Publisher Jonathan Penton says, "This is the most peculiar book of erotica, and the weirdest book of poetry outside of psychoses outright, I've ever seen. This is Bhagavad-Gita porn."

We'll See Who Seduces Whom: a graphic ekphrasis in verse

Bradley, Tom

Oh, for the democratization of poetry! For the populace, for the youth, for the wild boys and girls of every generation! Let us celebrate direct emotion, purity of expression, raw feeling represented with the rawest of words. Let us celebrate New York, with its Beat Generations, its midnight cafés, its solid and sordid history of every type and era of class revolution. And let us not forget the individual artists and activists who spend their lives keeping New York's perpetual revolutions alive. Anne Lombardo Ardolino, known on the Internet (where she manages EastVillagePoetry.com) as Anntelope, embodies this spirit: in her presence, in her life, in her songs and art, and particularly in her poetry. In I Can Sing Fire, her first book, we see what she s been working on for decades: an aesthetic that is base but never banal, crude and sophisticated, and counterculture in a way that embraces the poetic tradition. In short, she's brought us a book which is pure rock 'n' roll. You'll find I Can Sing Fire is an easy read: it slams through you like a concert, leaving you pumped for more art, unable to distinguish words from action. You'll find that you keep returning to it. Despite its immediate clarity, it can't be called simple: there's enough here to pull you back many times over.

I Can Sing Fire

Ardolino, Anne Lombardo

A three-part book of poetry by Michelle Greenblatt, featuring "Streaks of Scarlet: A Story in 100 Parts," "Except for Then," and "The Perpetual Principles of a Dream"

Ashes and Seeds

Greenblatt, Michelle

Anchor What

Frazer, Vernon

As a Registered Nurse, Belinda Subraman has worked in several difficult areas, but from 2001 to 2007 she was working as a hospice nurse. Hospice is the art of preparation, and when Belinda's own father reached his final days in 2008, she took what preparation she had and flew back to Carolina to assist him in his passage. No doubt she was more aware than most of us that no preparation is adequate. Unlikely Books is privileged to present the resulting book of poetry, Blue Rooms, Black Holes, White Lights. It is not an easy book of poetry to read. It is easy enough to understand—though Belinda's extensive poetic education is clear, this is essentially plain-language poetry, written to be accessible by anyone. But Belinda's brutal analysis of her grief brings the reader's own tragedies into sharp definition. The book mercilessly explores the author's most painful memories, and aspires to share the most fundamental aspects of human experience with the reader. It is by turns discomfiting and comforting, in the way that great poetry is meant to be. Blue Rooms, Black Holes, White Lights contains thirty poems by Belinda Subraman and five full-color images by César Ivan. This second edition includes a ten-page afterword from the author, detailing the creation of the book.

Blue Rooms, Black Holes, White Lights

Subraman, Belinda

Read about Tom Bradley's teenage gig performing grotesquely on the harp at a geothermal spa, deep in the savage Utah desert.The place is run by a coven of polygamist Kali-worshipping tantric orgiasts who sell fake Crowley memorabilia to rock star Jimmy Page.

My Hands Were Clean

Genre Fiction

Including the complete collaborative poems of Sheila E. Murphy and the late Michelle Greenblatt; three free-verse poems and 59 American ghazals. With a Foreword by Vincent A. Cellucci.

Ghazals 1-59 and Other Poems

Murphy, Sheila E.

Written in two months in 2005 and originally published in 2006, brain : storm tells the story of a drug-addled love triangle from three different angles: a 100-part poem, a novella, and a collaborative poem between the author and the publisher exploring the creation of the book.

brain : storm

'Thank the gods for poets like Varn who stand undaunted at the prospect of unmasking the “bloodied face of history” as inextricably tied to the most pervasive prophecies of religion—those stories that leave “not a creature…unshivering.” Varn’s Apocalyptics shies from neither grandiosity nor grotesquery, neither high nor low society, for isn’t it precisely the blood—some stranger’s bodily fluid—that is to save? From “dumpster diving,” ghosts take flight. From “rancid butter,” a flock of magpies. Enter this text prepared to rub shoulders with archetypes amidst a house of mirrors in darkness, to open old tomes with your teeth and drool enough to smudge creation. And of all the “thou shalt nots” you can recover from the rubble, only remember one: Do not be afraid.' —Dylan Krieger, author of "Giving Godhead 'While reading the poems in Derick Varn’s Apocalyptics “we mend our own spines,” we experience what is human as being “sore from all the changes.” These poems put flesh and muscle on the spaces of time between, the slippage that makes up, desire and disappointment in human nature. The poems remind the reader, through form and content, that the erosion of time shapes us into who we are, individually and as a culture. Varn cuts away the dead weight in language and experience to give the reader the essential, the existential mortar needed to mend “mal-shaped minds.” The poems Varn has crafted in this book are “thick bread,” oxygen that will turn the knot in a belly “into something akin to a heart” that mends bones of broken men and women. Poetry lovers (new and old) will feast on the breath in these readable, human poems and heal into themselves.' —Rich Murphy, author of "Americana" and "Body Politic" 'When each heartbeat is a floodlight, poems erupt like those in C. Derick Varn’s Apocalyptics. Wittgenstein said, and as used as epigraph to one poem, “You get tragedy where the tree, instead of bending, breaks.” Some of these poems “bend” but some also go all the way to “break.” The results transcend tragedy, though. How can it be otherwise when the results are poems, including some that set “language on fire”—as in “You’re always / claiming the high road as it washes / away.”' —Eileen R. Tabios, author of Murder Death Resurrection

Apocalyptics

Varn, C. Derick

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