A Poetics of the Press illustrates how invaluable firsthand accounts are to historicize a moment and medium.
The poems in Jean Day’s Late Human carry a sense of having arrived at a moment when nothing feels quite right.
“Directing readers to buy their books from Amazon is harmful to the authors, and the publishers, whose work you are trying to support,” reads a letter encouraging independent media resources to use platforms like Bookshop.
Come celebrate the first 25 years of UDP with a benefit party to honor Burning Deck Press and Keith & Rosmarie Waldrop, on Tuesday, March 19 at The Bell House in Brooklyn.
Dermisache’s drawings posture as communication yet undercut it through illegibility.
Soviet-era poet Igor Kholin describes social realities of life among the writers living in cultural exile outside Moscow.
In these enigmatic poems, de la Torre’s mode of direct address seeks to put the reader into a trance.
Already in the three short volumes which Hirato had hoped to publish, but for which he was unable to raise money, we see a growing tendency to break up the language and images, abstracting them into a pulse of pure energy that conveys the meaning rather than simply expressing it.
In all of his poems, you feel Felsenthal finding his way from word to word and from line to line: he is not trying to tell a story or replay an anecdote so much as go where the words and phrases, sounds and meanings, lead him.
“To wear masks put them off,” writes Ruth Greisman, alter-ego of the late artist and writer Robert Seydel. Though based on and named after Seydel’s real-life aunt, Ruth is largely a fictional construct.
On August 30, Brooklyn’s beloved, indie Ugly Duckling Presse is throwing a “Rent Party” — a half-day event consisting of a pre-party, barbecue, and performances by NYC-based DJs, bands, and sound artists.
Russian poet Lev Rubinstein (b. 1947) is generally described as a conceptualist artist, and is associated, as a founding member, with the group called the Moscow Conceptualists.