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Hybrid Hierophanies by Clayton Eshleman Now Available!




Theseus, a tiny male spider, enters a tri-level construction:
look down through the poem, you can see the labyrinth.
Look down through the labyrinth, you can see the spider-centered web.

              Sub-incision                Bud Powell
                              César Vallejo
                                          The bird-headed shaman

These nouns are also nodes in a constellation called
Clayton’s Tjurunga. The struts are threads
in a web. There is life blood flowing through
these threads. Coatlicue flows into Bud Powell,
César Vallejo into sub-incision.

                         The bird-headed shaman
is slanted under a disemboweled bison.
His erection tells me he is in flight. He drops
his bird-headed stick as he penetrates
     bison paradise.

The red sandstone hand lamp
abandoned below this scene
is engraved with vulvate chevrons—did it once flame
     from a primal sub-incision?

This is the oldest part of this tjurunga, its grip.





Clayton Eshleman’s most recently-published books are Clayton Eshleman / The Essential Poetry 1960-2015 (Black Widow Press) and A Sulfur Anthology (Wesleyan University Press). Hybrid Hierophanies will be included in Penetralia to be published by Black Widow Press in 2017.  Eshleman’s website is: www.claytoneshleman.com. Adrienne Rich has stated: “As a poet and translator, Clayton Eshleman has gone more deeply into his art, its processes and demands, than any modern American poet since Robert Duncan and Muriel Rukeyser.” And Robert Kelly has written: “Nobody is like him in his struggle. At times he makes the wildness of most poetry seem merely effete. I know of no poet who has fed so richly from the thingliness of the world beneath his feet, none who so resists the glamour of beliefs. He is a shaman without a single superstition.”




Book Information:


· Paperback: 28 pages

· Binding: Perfect-Bound

· Publisher: BlazeVOX [books] 

· ISBN: 978-1-60964-252-5






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Gargantua by Jennie Cole Now Available!

Rabelais tells how Pantagruel plucked frozen words from the air, which ‘when we had somewhat warm’d them between our Hands, they melted like Snow, and we really heard them’. Jennie Cole thaws out Rabelais’s gargantuan language, takes his ‘odd, quaint, merry and fat words’ and throws them back into the air. In poems whose farce is always proximate to tragedy, she reworks Gargantua’s impresa, itself a satire of Plato’s Symposium, of the lovers as conjoined twins who face not the world but each other. Her text twins with Rabelais’, joining itself in eros and appetite to the original in a play of delight. At the same time, it turns outward to tear that body apart ‘and dance in its square’. These are poems to gnaw on and play with, ‘At the tarots. At the torture. At the click.’

—Andrea Brady, author of Wildfire: A Verse Essay on Obscurity 
and Illumination (Krupskaya, 2010)

GARGANTUA is a poem to read and put aside to read again. an encounter with overlapping narratives at once broken and recurring. exuberant use of language enhances the stride of disrupted syntax with turns of humour, worry, mistake. addresses are to the second person and the first, incomplete or get mislaid, encourage amusement and breath-catch. humanity trapped in a cyber-vice, embedded in rich and confident qualm. this is a rare new book.

—Allen Fisher, author of PLACE (Reality Street, 2005)

Rabelais loved language and its potentialities – and so, too, clearly does Jennie Cole in this exuberant and confident sequence. No ‘carefully ordered work of reference’, GARGANTUA is rather a series of carefully choreographed car crashes, through which various registers are subjected to deformation and, as with Rabelais’s original work, contemporary learning rubs shoulders (and, possibly, more) with the body and its vital and abject fluids. An impressive achievement.

—Robert Hampson, author of Seaport (Shearsman, 2008)

Jennie Cole is a poet and artist who lives and works in London, making poems, books, videos and things-in-between. Her work has recently appeared at/in things like Otoliths, Gray Area, POLYply, E.ratio, MCBA Book Arts Biennial, Exploding Cinema, ArtLacuna Film Festival, Caesura Gallery, Literary Kitchen Festival, Magic Lantern Cinema, Whitebox Art Center, and Amid the Ruins. Jennie is currently undertaking a practice-based doctorate with the Poetics Research Centre at RHUL.

Book Information:

· Paperback: 42 pages

· Binding: Perfect-Bound

· Publisher: BlazeVOX [books] 

· ISBN: 978-1-60964-206-8



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Ubermutter's Death Dance by Laura Hinton Now Available!

Übermütter's Death Dance is a mixed-genre poetry series recounting a mother's experience of an adult child's death. Beginning with reportorial poet's prose, the book dissolves into a series of lyric pieces that incorporate song fragments and scripted movement into written text. Memoir-like surreal prose tales lace together multiple modalities of poetry into a script that creates and re-creates the "Übermütter"—a pluralized figure—into repeating but evolving reconstructions of grieving "selves." These are performance "selves" that appear and reappear, as reflected in the disembodied sightings that also distill this book's deeper exploration of matter through 3-D figuration. Interweaving multicultural historical-spiritual texts with literary and psychological accounts of death and dying, this hybrid poetry work provides space for words that mirror the grieving body, for a body that mirrors back the spatially moving text.

"There is no way to make sense of a senseless death, but in Übermütter's Death Dance, Laura Hinton engages the senses to stay alive and to find, if not meaning, then some sort of vital force in the midst of tragedy. Hinton’s heterogeneous yet unified collection combines the rhetoric of documentation and daily life with the lyricism of dreams, visions and ritual. The result is profound, moving and mercurial."

—Joanna Fuhrman, author of The Year of Yellow Butterflies

"How do we survive grief—let alone write it? Shattered by the inexplicable death of her only child at 32, Laura Hinton miraculously gives us this lacerating work of witness. “am I still a mother?” she asks, refusing any answer. Her voice is at once desperate and wise, knowing that no one wants to live in these pages: “I / breathe on you / my Death / contagion,” she quips—“I am un-home / d.” And because in grief “time does not exist,” sequence reverses, halts, disappears: “no future tense in morning time,” “there is no ‘after.’” In the shifting landscapes and timescapes of Hinton’s work, memory and dream, lived and imagined experience, coalesce in the dissociation anyone who has mourned will recognize. I feel privileged to read—to be—in these words."

—Elisabeth Frost, author of The Feminist Avant-Garde in American Poetry

"Laura Hinton’s heartbreakingly beautiful elegy to her son Paul, Übermütter's Death Dance, is a thrilling choreography of lyric, memoir, dance, spirituality and theory. In this book, Hinton assembles a profound reflection about motherhood, death and love. Indeed, the reader dances throughout this mother’s life and death dance, leaping and soaring from one gorgeously written section to the next."

—Karen Brennan, author of little dark

Laura Hinton is a multi-media poet, scholar, editor and literary critic based in New York City. Her scholarly books include The Perverse Gaze of Sympathy: Sadomasochistic Sentiments from Clarissa to Rescue 911 (SUNY Press), and two edited collections on women's poetics: Jayne Cortez, Adrienne Rich, and the Feminist Superhero: Voice, Vision, Politics, and Performance in U.S. Contemporary Women's Poetics (Lexington Books) and We Who Love to Be Astonished: Experimental Women’s Writing and Performance Poetics (co-editor with Cynthia Hogue, University of Alabama Press). She has published a poetry book, Sisyphus My Love (To Record a Dream in a Bathtub) (BlazeVox Books), and many independent hybrid poetry pieces including photography and/or video in journals like Yew, Madhatter Review, Feminist Studies, and Poetryseen. She publishes critical essays on literature and film in journals like Textual Practice and Jacket 2, and has also published creative non-fiction essays, most recently in The Intima. She is the editor of a performance chapbook series under the imprint of Mermaid Tenement Press, and has kept a literary blog of essays on hybrid poetics since 2009, entitled, Chant de la Sirene. Laura Hinton is a Professor of English at the City College of New York (CUNY), where she teaches women's literature, contemporary poetics, visual studies and feminist theory. Her website is located at www.laurahinton-singingsirens.com.

Book Information:

· Paperback: 124 pages

· Binding: Perfect-Bound

· Publisher: BlazeVOX [books] 

· ISBN: 978-1-60964-241-9


Also see: Sisyphus My Love by Laura Hinton


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Puddles of an Open by Paige Melin Now Available!

 Charles Bernstein once argued that in a well-crafted poem, form acts as an extension of content, particularly as the subject of the work is enacted through the behavior of the language itself. Paige Melin’s writing not only utilizes hybrid forms to mirror content, but rather, form and content become seamlessly intertwined as the book unfolds. We as readers are invited into the heroine’s psyche, made to experience the beauty and terror of thought itself. Through her provocative syntactic ruptures and stream-of-consciousess narrative style, Melin subtly and gracefully interrogates the boundaries between interior and exterior, subject and object, self and world. Puddles of an Open is a stunning debut, as innovative in its technique as it is in its philosophical assertions.

—Kristina Marie Darling

Paige Melin’s literary laboratorial imaginations, Puddles of an Open, moves to expose the sociological prejudice and the political capacity inherent in dictionary words as they, these things of letters, are casually exchanged between us. Her assemblages are ensembles of a harmonious breach with the quotidian and sublime suburban poem of our time. In Melin’s ruptured poetry, compliant poetry becomes poetry of applied use, and with hope, a poetic tool for reassignment.

—Michael Basinski

[cant enter or move out of away from]  Puddles of an Open occurs in a suggestively uncomfortable space between entrance and exit that is never fully within. about to be said and already retracted, Melin’s suspended [story] remains untold: as it resists coherence as representation of events, it captures instead a self-fragmenting fugitiveness in articulation. raising awareness around speaking and narration as decision – precisely by refusing this decision – Melin plays on the slipperiness of memory and the language of telling [eyes] [ice] while lingering on aporias of consent, admission, desire, and feeling besetting the underlying matters spoken of. is this a trauma or a dream (or both)? whose words are in whose mouth? [funny to awaken when youve never been sleeping] come skim with Melin along this uneven surface: seduction is a text that doesn’t give up (its secrets)…

—Judith Goldman

Poet, editor, and intersectional feminist Paige Melin is currently pursuing her M.A. in English at the University of Maine. Her writing has been published in NAME, Yellowfield, and Stolen Island, and has won awards through the Academy of American Poets and the Albert Cook, Mac Hammond, and John Logan Prize for Poetry. Along with her partner, Vincent, she co-founded and edits steel bellow: a purely Buffalo literary magazine, and she is currently the Editorial Assistant for Paideuma: Modern and Contemporary Poetry and Poetics.

Book Information:

· Paperback: 36 pages

· Binding: Perfect-Bound

· Publisher: BlazeVOX [books] 

· ISBN: 978-1-60964-236-5



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Samsara Congeries by mIEKAL aND Now Available!

 from the introduction by Crag Hill:

mIEKAL aND has never hopped on a bandwagon without either seizing the reigns or by reconstituting the wagon and its engine; Samsara Congeries is no exception: he has not jumped on to pound his chest with a long poem. Rather, he has seized the form itself—its thematic unity—and dropped its on his head. This is poetic ambition writ large; no focus group has guided the producer to smooth rough edges, to photoshop blemishes of thought/language, to put a public face to something that has been constructed in an originary privacy.

Impossible to characterize in a few sweeping phrases, Samsara Congeries, an epic in many pieces, channels land-ancestors, land-heirs, langue-ancestors, langue-heirs, all the detritus of material and linguistic (t)ex(t)(ins)istence that insists on itself in cycles of embodied living. A singular congeries conjures a welter of emotions and enunciations across the span of a lifetime, which in turn emblematizes all lives, all samsaric “selves” and their de- and re-constructions. The glorious whole, also an abject hole, is “a kind of red/ yes” that accepts all text as its transient own.

—Maria Damon

Samsara Congeries, mIEKAL aND’s ambidextrous epic of deep time and polyvalent dimension, is written in a “splitting language” where linguistic, visual, and alphabetic architecture meet at an interactive complexity. Throughout this 500-page, 40-year-long serial poem, a propulsive “actual imaginary” undermines superficial, entrenched, and dogmatic conceptions of reality, self, language, identity, and literary form, offering instead an emergent and approximate ecology, at once subterranean and extraterrestrial, everywhere and nowhere. The poem is written in 14 books sculpted by the occult speech acts of different narrators, conceivably the iterations of a reincarnated self in the Samsara cycle of birth and death to which the title refers. The typescripts introducing each book and internal fonts vividly shift, reading like personalities or characters in the incantatory pantheon that has been released here. The scope of forms and characters, and the focus on language as material and mediated through fluid acts of perception, story, and desire, position the text as a trans-human travelogue, one of a traveler outside of space and time or a collective identity inside all times. In this context the poem is a ship of spacetime. The artistic lineage of this work includes many who, like the author, have lived and made art and literature outside the mainstream. Samsara Congeries is an extraordinary contribution to the experimental, an extension of the experimental life of mIEKAL aND, known for his participation and leadership in global DIY and anarchist art and literature networks; his pioneering work in electronic literature; his linguistic, typographical, and translation inventions; his collaborative books of poetry; his innovative publishing initiatives; and his art, hypermedia, and organic-farming community and home at Dreamtime Village. Samsara Congeries cannot be read without engaging in a novel experience with language, where the open and critical mind moves with the poem into previously inaccessible realms, waking up to lucidly dream in its textual village. This book, like the author’s life, itself a poem, is an intervention into dire times.

—Amy Catanzano

mIEKAL aND lives outside the constraints of academia in the most lush and rural part of the unglaciated Driftless area of southwest Wisconsin. Choosing to focus on creating wilderness and abundance surrounded by the perfect setting for limitless imagination his course of action includes demonstrating alternatives to inbred aesthetics, delighting in the play of DIY culture, and making art and writing that is both anarchic and noisy.

aND is the author of numerous books, many available via Xexoxial Editions (http://xexoxial.org). After many years working in the realms of digital poetry and video, he has surrendered his role as author and focused exclusively on interactions that allow the author to be reconfigured by the mysteries of the collaborative process. Anyone wanting to tap into his stream can find him on Facebook at https://www.facebook.com/miekal.

Book Information:

· Paperback: 532 pages

· Binding: Perfect-Bound

· Publisher: BlazeVOX [books] 

· ISBN: 978-1-60964-247-1



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