New reviews of Ana Božičević's Stars of the Night Commute
* at After Ellen: "thought-provoking, inspired and unexpected. Highly recommended."
* at Tower Journal: "On the edge of explosion. . . . an extremely talented and relentless young writer."
* at the University of Arizona's Poetry Center: "Following in O'Hara's footsteps, it challanges us to place the stuff of daily life under the adjective 'poetic.'"
If you haven't already picked up a copy of Stars of the Night Commute, we hope you will. 14$ includes free first-class shipping.
New Reviews at the Tarpaulin Sky reviews blog
Louis Streitmatter's A New Map of America (James Brubaker, Ed., The Cupboard, Vol. 2, 2008) reviewed by Jack Boettcher
Brubaker diverges from the conventions of the fiction-as-scholarship in the book’s subtle, rewarding humor and its rich characterization of Louis Streitmatter, which is intimate even as Brubaker professes greater and greater distance from his acquaintance. We see Streitmatter’s map not as a perfect, chiseled elucidation of the idea—as in the fictions of Borges—but through Streitmatter’s obsessions and oddities as a character, a man “in search of my country.” [Read the full review here.]Timothy David Orme’s Catalogue of Burnt Text (BlazeVOX Books, 2009) reviewed by Jodi Chilson
Timothy David Orme dares us to exist, to become part of the motion, part of the plane his speaker inhabits; he dares us to take up the absence in the work and fill it with the speaker-self and our-self engaged in motion, through the act of reading becoming accomplice to the act of creation. [Read full review here.]Noelle Kocot's Sunny Wednesday (Wave Books, 2009) reviewed by John Findura
Kurt Vonnegut famously wrote in Slaughterhouse-Five, of death, “Everything was beautiful and nothing hurt.” In Noelle Kocot’s fourth book of poetry, Sunny Wednesday, that sentiment is only partly true: everything here hurts. [Read the full review here.]
TSky Press author Joyelle McSweeney on The “Future” of “Poetry” from her talk at the Minnesota Book Festival. Excerpt below. Read the rest here.
The future of poetry is the present, and it has already arrived. The present tense rejects the future. It generates, but it generates excess without the ordering structures of lineage. It subsumes and consumes pasts into its present , erasing their priority. It’s self-defeating; its rejection of survival into a future may be infanticidal.. Without a concern with past or future it necessarily negates many of the values which come with Western literary tradition, including stability, well-craftedness, elegance, restraint, timelessness, humanism. It is concerned with the media through which it moves, flimsy concerns and flimsy conceits, superficiality, errata and (likely) ephemera, flexibility, instability, unevenness, but it also partakes of a non-productive productivity typified by bombast, excess and overproduction. This art often involves failure and ‘bad fits’—the ‘bad fit’ of one genre into another, the bad fit of one media into another. Its modality is violence, frequently a self-violence against the text itself, so that text is something that explodes, exhausts, breaks down, flounces around, eats and/or shits itself, is difficult to study or call a text at all.
Forthcoming TSky Press author Johannes Göransson is interviewed at eXchanges--"An alternately illuminating and awkward conversation"--regarding translation, or, more specifically, "Closeness and Distance in Translation | Dada and Capitalism | Everyone Forgets Lawrence Venuti’s Critical Terminology | Translations Ghettoized as the Foreign | Pilot and Bilingualism | Get Rid of the Native Speaker | Future of Poetry Translation in America | The Internet as a Myth of a Neutral Space | Homophonic Translations: America Looks at the Foreign through a Mirror? | Foreignization Is a Kind of Domestication." Read an excerpt below. Read the entire interview here.
Part of the problem with a lot of translation is that the way they are packaged has sort of ghettoized them as the foreign text. And we go to them out of some kind of ethical duty to engage with the foreign and widen our horizons and learn more about foreign cultures. I didn’t want Remainland to be that kind of book at all. I wanted that book to be a book of poetry that was from a foreign country that would interest Americans, people I knew in America, as a book of poems—that would not be bracketed as the foreign text. To me, Aase is a great poet and in some ways, a major European poet. I didn’t want to bracket it off too much so that this European poet would be read when we wanted to take some medicine or something like that.
Recently Received at TSky Press
Macgregor Card, Duties of an English Foreign Secretary, Winner of the 2009 Fence Modern Poets Series (Fence Books, 2009)
Douglas Kearney, The Black Automaton, Winner of the National Poetry Series (Fence Books, 2009)
Brian Evenson, Baby Leg (limited hardcover edition, Tyrant Books, 2009)
Catherine Wagner, My New Job (Fence Books, 2009)
James Westwater, Blue Boy and Pinkie, Together Again (self-published, 2009)
& from New Zealand, coming live to New York to melt your freakin head, White Fungus:
White Fungus is set to launch its 11th issue at P.P.O.W in New York on Thursday, January 14 with a night of performances as part of the gallery's Hostess Project series of events.
Kick-starting at 7pm, the event will feature:
Our Love Will Destroy the World (Campbell Kneale)
Millions (David Suss)
If, Bwana (Al Margolis) with Tom Hamilton, Jacqueline Martelle and live video by Katherine
511 West 25th Street, Room 301
(at 10th Avenue)
New York, NY
White Fungus issue 11 is the first to be produced in the formerly Wellington-based publication's new home, Taichung City, Taiwan. The new issue comes with a CD compilation of artists off New York record label Pogus Productions. It includes articles on Miya Masaoka, Hijokaidan and experimental and non-academic music in Beijing. It features interviews with David Watson, Taiwan artist Isa Ho, Robert Voicey of Vox Novus and New Zealand curator Laura Preston; articles on artists Don Driver (Auckland), Jonathan Terranova (New York) and a critical look a Post-colonial and Oceanic art by Rudolph Hudsucker; art works by Yao Jui-Chung, Dan Arps, Su Hui-yu and Chung Shih-shun; poetry by McArthur Gunter and Peggy Chang; part three of Juan Santos' series Capitalism at the Expense of All Life, an article by Jane Janesly on New Zealand's Neo Liberal economic reforms of the 1980s, a reflection by Tao Wells on the letter-writing of Lazlo Toth, a review of The Coming Insurrection by Harold Grieves, and a 20-page black & white comic adaptation of The Mysterious Case of Dr. Jekyll & Mr. Hyde by Tim Bollinger.
Pogus CD compilation is compiled by Al Margolis and features artists: Ellen Band & David Lee Myers, Annea Lockwood, Noah Creshevsky, Anla Courtis, Big City Orchestra, Chris Brown, Jorge Antunes, Nick Didkovsky, Tom Johnson, Beth Anderson, Tom Hamilton/Bruce Eisenbeil, Christian Wolff/Larry Polansky/Chris Mann/Douglas Repetto/Tom Erbe, MartÌn Alejandro Fumarola and If, Bwana.
White Fungus at P.P.O.W is kindly supported by Creative New Zealand.
White Fungus' relocaton to Taiwan is kindly supported by Asia New Zealand Foundation.