Poetry. "It is a rare book that makes us constantly ask how the author achieved such beauty, complexity, clarity. GIRL SCOUT NATION is one of those, its wide lines barreling across the landscape of the page, covering amazing swaths of time, myth, devastation, sensuality, in gorgeous pointed material utterances; or suddenly pulling the reader up in short musical stops, botanical lists, girl scout ditties, surveillance techniques. There is rage, here, the body where it meets the staggering earth, contained in the tiny catapulting figure of Scout, herself contained by the entire rage of the planet; and this rage is the more effective for being 'the deep glowing red inside the barrel,' for being nowhere and everywhere, for being a girl, 'just a girl there/daddy.' Both primal and urbane, GIRL SCOUT NATION is rich hard realism on its way to Disney upside down. After CROP Yedda Morrison has done it again: I love this book"--Gail Scott.

Girl Scout Nation

Literature & Fiction

Morrison, Yedda

Literary

Displaced Press

Poetry. Translated from the Swedish by Johannes Göransson. "If Vicente Huidobro met Georges Bataille on a Waste Management® truck, the result might be something akin to Johan Jönson's COLLOBERT ORBITAL, the new manifesto of 'the waste-disposal-working-class.' At times soaring across 'aerospatiality,' at others existentially grounded in 'an overheated world factory' of 'all work, all healthcare, all logistics,' Jönson's linguistic propulsions and dynamic formal innovations challenge 'a victorious bourgeois poetry order' to, once again, rearticulate verse experimentation to the politics and poetics of working a day job."—Mark Novak

Collobert Orbital

Jonson, Johan

Poetry

Poetry. "SNOW SENSITIVE SKIN is our most comprehensive document of poetics and poetry on both the 'state' and the coming-into-event of wartime since Ground Work and Trilogy, which is to say it resurrects the necessarily incomplete project of Leaves of Grass. Herein is the residue and legacy of Calamus, Drum-Taps, Driftwood, Songs of Parting and more. Herein is Halpern and Brady at their finest analytical, ethical and aesthetic pitch"—Tyrone Williams.

Snow Sensitive Skin

Halpern, Rob

Brady, Taylor

<p>Poetry. In this brilliant meditation on urban space and our place(s) within it, Samantha Giles confronts head on the question of 'what is to be done?" "Start with a circle or something like it. Fear maybe. Circle as a symbol for the whole." Through a shifting, multilayered account structured around the 148 murders that occurred in Oakland in 2006, Giles takes us deep into the core of a set of urban contradictions and the subjectivities produced by them and begins the necessary work of asking where we might start to find a somewhere else. "A gall is a symbol. A tricky agreement with allegory. The gall operates as a symbol to the plant. Is this text a plant or a gall?"</p>

Hurdis Addo

Giles, Samantha

Poetry. "The Persians, an ancient play by Aeschylus, shows the Persian court during the time of the war between the Persians and the Greeks. It depicts the Persians learning of their massive defeat at the hands of the Greek army. I believed that the text which proceeded from my body should report on my total experience of reading The Persians by Aeschylus, not simply report on the 'meanings' of the 'words' of that work. This was an obviously impossible project. To help myself out, I tried to include many collaborators to intervene in the translation, especially including Edward Said, Jane Austen, Walter Benjamin, my Arabic class, the Clash, e-mail correspondence with a translator recruiter from the U.S. Army, and Rumi; also all the things I ate and drank and wore and said and did are in the translation; and most especially I tried to pay attention to the terrific war and the terrific language that the war made that completely infiltrated all of my food and beverages and clothes and words and actions, and I let that get in the way of the translation too. In this way, THE PERSIANS BY AESCHYLUS transmits numerous reports: a report of a reading, a toxological report of the reading and the writing; those latencies did not lie down"—Brandon Brown.

The Persians by Aeschylus

Brown, Brandon

Poetry. "The book I have in mind is a kind of model for forms of attention and exchange (i.e., distribution) that already exist and which can be dramatized and focused through a book's form (something book artists have been aware of for a long time now, but which has also been a part of our Modernist heritage since the mid-twentieth century, if not from the very 'beginning'—think of certain movements of Zukofsky's "A" for example or Williams's Paterson). The book as a site for our sociality, our socialism. The book as a site for the examination of complicity, process, exchange. The book as a place where communal issues become shaped and reshaped. The book as a powerful circuit of mutual regard, conviction, and care. The book as a model of radical and extensive participation. The book as..."—Thom Donovan.

The Hole

Donovan, Thom

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