Poetry. Lily Ladewig's THE SILHOUETTES explores autonomy, bodies, femininity, romance and vulnerability with humor and an acute sensitivity to a world constructed by image and text. In the world of THE SILHOUETTES, Ladewig questions the value of high fashion and culture while simultaneously indulging in it: French vacations, Perrier, and periwigs, are met equally with anxiety and desire. It invites you to be fancy, flirtatious, and fragmented.

The Silhouettes

Literature & Fiction

Ladewig, Lily

Poetry

SpringGun Press

Poetry. Flash Fiction. Adam Peterson's THE FLASHER explores the oddity and myth of being an individual in sixty cross genre micro-narratives. The flasher character is a product of his own sensitive disposition—his desire for connection, his fear of abandonment, nudity and isolation. He projects these anxieties onto a woman baker in dramatic fashion.

The Flasher

Peterson, Adam

Poetry. Joe Hall and Chad Hardy's THE CONTAINER STORE explores the construction, implementation, and erosion of economic and social authority, commodity, and corporeality. As both found and original language moves from domestic space to city, office-scape, and borderland (economic, political, bodily), it examines the (lack of) agency that the individual has in a world flooded with borders, bodies, commodities, contracts, and fragment. The work that Hall and Hardy undertake here is reminiscent of 20th century experimental movements such as Situationism, Futurism, and Dada, as well as 21st century net art like that of Young-Hae Chang Heavy Industries. It is a mash up of high art and the profane, a typographical assault. The book itself is an enactment of the very spectacle that it reveals.

The Container Store

Hall, Joe

Hardy, Chad

Poetry. Michael Flatt's ABSENT RECEIVER is a love poem of physicality and distance, music and musicality, reverberations and delays. In Flatt's formally adventurous fragments, memory competes with resignation, false memories are invented, and language is re-purposed to sometimes humorous, sometimes withering ends. Popular music, professional hockey, and French surrealism are given equal consideration by this speaker, but above all there is the hope that you are outside the car, that "you [will pull] me back into the snow." "Sparking with desire, anger, wit, and intelligence, this brilliant book refuses to still. Lines ricochet back and forth across the pa&ge; this is 'the dialogue of the mind with itself' amped up, charged and singing. Flatt's voice is terrifically awake to the subtleties of emotion without ever becoming solipsistic. Rather, longing is constantly refracted against precisely rendered details of the world out there: the 'swing of the red sun burning,' the fallen tree a 'pitchfork bouquet.' Street, barroom, bedroom: all brilliantly observed, transformed into lines thrillingly alive. With an ironically tinted audacity that reminds me of Apollinaire or Schuyler, Flatt makes Eros a way of seeing, a reason to write."&mdash;Julie Carr "I read this book TWICE IN ONE SITTING, and will do so again!! If signals were sent from a large melancholy dial, Michael Flatt has the code broken. It only appears melancholy, a note reverberating along goose bumps of the future not being the future we once thought it to be. Levels of cool air across open fields share space with mouths of mic and speaker, one breathing in, the other out. It's a sensational way to the poems Michael Flatt has for us, dressed up to dress us all down. You want to record them to play them backwards for the uncolonization of where the mind mistakenly thinks it's encircling the lines. GRAB this experience of poetry!!"&mdash;CAConrad

Absent Receiver

Flatt, Michael

Poetry. "Strickland's lyric poetry reads the entire gamut of knowledge—'from sails to satellites' and from shadows and spectres to spectral analysis—through the figure of Simone Weil, for whom knowledge of the spirit was to be attained by lived proof. Imagine this, and you will appreciate how a lyric poetry of such ethereal embodiment can be made to scintillate through hypertext, linked to lines of flight and seeming fantasy. Yet the really good news is that Strickland puts the lyric poem to the test as if, quite as much as music, it were the very instrumentality of a quickening mind."—Marjorie Welish  "In V the poetics of Wittgenstein and Weil—quotidian, notational, mathematical, emotional—are revisited and re-formed. They are, in a word, saved. This is a truly modern book, a guide to the noetic spheres where we are obliged by history, science and heart to go. It is a thrilling work that is above all useful."—Fanny Howe "Stephanie Strickland is one of a handful of outstanding writers working to forge poetic forms at the intersection of technological innovation and the tradition of experimental writing. V is a networked artifact. As a double work, the book contrasts its own internal forms, its winged halves converging on a pivot / hinge from which it leaps toward the constellations of its Web extension. Product of an intellectual imagination similar to Simone Weil's, this poem is radical in integrating new technology, not as a novelty or special effect, but as a way of thinking."—Johanna Drucker "Stephanie Strickland's V is an experimental, philosophical poem, in part a mystical meditation on mathematics, in part a love poem to non-existence. Strickland uses a transgressive style of sentence and syntax and numbering to cross epistemological boundaries and to question worship of the ideal, while offering new beauty in its stead."—Brenda Hillman

V : WaveTercets / Losing L'una

Strickland, Stephanie

Fiction. Native American Studies. Stephen Graham Jones' first collection of flash fiction, STATES OF GRACE, is aptly named: these stories balance drama, play, and puissance, like forty-nine high-wire feats. While some stories arc through the briefest moments and interstices, others seem to examine an entire lifetime in a page. There are alcoholic fathers, definitions of infidelity, conversations in the middle of the ocean, murder, plotting murder, polite murder, shooting fish in a barrel, sons, and daughters. Never predictable, from the real to the surreal; there's no knowing what to expect from an attempt at a state of grace.

States of Grace

Jones, Stephen Graham

Poetry. Art. Collaboration. An unlikely marriage of print and digital, BETWEEN PAGE AND SCREEN chronicles a love affair between two characters, P and S. The book has no words, only inscrutable black and white geometric patterns that, when coupled with a webcam, conjure the written word. Reflected on screen, the reader sees him or herself with open book in hand, language springing alive and shape- shifting with each turn of the page. The story unfolds through a playful and cryptic exchange of letters between P and S as they struggle to define their relationship. Rich with innuendo, anagrams, etymological and sonic affinities between words, BETWEEN PAGE AND SCREEN revels in language and the act of reading.

Between Page and Screen

Borsuk, Amaranth

Bouse, Brad

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