Carmela Bianca; poems

GIZZI, Michael

Bonewhistle Press

Avis or the Replete Birdman

Burning Deck

Just Like a Real Italian Kid

Biographies & Memoirs

The Figures

Interferon

Literature & Fiction

Poetry

Figures

Rejection

YOUNG, Geoffrey

Poetry. "TOO MUCH JOHNSON is its own one-book genre: a  sub Shakespeare/ sub Dostoevski speedfest peppered with pop nihilist  one-liners that purport to be the inside scoop on the human  condition. It's Shakespeare ravaged by airplane glue; a geek  Dostoevski bebopping the bad bugaloo"--James Ellroy, from the  Introduction. Proceeding on E.M. Cioran's belief that "all inspiration  proceeds from a faculty of exaggeration," Michael Gizzi's new book  pulls taut--nearly to the point of bursting--the sagging borders of  lyric poetry: "Suddenly there was one/ lying on his bum Paris in one/  hand crustaceans in the other/ and glow worms on the swan/ in question  but not a typo but the air/ of a mandarin with three/ pigtails whose  knock knacks/ perform acts no practical object/ would dream of..." ("A  Planetary Drip"). Michael Gizzi is the author, most recently, of  INTERFERON (The Figures) and NO BOTH (Hard Press/ The Figures). He  lives and works in Lenox, Massachusetts. Saddlestapled chapbook.

Too Much Johnson

Poetry. " CONTINENTAL HARMONY takes us out into the street. Where we may hear anything. And all at once. It is the moment when Ives' two marching bands meet. Language both down to earth and way off the ground, a 'natural trance' pitching us across centuries and continents in a 'talking dictionary howl.' It will take your breath away. It will make you laugh. It will make you think about 'the way language uses us.'" -Rosmarie Waldrop

Continental Harmony

Roof Books

Poetry. Having become a close reader of Edmond Jabes, Michael Gizzi calls upon his perception of Egypt as exotic, mysterious, and questions arise. Is it within the notation that meaning transpires? He has sought condensation in exploration.

Gyptian in Hortulus

Paradigm Press

Poetry. Should the two masks that represent Comedy and Tragedy pass through each other (imagine a total eclipse), might not their overlapping intersection be an expression of deadpan? And what about Janus, that janitor in January? Do his back-to-back facial characteristics suggest anything more than the infinite, noncommittal gaze of beginnings and endings? Or does the almost reckless declarativeness of these poems show a mind's weathering both the antic and the intimate, both merriment and distress? Michael Gizzi's previous books include MY TERZA RIMA, CURED IN THE GOING BEBOP, and CONTINENTAL HARMONY, all available from SPD.

New Depths of Deadpan

In the hyperbolic vernacular of the barrrom confessional, Michael Gizzi delivers a full bag of urgent messages, their sources detached from the old, weird America of a not-so-distant past. Impossibly rich, these jam-packed audibles are springed-loaded to jack-knife off the page. No Both is word jazz, coiled, mortal and alive. Kit Robinson

No Both (Lingo Book Series)

Arts & Photography

Hard Press Editions

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Books by GIZZI, Michael