Radios by Danny Snelson

Radios uses every word and punctuation mark in Ronald Johnson’s Radi Os (1977) in the endeavor to recompose John Milton’s Paradise Lost (1674). Wherever he composed the holes, I filled them in. ‘Nothing is erased, everything is lost.’”

– Danny Snelson

Danny Snelson knows of man’s first attenuation, that erasure bears non-erasure, re-erasure, unerasure, the un-whitening by a half tone, and the refillable cartridge. Such cartridge mecanique is destined by providence for serial insertion in any mechanism, from radi os “syntactic static” to radios sweet saccharine transmission and the fruit of that first orbital taste. Turn down the dial OS muse, oh solar o, o attenuation.
– Tan Lin

Danny Snelson continues to amaze me with his unprecedented ability to cut to the heart of a genre or practice — whether it’s “conceptual writing” or the epic catalogue or the archival impulse or (in this case) the ubiquitous “erasure poem.” In the process, Snelson makes major statements with his very first forays, and his interventions simultaneously critique, revitalize, and render obsolete the mode in question with a single stroke. He is a poet of apotheosis. Radios, moreover, is enticingly readable on its own terms — though those terms are themselves self-reflexively historical in their dialectic between Milton and Johnson, presence and absence, memory and speculation, parody and pastiche. Plus, if you miss the old Hanuman books that Raymond Foye and Francesco Clemente used to issue from the Chelsea Hotel in the ’80s, you’ll be delighted with the format and design.
– Craig Dworkin

2016 | $14

Far Rainbow by Ed Steck

Steck’s “wild lit up cocoon” of a poem cruises interior expanses of “this geo-asshole world.” I is always a profligate brood of aliens sailing forth on a data sea, synthesizing feeling in the poem-chamber’s triangulated infinities. Like the best sci-fi, Far Rainbow cuts right to the quick of our broke-down sense-making apparatuses, scouring the deft pockets and knock-off truth markets of “clicking rhetorical innovation” to reconstitute our daily dystopia with rare elegance, buoyancy, and clarity.

– Daniel Owen

Limited Edition | 2016 | $12

Names Disguised by Betsy Fagin

I’ve been in love with Betsy Fagin’s poetry for years. I’d hear her read, or see some of her poems here & there, & think on each occasions ‘Woah Besty is the BEST!’. Why isn’t there more of her writing to read, everywhere? It’s what I want, what I need to read, every time I turn around.’ Because for me this is the poetry that I not only admire but that I desperately believe in. Reading this book was like watching a talisman I’d been forever in need of materialize the gradual & granular concatenation of a contraband poetics where exodus alights on the limns of elision & with & contesting absolutely, privation’s wreckage, ie the present state of things. So these poems are composed & composing by way of intellect, urgency & music. I guess that’s why it feels like the talisman I’ve so long been in word, it’s like a truly public world in realization of itself, held out in the open, wounded & completely undeterred.

—Dana Ward

 | 2014 | $14 | 

23 Women to Kiss Before You Die by Diana Hamilton

“There are also men in the world,” Lydia Davis writes: “Sometimes we forget, and think there are only women—endless hills and plains of unresisting women.” Diana Hamilton’s Make Now chapbook, 23 Women to Kiss Before You Die (Make Now Press), agrees with Davis. The book is a collection of four poems about consent, female sexuality, and the quotidian. Hamilton’s first book, Okay, Okay (Truck Books 2012) dealt primarily with women crying at work, and two other chapbooks came out in 2014: 1. Universe (Ugly Duckling Presse), a long poem about examples in moral philosophy, and 2. Some Shit Advice (The Physiocrats), in which the speaker provides advice about shitting.

Limited Edition | 2014 | $9.00