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Latest Things

  • My talk from the panel “Futures of Electronic Literature,” presented at the 2012 Electronic Literature Organization Conference, at the Electronic Book Review.
  • New poems at Berfrois.
  • The Familiar Spirit, the libretto I wrote for a collaboration with composed Isaac Schankler, is in the latest Witness.
  • A short interview with Gary Barwin in Jacket2
  • Selections from Abra with Kate Durbin in the new 1913: A Journal of Forms
  • An interview about contemporary poetry for the European Poetry Forum, created by Zuzana Husarova and Martin Solotruk
  • Two poems in the anthology The Dark Would, a visual poetry collection in 2 volumes, one print, one kindle. Kindly reviewed by Eric Schmaltz for Lemonhound.
  • “Shifting Shapes,” A review-in-poems-and-pamphlets of Seattle Art Museum’s exhibition Future Beauty: 40 Years of Japanese Fashion at Big, Red, and Shiny (August 2013)
  • “Our Mistress of Lit Crescendos…” a collaborative manifesto with Kate Durbin, in The Collagist issue 48, as part of a special section curated by Virginia Konchan, “MONSTERS AND MODERNISM: RECLAIMING CREATION MYTHS, IN TEXT, IMAGE, SOUND”
  • Selections from As We Know, in collaboration with Andy Fitch, in Matter 2 (May 2013)
  • Selected notebook pages in Pocket Tones 2 (May 2013)
  • Selections from As We Know, in collaboration with Andy Fitch, in Dusie, special “materiality” issue curated by Feliz Lucia Molina (April 2013)
  • Selections from As We Know, in collaboration with Andy Fitch, in Evening Will Come: the Erasure Issue (April 2013)
  • “Dear Drawn,” Poetry Flash (April 2013).
  • “BE TWEE WEE PAGE,” an outtake from Between Page and Screen, Cordite Review (March 2013).
  • Selections from Abra, a collaboration with Kate Durbin, in Peep/Show (Feb. 2013).

Book

Handiwork

Slope Editions (March 2012)

Handiwork explores the relationship between writing and torture—the ways poetry can wound us, and the ways it wrestles with language itself. Combining constraint-based writing with fragmented lyricism, the book considers the social and cultural role of the writer with respect to history and memory, and what gets lost in the transmission of trauma from one generation to the next.

“A New Vessel,” one of the poems from the manuscript, was selected by Ilya Kaminsky as winner of the 2011 Gulf Coast Prize. It appears online. Other poems from Handiwork are online at The Society for Curious Thought and The Destroyer, as well as Cutbank.

Reviews:

Between Page and Screen

Siglio Press (April, 2012)

In collaboration with programmer Brad Bouse

Between Page and Screen is a book of poems that contains no text, only stark black-and-white geometric shapes and a web address leading to betweenpageandscreen.com, where the reader follows instructions to display the book on his or her webcam. Our software detects the square markers in the book and projects poems mapped to the surface of the page. Because the animations move with the book, they appear to inhabit “real” three-dimensional space—a kind of digital pop-up book.

The poems—a series of cryptic letters between P and S, two lovers struggling to define the bounds of their relationship, do not exist on either page or screen, but in the augmented space between them opened up by the reader.

Originally created as a limited-edition hand-made artist’s book, Between Page and Screen, is now available from Siglio Press (25% discount with code SPINTO), Amazon, and through DAP. For more information, visit www.betweenpageandscreen.com.

Reviews:

Chapbook

Tonal Saw

Chapbook (The Song Cave, 2010)

This chapbook-length poem in thirty parts uses language from a religious tract that was left on my doorstep ten years ago. Vertical slashes score the source text, sawing through the language of religious fervor to write a religion of poetry that worships language itself.

Poems

Additional recent poems can be found in print in FIELD, Denver Quarterly, and Colorado Review.

Essays

“Artists’ Books in the Age of Digital Publishing.” Commentary, Jacket2 (August 2013 – present).

Rebooking the Mix.” Guest Post, Remixthebook.com, April 2012.

“The Upright Script: Words in Space and on the Page.” Journal of Electronic Publishing, special issue, Digital Poetry (2011).

“Transverting the Bestiary: Translating Paul Braffort’s Mes Hypertropes.” With Gabriela Jauregui. Aufgabe 10 (2011): 262-265.

“‘There Have Been Pictures Here’: Spirit Photography and Projective Mediumship in H.D.’s Tribute to Freud.” Journal for Cultural and Religious Theory 10.2 (2010), special issue, H.D. and the Archaeology of Religion: 65-82.

“‘Ma belle machine à écrire:’ Poet and Typewriter in the work of Blaise Cendrars.” Writing Technologies 2.1 (2008): n. pag. (24 pages).

Reviews

“Latasha N. Nevada Diggs’ TWeRK.” The Poetry Project Newsletter (Fall, 2013).

“‘A Single Hurt Color’: K.S. Ernst’s Arrangements.” Evening Will Come [special issue: Women Look at Vispo, ed. Nico Vassilakis], August 2013.

“Terri Witek’s Exit Island.” Lana Turner: A Journal of Poetry and Opinion 6 (2013).

“Up Against the Line: Translating the Silent Image. Virginie Lalucq and Jean-Luc Nancy’s Fortino Sámano, trans. Cynthia Hogue and Sylvain Gallais.” American Letters & Commentary 24 (2013).

“Derek Beaulieu’s Fractal Economies.” Lana Turner: A Journal of Poetry and Opinion 5 (2012). [Reprinted in Galatea Resurrects #20]

“Erica Baum, Dog Ear.” Lana Turner: A Journal of Poetry and Opinion 4 (2011). [Reprinted in Galatea Resurrects #20]

“Robyn Schiff’s Revolver.” Lana Turner: A Journal of Poetry and Opinion 2 (2009): 295-296. [Reprinted in Galatea Resurrects #20]

“Deborah M. Mix, A Vocabulary of Thinking: Gertrude Stein and Contemporary North American Women’s Innovative Writing.” Women’s Studies, 37:6 (2008): 750-754.

Twist of Address by Spencer Selby.” Slope 25 (2008): n. pag. (4 pages).