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… & I read, enjoyed & kept on the shelves:<\/p>\n
\n[Things accumulate, especially books, & of course the first wish, desire, idea is to write & post a review for each one I like \u2014 but that’s of course a pipe dream, time just isn’t that elastic anymore, if it ever was. Thus the accumulations of titles. Though I’ll try to keep such occasional lists manageable in terms of length and timeliness, I also give myself permission to slip in older books I may have bought, picked up\u00a0 or been given & that I think should be mentioned.]<\/p>\n<\/blockquote>\n
POETRY:<\/span><\/h3>\n
\u2014 Peter Lamborn Wilson, ABECEDARIUM<\/a><\/em>, xexoxial editions, 2010.<\/p>\n
\u2014 Alice Notley, Reason and Other Women<\/a><\/em>, Chax Press, 2010.<\/p>\n
\nmy blurb:<\/p>\n
What have Byzantine art and Christine de Pizan in common? The answer is: Alice Notley\u2019s new work, the book in your hands. For more than thirsty (the typo was not intended, but let stand \u2014 something learned from AN?) years now, about once a year, the new Notley comes out, like a reliable great wine \u2014 though even among those there are good years and then great years. I\u2019d venture that this Notley is a Grand Cru<\/em>, a millesim\u00e9. No need, however, to let it age: drink it now, you can always read it again later \u2014 \u2018tis the advantage of poetry, the bottle never empties.<\/p>\n
This is an immense book, one in which Notley takes language, as she has it, \u201cfrom hearsay to heresy\u201d by the speed and awe of an unwavering attention to the seams, seems and semes of words and sentences. This is the work of an iconoclast, a semioclast, where semantics become seme-antics, and the byz-antics and -antiques from Christianity to Christine are molten down & recast into 21st<\/sup> Century mental shapes in the red-hot heart-red retort of a present day alchemist of mind. Alice Notley has the uncanny ability to go from the everyday mundane to the psycho-cosmic in one warp-speed stutter or typo-graphical stumble, at what Andr\u00e9 Breton called \u201cla vitesse grand V.\u201d This is writing of the highest order.<\/p>\n<\/blockquote>\n
\u2014 George Kalamaras, The Scathering Sound<\/a><\/em>, Anchorite Press, 2009.<\/p>\n
\u2014 Clayton Eshleman, Anticline<\/em><\/a>, Black Widow Press, 2010.<\/p>\n
\u2014 Charles Bernstein, Umbra<\/em><\/a>, Chax press, 2010.<\/p>\n
\u2014 Anne Waldman, Matriot Acts<\/em><\/a>, Chax Press, 2010.<\/p>\n
\u2014 Edward Sanders, Let’s Not Keep Fighting the Trojan War<\/a><\/em>, Coffee House Press, 2009.<\/p>\n
\u2014 Rachel Zolf, Neighbour Procedure<\/a><\/em>, Coach house, 2010.<\/p>\n
\u2014 Gerard Malanga, Thermofax<\/a><\/em>, Feather Press, 2010.<\/p>\n
\u2014 Auxem\u00e9ry, Codex<\/em><\/a>, Flammarion, 2001.<\/p>\n
\u2014 Tahar Ben Jelloun, translated by Cullen Goldblatt, The Rising of the Ashes<\/em><\/a>, City Lights, 2010.<\/p>\n
Justified Margins:<\/span><\/h3>\n
\u2014 Ammiel Alcalay, Islanders<\/em><\/a>, City Lights, 2010.<\/p>\n