Nada Gordon’s Vile Lilt maximizes reader joy. Replete
with a thousand new words, outrageous images and ornamental excess, Vile Lilt tilts at and topples our
literary expectations into a brackish puddle where countless,
unfettered beings enter and engage our bodies and minds. Gagging we sit
up with the realization that we're in the presence of new poetry; Vile Lilt takes the reader
elsewhere.
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Michael Gottlieb’s Dear All strikes a note of change
to both Gottlieb's style and his intentions to change society by
holding up a mirror to it. The resulting social vanitas in Dear All’s short lines make us
think that the world might be different than we think it is. And the
poetry certainly is different than we expect. The sonorous, lexical
intricacy, social indignation and attention to imaginative, formal
detail Dear All presents to
us undresses our intention in the public square.
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In the collaboration, ONE, memories of
a one-legged father and acts of jurisprudence haunt the creature who
writhes and writes from one waking nightmare to another. Poet Vanessa
Place wrote an internal monologue while Blake Butler wrote an external
fact-based work and then Christopher Higgs assembled the two into a
single chimerical text.
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Brandon Brown’s Flowering Mall
transforms Baudelaire to revive what Rob Fitterman calls the "punk
spirit that is French Symbolism." Drifting through the Bay Area with
his friends and lovers, Brown’s boulevardier discovers the hunger of
undead poetry for more scornful representations of our silly human
culture, resurrecting Fleur du Mal only to use it to drive a
stake through the heart of his cravings.
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