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The Electric Affinities one of 9 Book Forum Highlights From Independent Publishers.


In the December-January issue of Book Forum The Electric Affinities one of 9 Book Forum Highlights From Independent Publishers section, page 51. Hurray and congratulations to Wade Stevenson!


Buy The Electric Affinities here



 Book Information:
· Paperback: 340 pages

· Binding: Perfect-Bound

· Publisher: BlazeVOX [books] 

· ISBN: 978-1-60964-148-1
·  $18



The Electric Affinities by Wade Stevenson Book Preview


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Reviews of Selected Prose of Bobbie Louise Hawkins Edited by Barbara Henning


Here is a fine list of full reviews of Selected Prose of Bobbie Louise Hawkins Edited by Barbara Henning.

 Review by Patrick James Dunagan http://htmlgiant.com/reviews/on-bobbie-louise-hawkins/

Review by John Olson http://talismanarchive.weebly.com/olsonhawkins.html

The Allen Ginsberg Project http://ginsbergblog.blogspot.com/2012/08/the-selected-prose-of-bobbie-louise.html

The Poetry Foundation http://www.poetryfoundation.org/harriet/2012/10/new-poems-from-bobbie-louise-hawkins-are-reviewed-at-htmlgiant/

Lindsey Drager. "The Shape of Our Lacks: Migration as Method in the Work of Bobbie Louise Hawkins". Denver Quarterly http://www.du.edu/denverquarterly/media/documents/474Drager.pdf

Bobbie Louise Hawkins:  //www.bobbielouisehawkins.com http://www.bobbielouisehawkins.com




Selected Prose of Bobbie Louise Hawkins  Edited by Barbara Henning 

 Bobbie Louise Hawkins captures the sound of the human voice on the page with grace and honesty and allegiance to the music of the way people talk, interact, lie to themselves (and others), make speeches, converse. Her (dis)comfort zone is the fine line between past and present, who you want to be and who you are, and she always knows when to stop. Applause to Barbara Henning for gathering these minimalist-epic tales all in one place, a keepsake for the ages.

—Lewis Warsh

When Bobbie Louise Hawkins sets out to tell a story, a spell is cast. The entrancement of her narrative and her vivacity for real people in the quotidian of real human situations is impeccable. What supreme fortune to have her voice among us and to have now available this selected prose of her work. A prose Electric with Life!

—Maureen Owen

Bobbie Louise Hawkins is a remarkable master of the witty understated prose sentence and writes in the lineage of Barbara Pym and Jane Bowles; she is also a fabulous storyteller with a great ear for the "very thing": quip or bon mot. She should be more discovered and read beyond her adoring fans at the Jack Kerouac School of Disembodied Poetics where Bobbie presided as a grande dame teacher and consummate genius performer of her work many years. This collection is a terrific revival!

—Anne Waldman

Bobbie Louise Hawkins has written more than twenty books of fiction, non-fiction, poetry, and performance monologues. She has performed her work at Joseph Papp’s Public Theater, Bottom Line and Folk City in New York City; at The Great American Music Hall and Intersection in San Francisco, as well as reading and performing in Canada, England, Germany, Japan, Holland, and more. In England she worked with Apples and Snakes, read at the Canterbury Festival and the Poetry Society. She was commissioned to write a one-hour play for Public Radio’s “The Listening Ear,” and she has a record, with Rosalie Sorrels and Terry Garthwaite, Live At The Great American Music Hall, available from Flying Fish. She was invited by Anne Waldman and Allen Ginsberg to begin a prose concentration in the writing program at Naropa University where she taught for twenty years.

Barbara Henning is the author of three novels, seven books of poetry, as well as a series of photo-poem pamphlets. Her most recent books are Cities and Memory (Chax Press), Looking Up Harryette Mullen: Interviews on Sleeping with the Dictionary and Other Works (Belladonna Series), Thirty Miles to Rosebud (BlazeVOX) and My Autobiography (United Artists). In the nineties, Barbara was the editor of Long News: In the Short Century. Barbara was born in Detroit and moved to New York City in the early eighties. Professor Emerita at Long Island University, Brooklyn Campus, she continues to teach courses for Naropa University, as well as LIU.

Book Information:

· Paperback: 404 pages

· Binding: Perfect-Bound

· Publisher: BlazeVOX [books] 

· ISBN: 978-1-60964-100-9


Buy it on Amazon here

Selected Prose of Bobbie Louise Hawkins | Edited by Barbara Henning Book Preview

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The Sun & the Moon by Kristina Marie Darling Reviewed


Kristina Marie Darling’s The Sun & the Moon

Kristina Marie Darling’s new poetry collection, The Sun & the Moon, from BlazeVOX [books] is as smooth and well-crafted as the flowers that so often appear in Darling’s poems. The book is separated into four sections: the main narrative, illustrations of various astronomical clocks—probably because of the many stars that appear in the text—erasures of the main narrative, and “Notes and Observations.”   
Though Darling employed many of the same images and techniques as in other books, (such as erasure) The Sun & the Moon was different because there was so much more of a dreamlike narrative bent to the poems than in previous collections such as Fortress or Night Songs. This made for an interesting and welcomed change. I’m glad to see Darling expand her horizons a little. The book tells of a married couple whose house is taken over by “an endless train of ghosts” and burned.
I believe the ghosts represented the couple’s troubled marriage. In fact, the husband does leave the house by the end of the book, leaving the protagonist as the only human occupant in the house. What I found peculiar is that the ghosts and the husband did similar things, such as carry stars around with them. Also, the husband did fantastic, surreal things: “The tablecloth was burning & still you just sat there, stroking that enormous fire.” I wonder if there were such similarities between the man and the ghosts, was the man a ghost too? Is that how the protagonist saw him? As always, provocative questions like these appear in all of Darlings poems.

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Thanksgiving Menu Poem - 2014 is Now Available!


Happy Thanksgiving

13th Annual Thanksgiving Menu Poem is Now Available!

Guest of Honor: You, the BlazeVOX reader






Hello and welcome to the thirteenth incarnation of the Thanksgiving Menu-Poem. This year the guest of honor is you! Yes, you sitting right there reading this, I do mean you. Hip, hip hurray and thank you for your kind support, your wonderful nature, your continued love for poetry, your willingness to open your life to weird little books like the ones we make at BlazeVOX! Even if this is your first time here or this is your thirteenth thanksgiving with us, hurray and thank you for joining in on the fun of a Menu-Poem and I hope you enjoy the celebration. 

Beginning in 2002 with a Menu-Poem to honor Charles Bernstein, I have continued this series of texts using a menu as the basis to honor prominent poets. Being a trained professional chef I wanted to blend my love of food and poetry into a book-length work that would fit within the ideas of Thanksgiving. In a feast of words, I wanted to honor poets who have meant many things to many readers in a form that could be presented to everyone. Over the years we have honored many fine poets, but last year we had a bit of a fiasco, a wonderful poet declined the Menu-Poem for very fine reasons. So to pick things back up, we decided it was best to dedicate this poem to you, the reader, and bring you in on all the fun. Hurray!

I would also like to take this opportunity, on a day of giving thanks, to say a special thank you to everyone who was kind enough to be there for me during this tumultuous year. I had a major health scare over the spring and summer, which you can read about on the BX blog. That is now a thing of the past and I am happy and healthy once again. The outpouring of support was something that made my wife Donna and I feel just grand. So to say ‘Hurray, I am still alive’ and to say thank you all, this Menu-Poem is dedicated to you. 

This Menu-Poem differs just a touch from previous incarnations. In the past, each poem was set next to a course of a large dinner. This would be, for example, the soup course or main course with a line or two of text describing each menu item that would be served to accompany the forthcoming poem. This year, each poem is set next to a Taste Poem. Since some things cannot be spoken, some events surpass what the tool of language is able to provide, some things are just known to each of us on an individual level, these taste poems expound on what cannot be ingested by reading. The instructions are vey simple, to gather up the ingredients and eat them one at a time to enjoy their flavor, texture and sensuousness and then move on to the next item. Work your way through the lot of items and there you have it, a taste poem. Then move on to read the poem that is next to it, they are just poem poems and you are already up to speed on that, so hurray! 

And one last bit of information for you before you begin reading. The cover art is a painting by Donna White. It is a portrait of our dear pumpkin from last year, as he was our 2013 Thanksgiving pumpkin. It was with us for over nine months and stayed around, until he turned to pulp in late August of this year. There is a poem for him in this grouping, which I do hope you enjoy. We do miss him terribly and his silly face. 

Hurray and Happy Thanksgiving 

Rockets, Geoffrey


Thanksgiving 2014 a Menu Poem by Geoffrey Gatza

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A Conversation Between Carrie Olivia Adams & Kristina Marie Darling on The The


The Poem as Archive:
A Conversation Between Carrie Olivia Adams & Kristina Marie Darling



Carrie Olivia Adams lives in Chicago, where she is a book publicist for the University of Chicago Press, the poetry editor for Black Ocean, and a biscuit maker and whiskey drinker. She is the author of Forty-One Jane Doe’s (book and companion DVD, Ahsahta 2013) and Intervening Absence (Ahsahta 2009) as well as the chapbooks Overture in the Key of F (above/ground press 2013) and A Useless Window (Black Ocean 2006).

Kristina Marie Darling is the author of nearly twenty books, which include Melancholia (An Essay) (Ravenna Press, 2012), Petrarchan (BlazeVOX Books, 2013), and Scorched Altar: Selected Poems and Stories 2007-2014 (BlazeVOX Books, forthcoming). Her awards include fellowships from Yaddo, the Ucross Foundation, the Helene Wurlitzer Foundation, and the Hawthornden Castle International Retreat for Writers, as well as grants from the Kittredge Fund and the Elizabeth George Foundation. She was recently selected as a Visiting Artist at the American Academy in Rome.

Carrie Olivia Adams’ first book, Intervening Absence, played with ideas of form. Her second book, Forty-One Jane Doe’s, brought the ideas to praxis: she made films in the hopes of creating immersive companions to the cinematic language of the text.

Throughout, Adams’ work has drawn from the language of mathematics, architecture, medicine, and astrophysics in order to create a hybrid voice—one that troubles the line between observation, objective detail, and the intuition of inference. Her forthcoming book, Operating Theater, moves poems to the stage, creating a poem-cum-play in five acts. 


Kristina Marie Darling: 
I’ve always admired your work as a poet, particularly the ways your book projects engage archival material. Your most recent collection, Forty-One Jane Doe’s, draws from source material that ranges from the scientific to the sublime. As the book unfolds, treatises on mathematics, astronomical diagrams, and scientific discoveries inform the poems as much as the speakers’ emotional topographies. I’m fascinated by this tension between subjectivity and clinical language: rhetoric that strives for objectivity. Your work places seemingly impersonal discourses in conversation with emotion, affect, and sentiment. It’s often the archival material you’re working with that gives rise to this tension between registers, and between different types of language. With that in mind, I’d love to hear more about your process working with archival material. What role do non-poetic texts play in your creative process? What does this archival material, this presence of other voices and types of language, make possible within your work?

Carrie Olivia Adams:  I am one who has a whole list of things she would like to be other than a poet—detective, spy, physicist, astronomer, zoologist, forensic pathologist, diplomat. I have a whole list of things I wish I had studied: fewer books on books and more books on the making of the world around me. I am completely drawn to things I know very little about. Math feels almost exotic. And yet, equations, in their logic and language, are syntax, which is the most familiar. I love to diagram sentences. I’m also someone with a day job. I am not an academic or a professor, but working in university publishing allows me the chance to brush against ideas, to glean new knowledge in tiny pebbles that I stick in my pockets. Many years ago, when I was at the University of Chicago Press, my cubicle was near the offices of journals of astrophysics, and so when it was quiet I would read what I could, pocketing phrases and ideas. 

And so began some of the earliest poems that attempted to incorporate disciplines that were not my own. I wanted very much to get out of my head, out of my very solipsistic skin. And I have often, for reasons both good and very bad, not frequently read a lot of contemporary poetry. Instead, I’ve sunk myself into the very opposite of what I do—indulging in thick, intricate novels and attempting to understand visual perspective through the diction of film angles. I have wanted to write poems that could have dialogues with ideas or modes of expression other than just other poems.

Read the whole interview here

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