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The pages are secured by an open binding with a suede label pasted to the black cloth-covered cover. Paperback edition: 100. Hardcover edition: 26. \u003c\/p\u003e\n\u003cp\u003ePAPERBACK AND LIMITED EDITION HARDCOVER. 9.75x12 inches and 11.5x15.25, respectively. 8 pages. 2002.\u003cbr\u003eNo ISBN\u003c\/p\u003e","brand":"Cuneiform Press","offers":[{"title":"Default Title","offer_id":33900665176123,"sku":"","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0340\/3166\/5211\/products\/With-Wax-hardcover_4097.jpg?v=1591070330"},{"product_id":"david-pavelich-outlining","title":"David Pavelich : Outlining","description":"\u003cp\u003e\u003cspan\u003eOne hundred copies of outlining were printed on a Vandercook 4 by Kyle Schlesinger in May of 2003.\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003ePAPERBACK. 4x6 inches. 16 pages. 2003.\u003c\/p\u003e","brand":"Cuneiform Press","offers":[{"title":"Default Title","offer_id":33900711280699,"sku":"","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0340\/3166\/5211\/products\/Outlining_1-1.jpg?v=1591070697"},{"product_id":"craig-dworkin-dure","title":"Craig Dworkin : Dure","description":"\u003cp align=\"left\"\u003eAlthough \u003cem\u003eDure\u003c\/em\u003e is not, strictly speaking, composed according to Oulipo constraints, it does observe Jacques Roubaud’s rule that “A text written according to a constraint describes the constraint.” For the source texts, listed in a chronological table at the back of the book and ranging from the OED to Derrida and Wittgenstein, Smithson and Kosuth, Aristotle and Augustine, obscure Renaissance medical text and the notes of various rare book dealers, are chosen with an eye to illustrating, in however various ways, the meaning and resonance of the title: Dure, from durus (Latin for “hard”), referring both to the enigmatic art of Dürer as well as to the English derivates of durus like duration, durable, and endure.\u003c\/p\u003e\n\u003cp align=\"left\" style=\"text-align: right;\"\u003e— Majorie Perloff\u003c\/p\u003e\n\u003cp align=\"left\"\u003eThe typeface is Dyrynk, designed in 1929 by the Czech book artist Karel Dyrynk, and first issued in digital form by Richard Kegler at p22. Printed DocuTech and perfectbound. Designed by Kyle Schlesinger in the spring of 2004 in Buffalo, NY. 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The cover was printed letterpress (and in some cases, silkscreened as well), while the text is set in 12 pt. Palatino printed by a DocuTech. Copies were distributed for free at the reading. Handsewn with variant bindings. Produced in an edition of 100 copies.\u003c\/p\u003e\n\u003cp align=\"left\"\u003ePAPERBACK. 6.75x8.5 inches. 16 pages. 2004. \u003cbr\u003eNo ISBN\u003c\/p\u003e","brand":"Cuneiform Press","offers":[{"title":"Default Title","offer_id":33900761284667,"sku":"","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0340\/3166\/5211\/products\/Scratch-Space_4043.jpg?v=1591071213"},{"product_id":"ron-silliman-woundwood","title":"Ron Silliman : Woundwood","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eWoundwood\u003c\/em\u003e\u003cspan\u003e is Silliman’s 25th book and the first publication from Cuneiform to combine offset printing, photopolymer plates and handset type. 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This is a full, heartening book.\u003c\/p\u003e\n\u003cp align=\"left\" style=\"text-align: right;\"\u003e— Bill Berkson\u003c\/p\u003e\n\u003cp align=\"left\"\u003eThe image on the cover is a chalkboard rendering of Biglieri Syndrome by endocrinologist Edward Biglieri. The poem was typeset in Scotch by Kyle Schlesinger in the winter of 2006. The display font Dada Pro from P22. Offset printing on Mohawk Superfine Ultrawhite Eggshell. Edition limited to 500 copies.\u003c\/p\u003e\n\u003cp align=\"left\"\u003ePAPERBACK. 5x9 inches. 100 pages. 2005.\u003cbr\u003eNo ISBN\u003c\/p\u003e","brand":"Cuneiform Press","offers":[{"title":"Default Title","offer_id":33900779241531,"sku":"","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0340\/3166\/5211\/products\/Sleepy-with-Dein-O-Cracy_4177.jpg?v=1591071414"},{"product_id":"gil-ott-the-amputated-toe","title":"Gil Ott : The Amputated Toe","description":"\u003cp\u003e\u003cem\u003eThe Amputated Toe\u003c\/em\u003e was produced in memory of the friend, poet and publisher Gil Ott. This “fable,” as Gil characterized it, is part of \u003cem\u003ePact,\u003c\/em\u003e a “unique collection of either poetic prose or prose poetics” described as “a gold mine of tactile ruminations, devoling narratve, acute perceptions, and splintering syntax.” Ott asks, “Whose voice is all inaudible resonance, rattling the bottles on the shelves and pressing on the scalp? Shadow without substance, angles without planes. Whose speech even as it is spoken is a memory?”\u003c\/p\u003e\n\u003cp\u003eThe images were drawn by Christopher Webster. The text and images were printed on a Vandercook 4 from photopolymer plates produced by Harold Kyle at the Boxcar Press. The text was set in Scotch, and the display font is Dyrynk Roman from P22. Bound in purple cloth-covered board with Japanese side stitch binding. Edition of 50 copies.\u003c\/p\u003e\n\u003cp\u003eHARDCOVER. 10x6.5 inches. 30 pages. 2005.\u003cbr\u003eNo ISBN\u003c\/p\u003e","brand":"Cuneiform Press","offers":[{"title":"Default Title","offer_id":33900783370299,"sku":"","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0340\/3166\/5211\/products\/The-Amputated-Toe_4034.jpg?v=1591071462"},{"product_id":"ulf-stolterfoht-lingos-vi-translation-by-rosemarie-waldrop","title":"Ulf Stolterfoht : Lingos VI (translation by Rosemarie Waldrop)","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eFachsprachen\u003c\/em\u003e = lingos, but there’s no jargon here: the\u003cspan\u003e \u003c\/span\u003e\u003cem\u003efach\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis the poet’s own discipline, the toll is language, and Stolterfoht bends it, twists it and shapes it anew, piling words on top of each other in a veritable torrent of phonemes, the sounds hammering home.\u003c\/p\u003e\n\u003cp align=\"right\"\u003e— Tony Frazier\u003c\/p\u003e\n\u003cp align=\"left\"\u003eUlf Stolterfoht is clearly at the edge of the edge of innovative poetry in Germany today, and \u003cem\u003eLingos VI \u003c\/em\u003eis the poet’s first book translated into English. Stolterfoht’s witty precision and philosophical punch are what linger in the mind’s inner ear while his terse and demanding lyrics reconfigure the limits of our language – the limits of our world.\u003c\/p\u003e\n\u003cp align=\"left\"\u003eThe text was typeset in Quadraat and printed in offset in two colors on Mohawk Ultrawhite Eggshell. 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Building on New York's remarkable history of painter and poet collaborations, this is striking art and text project features nearly thirty paintings and poems by two seasoned artists.\u003c\/p\u003e\n\u003cp\u003eThe dimensions of the images are true to the original works of art. The fonts (Palatino and Michelangelo) were designed by Hermann Zapf. In the handbound paperback edition, sparkling metallic covers were printed letterpress and the images and text were printed offset.\u003c\/p\u003e\n\u003cp\u003eSixty hardcover copies were bound by hand and signed by the painter and poet. Printed on pure cotton Concord rag paper in full color by Booksmart Studios. Ten copies enclosed in archival slipcase include ten original handwritten poems by Greenwald tucked into the rear cover. There are 250 paperback copies.\u003c\/p\u003e\n\u003cp\u003eILLUSTRATED PAPERBACK \u0026amp; LIMITED EDITION HARDCOVER. 7x10 inches. 56 pages. 2007.\u003cbr\u003eNo ISBN\u003c\/p\u003e","brand":"Cuneiform Press","offers":[{"title":"Default Title","offer_id":33916743974971,"sku":"","price":200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0340\/3166\/5211\/products\/Two-Wrongs-hardcover_4172.jpg?v=1591371553"},{"product_id":"ted-greenwald-3","title":"Ted Greenwald : 3","description":"\u003cp\u003eTed Greenwald's \u003cem\u003e3\u003c\/em\u003e takes the mind in at least three different directions simultaneously, in hardboiled, richly detailed, well-made poems whose giddy wordplay, pantoum-like interweavings, and nimble jumpcuts create a sort of 21st-century Poet in New York. An inspired challenge and a delight.\u003c\/p\u003e\n\u003cp style=\"text-align: right;\"\u003e— Ron Padgett\u003c\/p\u003e\n\u003cp align=\"left\"\u003eThough his poetry always bares the honest song of a fragmented accumulation, the float of our existence, here Ted reveals an exposition of tender, romantic suchness amidst rhythmic refrains classically structured and filled with sunlight and place, the vulnerable underbelly of his Arcadian being is unveiled.\u003c\/p\u003e\n\u003cp style=\"text-align: right;\" align=\"left\"\u003e— Nathanial Dorsky\u003c\/p\u003e\n\u003cp align=\"left\"\u003eJust read the fucking book.\u003c\/p\u003e\n\u003cp style=\"text-align: right;\" align=\"left\"\u003e— Tom Raworth\u003c\/p\u003e\n\u003cp align=\"left\"\u003eTed Greenwald was born in Brooklyn, raised in Queens, and has lived in ew York City his entire life.\u003c\/p\u003e\n\u003cp align=\"left\"\u003e\u003cem\u003e3 \u003c\/em\u003ewas typeset in Jan Tschichold's Sabon LT and LTC Bodoni Bold drawn by Dave Ferry. The cover and title page were designed by Richard Kegler at P22 Type Foundry. Special thanks to Miles Champion for his instrumental role in seeing this book into print. There are 26 hardcover copies signed and lettered by the author.\u003c\/p\u003e\n\u003cp align=\"left\"\u003ePAPERBACK \u0026amp; LIMITED EDITION HARDCOVER. 6x9 inches. 164 pages. 2008. \u003cbr\u003eNo ISBN\u003c\/p\u003e","brand":"Cuneiform Press","offers":[{"title":"Default Title","offer_id":33916750594107,"sku":"","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0340\/3166\/5211\/products\/tedgreenwald_1.jpg?v=1591371834"},{"product_id":"kit-robinson-determination","title":"Kit Robinson : Determination","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eOf \u003cem\u003eDetermination\u003c\/em\u003e, Ted Greenwald wrote: \"For anyone wonders what’s it doing out, don’t stick a head out the window, open, stick a nose into, \u003cem\u003eDetermination\u003c\/em\u003e, is an end result where language’s weather swings ear in and ear out in Kit Robinson’s daily great expectations works’ beauty elegant in its math, and after, as ever.\"\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003cspan\u003eKit Robinson is a Bay Area poet, writer, and musician. He was born in Evanston, Illinois in 1949, graduated from Walnut Hills High School in Cincinnati, and earned a BA in philosophy and English literature at Yale University. He is the author of two dozen collections of poetry, including \u003cem\u003eTunes \u0026amp; Tens \u003c\/em\u003e(Roof, 2025), \u003cem\u003eQuarantina\u003c\/em\u003e (Lavender Ink, 2022), \u003cem\u003eThought Balloon \u003c\/em\u003e(Roof, 2019), \u003cem\u003eLeaves of Class\u003c\/em\u003e (Chax, 2017), \u003cem\u003eMarine Layer \u003c\/em\u003e(BlazeVOX, 2015) and \u003cem\u003eThe Messianic Trees: Selected Poems, 1976-2003\u003c\/em\u003e (Adventures in Poetry, 2009). \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003ePAPERBACK. 6x9 inches. 92 pages. 2010.\u003cbr\u003eISBN: 9780982792636\u003c\/p\u003e","brand":"Cuneiform Press","offers":[{"title":"Default Title","offer_id":33916782215227,"sku":"","price":17.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0340\/3166\/5211\/products\/Determination_3829.jpg?v=1591372409"},{"product_id":"michael-cross-haecceities","title":"Michael Cross : Haecceities","description":"\u003cp\u003eIn \u003cem\u003eHaecceities\u003c\/em\u003e, Michael Cross has made an interim language, his invention a relation between the words—as if this unknown relation or 'noumenon' is 'a hide enthinned' of futuristic Elizabethan single words each at once tactile, optical, aural simultaneously traces and events of reinterpreted future-present spurred in 'the many hundred wing-lit hives'\u003c\/p\u003e\n\u003cp align=\"right\"\u003e— Leslie Scalapino.\u003c\/p\u003e\n\u003cp align=\"right\" style=\"text-align: left;\"\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003cspan\u003eMichael Cross’s critically acclaimed debut, \u003cem\u003eIn Felt Treeling: A Libretto\u003c\/em\u003e, was published by Chax Press in 2008. \u003cem\u003eHaecceities\u003c\/em\u003e is his second collection of poetry. He is the editor of  The George Oppen Memorial Lectures at San Francisco State University (forthcoming). Cross lives in Oakland.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"right\" style=\"text-align: left;\"\u003ePAPERBACK. 7.25x10.75 inches. 92 pages. 2010.\u003cbr\u003eISBN: 9780982792643\u003c\/p\u003e","brand":"Cuneiform Press","offers":[{"title":"Default Title","offer_id":33916783820859,"sku":"","price":17.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0340\/3166\/5211\/products\/Haecceites_4194.jpg?v=1591372466"},{"product_id":"kyle-schlesinger-commonplace","title":"Kyle Schlesinger : Commonplace","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eCommonplace\u003c\/em\u003e\u003cspan\u003e was produced by Kyle Schlesinger during an artist’s residency at the Center for Book and Paper Art at Columbia College in the summer of 2011. The poem was conceived at the Collaboration and the Artist’s Book Conference in Caen and the images were produced in Chicago. Printed letterpress, the text is set in Bulmer and the images were printed in ten different colors. The accordion binding is by CJ Martin. Housed in printed Curious Metallics wraps. 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His captivating performance sparked lively debates with the audience on the nature of myth, history, etymology, narrative, knowledge, and sexuality. \u003cem\u003eCharles Olson at Goddard College\u003c\/em\u003e is an enthralling and indispensable annotated transcript that celebrates the intersection of Olson's poetics and a hopeful moment in American education. Edited with an introduction by Kyle Schlesinger. Foreword by Basil King.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003cspan\u003eCharles Olson (1910–1970) was an American poet who is reputed to have coined the term “postmodernism.” Olson grew up in Worcester, Massachusetts and was educated at Wesleyan University and Harvard. For many years, he worked in politics, participating in the election campaign of Franklin Roosevelt and as publicity director of the American Civil Liberties Union. After Roosevelt’s death, Olson retired from politics to a life of writing, working on \u003c\/span\u003e\u003cem\u003eThe Maximus Poems\u003c\/em\u003e\u003cspan\u003e, which remained unfinished after his death.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eILLUSTRATED PAPERBACK. 7x10 inches. 112 pages. 2011.\u003cbr\u003e\u003cspan class=\"a-size-base a-color-base a-text-bold\"\u003eISBN:\u003c\/span\u003e \u003cspan class=\"a-size-base a-color-base\"\u003e978-0982792650\u003c\/span\u003e\u003c\/p\u003e","brand":"Cuneiform Press","offers":[{"title":"Default Title","offer_id":33917735403579,"sku":"","price":17.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0340\/3166\/5211\/products\/Charles-Olson_4138.jpg?v=1591390826"},{"product_id":"charles-alexander-pushing-water","title":"Charles Alexander : Pushing Water","description":"\u003cp\u003e\"'[T]hrough the tunnel pushing water': the first appearance of this image in Charles Alexander's serial poem arises as if in a dream, and that sense of dream persists throughout this long and complex work ('the dream pushes up from under the water'). Yet, 'pushing water' also becomes a metaphor of body, of breath, of heartbeat, blood and brain, of consciousness itself, time and history, rendered in diverse poetic forms. Alexander embraces language and the bodies of work that comprise the touchstones of English poetry from the 'word hoard' of the Anglo-Saxons through Shakespeare and Greville, Dickinson, and Williams, Olson and Creeley. Without having done an actual word count, 'love' and 'syllable' (the beat or rhythm of the word) seem to me to be the most frequently used in this poem of love, language, and love of language.\"\u003c\/p\u003e\n\u003cp style=\"text-align: right;\"\u003e— Beverly Dahlen\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003cspan\u003eCharles Alexander is a poet, an artist, and a book publisher. His collections of poetry include \u003c\/span\u003e\u003cem\u003eHopeful Buildings \u003c\/em\u003e\u003cspan\u003e(1990), \u003c\/span\u003e\u003cem\u003ePushing Water \u003c\/em\u003e\u003cspan\u003e(1998), \u003c\/span\u003e\u003cem\u003eFour Ninety Eight to Seven \u003c\/em\u003e\u003cspan\u003e(1997), \u003c\/span\u003e\u003cem\u003eEtudes: D\u0026amp; D \u003c\/em\u003e\u003cspan\u003e(1997), \u003c\/span\u003e\u003cem\u003enear or random acts \u003c\/em\u003e\u003cspan\u003e(2004), and \u003c\/span\u003e\u003cem\u003eCertain Slants \u003c\/em\u003e\u003cspan\u003e(2007). \u003c\/span\u003e\u003cem\u003ePushing Water \u003c\/em\u003e\u003cspan\u003ecollected Alexander’s ongoing serial poem; in the words of Patrick James Dunagan, the collection “joins the likes of Louis Zukofsky’s \u003c\/span\u003e\u003cem\u003eA \u003c\/em\u003e\u003cspan\u003eor Bernadette Mayer’s \u003c\/span\u003e\u003cem\u003eMidwinter Day \u003c\/em\u003e\u003cspan\u003eas a practiced endeavor towards meeting the daily business of living with writing: a testament to the abiding determination to have the daily practice of writing and reading serve as a guiding force through life.” Alexander is also the author of numerous chapbooks, including \u003c\/span\u003e\u003cem\u003eSome Sentences Look for Some Periods \u003c\/em\u003e\u003cspan\u003e(2013).\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eTrained in bookmaking and letterpress, Alexander is the founder and director of Chax Press. He has taught at Naropa University and the University of Arizona. He lives in Tucson with the painter Cynthia Miller.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003ePAPERBACK. 5.75x10 inches. 222 pages. 2011.\u003cbr\u003eISBN: \u003cspan\u003e0982792670\u003c\/span\u003e\u003c\/p\u003e","brand":"Cuneiform Press","offers":[{"title":"Default Title","offer_id":33917753393211,"sku":"","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0340\/3166\/5211\/products\/Pushing-Water_4151.jpg?v=1591391115"},{"product_id":"larry-fagin-complete-fragments","title":"Larry Fagin : Complete Fragments","description":"\u003cp style=\"text-align: left;\"\u003e\u003cem\u003eComplete Fragments \u003c\/em\u003eis Larry Fagin’s first trade edition book of poems since \u003cem\u003eI’ll Be Seeing You\u003c\/em\u003e (1978).\u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003cspan\u003e\"While it is to be hoped that someone is busying themselves gathering the best of Larry Fagin's earlier uncollected poems—the 'Narrative Techniques' series (and related pieces), the 'Eleven Poems' for Philip Guston—we have Cuneiform Press to thank for publishing this long-in-the-works book of Fagin's wonderful prose poems. This latter form has been Fagin's primary focus as a poet for much of the last twenty years (it is, astonishingly, almost thirty years since his last collection, the seventeen-page \u003c\/span\u003e\u003cspan class=\"a-text-italic\"\u003eNuclear Neighborhood\u003c\/span\u003e\u003cspan\u003e), and it is a joy to have the fruits of his researches in this area collected between two covers at last. While Fagin well understands that 1+1=3, the greater mystery of his prose poems is that they are as much allover as additive works, their every sentence joined to its neighbors—and not only those—by sensible glue, which, here, is duplicitous in the very best sense: alive as in thickly a-hum. Some of the poems are antic, yes, but every 'ka-pow' is balanced—maintained in exquisite suspension, in fact-by a corresponding 'pa-dow,' such that the overall arrangement of poems—which is perfect, as you might expect—constitutes a poem in itself. Other pieces contain elements that may, upon first glance, strike the reader as arch (there \u003c\/span\u003e\u003cspan class=\"a-text-italic\"\u003eis\u003c\/span\u003e\u003cspan\u003e such a thing as a 'Larryism'), but this material, more often than not, is inducted into the poem via an utter delicacy of ostention: selection as caress, show and tell reimagined as intimate act. These FRAGMENTS constitute impressions taken on a writing pad that might best be imagined as a stack of index cards shot in natural light on black-and-white 'Scope; their sum is entirely equal to—but at no point a copy of—the world.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: right;\"\u003e\u003cspan\u003e—Miles Champion\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e\u003cspan\u003e\u003cbr\u003e\"Larry Fagin doesn't want to be famous. At times he's published his poems anonymously and at times insisted that his students \u0026amp; colleagues do likewise. The students insist that he is the best teacher ever or at least since X, Y or Z, all long dead (Z for centuries). The poems themselves are small, modest as Fagin is modest, yet built to last for generations. What if Cavafy were a member of the New York School? Or if Catullus had been a part of the Spicer Circle? They're powerful \u0026amp; opaque like the Barnett Newman sculpture in \u003c\/span\u003e\u003cspan class=\"a-text-italic\"\u003e2001\u003c\/span\u003e\u003cspan\u003e, tho the design preference is that each one should be no bigger than a breadbox. I think of them as the blood diamonds of the Lower East Side. That is so not Brooklyn, you say. Exactly.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: right;\"\u003e\u003cspan\u003e—Ron Silliman\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003cspan class=\"A1\"\u003e\u003cspan\u003eLarry Fagin (1937–2017) was a poet, editor, and publisher, and a great admirer of Lora Logic. His books include \u003ci\u003eRhymes of a Jerk\u003c\/i\u003e, \u003ci\u003eStabs\u003c\/i\u003e, \u003ci\u003eI’ll Be Seeing You: Poems 1962–1976\u003c\/i\u003e, \u003ci\u003eDig \u0026amp; Delve\u003c\/i\u003e (with Trevor Winkfield), \u003ci\u003eComplete Fragments\u003c\/i\u003e, and \u003ci\u003eEleven Poems for Philip Guston\u003c\/i\u003e. His selected poems, \u003ci\u003ePeaches \u0026amp; Gravy: Selected Poems 1966–2016\u003c\/i\u003e, and his selected non-poems, \u003ci\u003eSmash the State \u0026amp; Have a Nice Day: A Larry Fagin Reader\u003c\/i\u003e, were edited for Cuneiform Press \u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003eby Miles Champion\u003c\/span\u003e\u003cspan\u003e.\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003eLimited edition hardcover of 26 signed and lettered by the author and artist Glen Baxter. Cover art by Baxter.\u003c\/p\u003e\n\u003cp\u003ePAPERBACK AND HARDCOVER. 5.5x8 inches. 112 pages. 2012.\u003cbr\u003eISBN\u003cspan class=\"a-size-base a-color-base a-text-bold\"\u003e:\u003c\/span\u003e \u003cspan class=\"a-size-base a-color-base\"\u003e978-0986004001\u003c\/span\u003e\u003c\/p\u003e","brand":"Cuneiform Press","offers":[{"title":"Default Title","offer_id":33917773119547,"sku":"","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0340\/3166\/5211\/products\/Complete-Fragments_4074.jpg?v=1591391416"},{"product_id":"bill-berkson-the-far-flowered-shore","title":"Bill Berkson : The Far Flowered Shore","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Far Flowered Shore\u003c\/em\u003e (Japan 2006\/ Japan 2010) are travel books but not diaries, and would certainly not be of any use to anyone looking to find one’s way around Japanese cities.\u003c\/p\u003e\n\u003cp\u003eBoth notebooks are made by Quaderno–soft, pliable, light-weight school exercise books with blank, unlined pages, made in Italy but available elsewhere (even, it turned out, in a Kyoto department store). I filled them as usual, on impulse, scribbling down and pasting in whatever seemed worth noting, and as you see, not always about Japan. A lot of the scrawls are due to trying to write while walking.The notes cover two trips to Japan that Connie Lewallen and I made in April 2006 and again in 2010: the first to Kyoto and Tokyo, with a day trip from Kyoto to Nara; and the second to Kyoto, the “museum island” of Naoshima and Osaka.\u003c\/p\u003e\n\u003cp\u003e“Have good trip to the far flowered shore,” wrote Joanne Kyger on the eve of our second time out.\u003c\/p\u003e\n\u003cp align=\"right\"\u003e— Bill Berkson\u003c\/p\u003e\n\u003cp align=\"right\" style=\"text-align: left;\"\u003e\u003cspan\u003eBorn in New York in 1939, Bill Berkson was a poet, critic, teacher and sometime curator, who became active in the art and literary worlds in his early twenties. \u003c\/span\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003cspan\u003eHe was the author of some twenty books and pamphlets of poetry, including \u003c\/span\u003e\u003cem\u003eGloria\u003c\/em\u003e\u003cspan\u003e, a portfolio of poems with etchings by Alex Katz (Arion Press, 2005); \u003c\/span\u003e\u003cem\u003eOur Friends Will Pass Among You Silently\u003c\/em\u003e\u003cspan\u003e (The Owl Press, 2007); \u003c\/span\u003e\u003cem\u003ePortrait and Dream: New \u0026amp; Selected Poems\u003c\/em\u003e\u003cspan\u003e (Coffee House Press, 2009); and \u003c\/span\u003e\u003cem\u003eExpect Delays \u003c\/em\u003e\u003cspan\u003e(Coffee House, 2014).\u003cmeta charset=\"UTF-8\"\u003eDuring the 1960s Berkson was an editorial associate at \u003cem\u003eArt News\u003c\/em\u003e, a regular contributor to \u003cem\u003eArts\u003c\/em\u003e, guest editor at the Museum of Modern Art, an associate producer of a program on art for public television, and taught literature and writing workshops at the New School and Yale University. After moving to Northern California in 1970, he began editing and publishing a series of poetry books and magazines under the Big Sky imprint. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Far Flowered Shore\u003c\/em\u003e notebooks were reproduced as full-color, hardcover, facsimiles by Cuneiform Press in 2013. The 2006 and 2010 notebooks are accompanied by a third volume containing a transcript of the text typeset in Bulmer. Housed in a slipcase produced by Craig Jenson at BookLab II, one hundred copies were produced, of which fifty were for sale exclusively from Cuneiform Press. \u003c\/p\u003e\n\u003cp\u003eILLUSTRATED HARDCOVER. 3 Volumes. 2013.\u003cbr\u003eNo ISBN \u003c\/p\u003e","brand":"Cuneiform Press","offers":[{"title":"Default Title","offer_id":33917787537467,"sku":"","price":100.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0340\/3166\/5211\/products\/Far_Flowered_Shore_15.jpg?v=1591391893"},{"product_id":"dale-smith-slow-poetry-in-america","title":"Dale Smith : Slow Poetry in America","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eIn \u003cem\u003eSlow Poetry in America\u003c\/em\u003e, Dale Smith pursues an attitude and a world-view in which the self is experienced as a series of screens. Personal memory vanishes into temporal experiences of culture, and narrative coheres in a language that attempts to track time, the apprehension of what it means to be alive now.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003cspan\u003eDale Martin Smith is a poet, editor, literary scholar, and professor at Toronto Metropolitan University. He is the author of the poetry collections \u003c\/span\u003e\u003ci\u003eThe Size of Paradise\u003c\/i\u003e\u003cspan\u003e (knife|fork|book, 2024), a finalist for the 2025 Griffin Poetry Prize; \u003c\/span\u003e\u003ci\u003eFlying Red Horse\u003c\/i\u003e\u003cspan\u003e (Talonbooks 2021); \u003c\/span\u003e\u003ci\u003eSlow Poetry in America \u003c\/i\u003e\u003cspan\u003e(Cuneiform Press, 2014); \u003c\/span\u003e\u003ci\u003eBlack Stone\u003c\/i\u003e\u003cspan\u003e (effing press, 2007); and \u003c\/span\u003e\u003ci\u003eAmerican Rambler\u003c\/i\u003e\u003cspan\u003e (Thorp Springs, 2000). \u003c\/span\u003e\u003cspan\u003eWith Hoa Nguyen, he edited \u003c\/span\u003e\u003ci\u003eSkanky Possum\u003c\/i\u003e\u003cspan\u003e, a literary zine and book imprint, from 1998 to 2004.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003ePAPERBACK. 4.5x6 inches. 192 pages. 2014.\u003c\/p\u003e","brand":"Cuneiform Press","offers":[{"title":"Default Title","offer_id":33917825286203,"sku":"","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0340\/3166\/5211\/products\/DSC_1970.jpg?v=1591392895"},{"product_id":"ted-greenwald-con-dot","title":"Ted Greenwald : Con Dot","description":"\u003cp\u003eTed Greenwald's book of poems, \u003cem\u003eCon Dot\u003c\/em\u003e, was printed and designed by Kyle Schlesinger at the Cuneiform Press between 2013 \u0026amp; 2014. The book was typeset in Dax, designed by the experimental composer and typographer Hans Reichel, and printed on a Vandercook 4 letterpress. Each copy in the edition contains four variegated images. The paper is Crane’s Lettta. CJ Martin performed the binding in Colorado Springs. There are 26 copies, each lettered and signed by the author, as well as 100 paperback copies, hors commerce.\u003c\/p\u003e\n\u003cp\u003eBorn in Brooklyn, New York, Ted Greenwald earned a BA from Queens College, CUNY. He has authored more than 25 books of poetry, including \u003cem\u003eLapstrake \u003c\/em\u003e(1965); \u003cem\u003eBlink \u003c\/em\u003e(1972); \u003cem\u003eThe Life \u003c\/em\u003e(1975); \u003cem\u003eYou Bet! \u003c\/em\u003e(1978); \u003cem\u003eCommon Sense\u003c\/em\u003e (1979, 2016); \u003cem\u003eWord of Mouth \u003c\/em\u003e(1986); \u003cem\u003eLooks Like I’m Walking \u003c\/em\u003e(1991); \u003cem\u003eYou Go Through \u003c\/em\u003e(1992); \u003cem\u003eSomething, She’s Dead \u003c\/em\u003e(1999); and \u003cem\u003eThe Up and Up \u003c\/em\u003e(2004). Greenwald has received grants from the National Endowment for the Arts, the Fund for Poetry, the Kulcher Foundation, and the Foundation for Contemporary Arts. He lived in New York City until his death in 2016.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eILLUSTRATED HARDCOVER. 7x11.5 inches. 68 pages. 2014.\u003cbr\u003eNo ISBN\u003c\/p\u003e","brand":"Cuneiform Press","offers":[{"title":"Default Title","offer_id":33917829316667,"sku":"","price":500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0340\/3166\/5211\/products\/CON-DOT-WEB-91-1.jpg?v=1591393528"},{"product_id":"jim-dine-poems-to-work-on-the-collected-poems-of-jim-dine","title":"Jim Dine : Poems to Work On: The Collected Poems of Jim Dine","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eEdited, with a foreword, by Vincent Katz.\u003c\/p\u003e\n\u003cp\u003eI swore I would never write another blurb, but Jim Dine’s \u003cem\u003eCollected Poems\u003c\/em\u003e has pulled me temporarily out of blurb retirement. The same verve that drives his paintings drives these poems, and added to it are a wonderfully goofy playfulness and a no-holds-barred, slightly scary exhilaration. Arp, Schwitters, and Picabia, move over.\u003c\/p\u003e\n\u003cp style=\"text-align: right;\"\u003e—Ron Padgett\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eIn the flutter of blue alcohol flame a figure enters its shadow asking \u003cem\u003ewhere do you keep all the things \/ that don’t fit in your mind?\u003c\/em\u003e Characters appear, vanish, reappear in the darkness but there is no space behind language. A mountain opens and red is registered. I’ve carried Jim Dine’s first book \u003cem\u003eWelcome Home, Lovebirds\u003c\/em\u003e through many moves since 1969. Now almost half a century later I have the delight of being again in that mind. The poems are as direct as brush-strokes, as casual as conversation, as passionate as loss. The background shifts. \"The Short History of New York\" beautifully nails that. London in the 1960s is palpable; Paris, Rome, flicker. Friends share the space. \"Portrait\" is a concisely brilliant one of Robert Creeley. Kenneth Koch, a hometown boy, makes occasional appearances. But all these are tones, not the foreground that is the restlessness, the questioning, the observation inhabited by the reader. For me a particular pleasure of these poems has been the privilege of at times perceiving the world as a painter — Jim Dine made my eyes feel. \u003cem\u003ePoems To Work On\u003c\/em\u003e is not only \"NIGHT’S \/ FRIABLE \/ RAGE, but making life \/ without reason \/is the reason\/ for a \/common dream.\" Writing well worth reading.\u003c\/p\u003e\n\u003cp class=\"p1\" style=\"text-align: right;\"\u003e—Tom Raworth\u003c\/p\u003e\n\u003cp class=\"preFade fadeIn\"\u003eJim Dine is an American artist whose career extends over sixty years. Since the 1950s, Dine’s expansive multimedia practice has spanned painting, drawing, printmaking, sculpture, photography, poetry, and performance. Dine was a pioneering member of the Happenings movement alongside artists such as Claes Oldenburg and Allan Kaprow, staging experimental live performances throughout mid-century New York City. His practice later crossed into art movements including Neo-Dada, Pop, and Neo-Expressionism.\u003c\/p\u003e\n\u003cp class=\"preFade fadeIn\"\u003eThroughout his varied oeuvre, Dine embraced idiosyncratic expressions of autobiographical details; personal totems, such as hearts and robes, became frequent motifs. The artist has exhibited in New York, London, Paris, Berlin, Stockholm, Brussels, and Los Angeles.\u003c\/p\u003e\n\u003cp class=\"preFade fadeIn\"\u003eDine has spent the last 60 years traveling the world, sharing his time between various foundries, studios and print workshops, from Göttingen, Germany to New York and Walla-Walla in the U.S. to Saint Gallen, Switzerland. Over the last 50 years, poetry has been at the core of his practice, and he regularly gives readings and performances of his poems. \u003c\/p\u003e\n\u003cp class=\"preFade fadeIn\"\u003eAn innovator throughout his long career, Dine’s vast and varied output includes paintings, assemblages, sculptures, drawings, prints, and over twelve books of poetry. His extensive practice has been the subject of more than 300 solo exhibitions around the world, including eleven major surveys and retrospectives since 1970.\u003c\/p\u003e\n\u003cp class=\"preFade fadeIn\"\u003eDine’s work is featured in over 70 public collections across the world, including the Metropolitan Museum of Art in New York, MoMa, Guggenheim, Albertina Museum in Vienna, Folkwang Museum in Essen, Centre Pompidou, Paris, The British Museum and Tate Britain in London.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eHARDCOVER. 7.5x11.25 inches. 290 pages. Includes color illustrations. 2015.\u003cbr\u003e\u003cspan class=\"a-size-base a-color-base a-text-bold\"\u003eISBN:\u003c\/span\u003e \u003cspan class=\"a-size-base a-color-base\"\u003e978-0986004032\u003c\/span\u003e\u003c\/p\u003e","brand":"Cuneiform Press","offers":[{"title":"Default Title","offer_id":33917848322107,"sku":"","price":50.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0340\/3166\/5211\/products\/DSC_1487-1.jpg?v=1605558236"},{"product_id":"kyle-schlesinger-dream","title":"Kyle Schlesinger : Dream","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003eEach of the twenty-six signed copies in this variegated multiple edition is a unique print on Crane’s Lettra 100% cotton paper measuring eighteen by twelve inches. Shipped flat or rolled at your request, these prints are only available at the Marfa Book Company and direct from the press.\u003c\/p\u003e","brand":"Cuneiform Press","offers":[{"title":"Default Title","offer_id":33929882140731,"sku":"","price":100.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0340\/3166\/5211\/products\/DSC_80842-1-768x1151.jpg?v=1591646890"},{"product_id":"kyle-schlesinger-jumpshot-for-tom-raworth","title":"Kyle Schlesinger : Jumpshot (for Tom Raworth)","description":"\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003eEach of the twenty-six signed copies in this variegated multiple edition is a unique print on Crane’s Lettra 100% cotton paper measuring eighteen by twelve inches. Shipped flat or rolled at your request, these prints are only available at the Marfa Book Company and direct from the press.\u003c\/p\u003e","brand":"Cuneiform Press","offers":[{"title":"Default Title","offer_id":33929886826555,"sku":"","price":100.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0340\/3166\/5211\/products\/DSC_81012-1.jpg?v=1591647012"},{"product_id":"kyle-schlesinger-beyond-repair","title":"Kyle Schlesinger : Beyond Repair","description":"\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003eEach of the twenty-six signed copies in this variegated multiple edition is a unique print on Crane’s Lettra 100% cotton paper measuring eighteen by twelve inches. Shipped flat or rolled at your request, these prints are only available at Marfa Book Company and direct from the press.\u003c\/p\u003e","brand":"Cuneiform Press","offers":[{"title":"Default Title","offer_id":33929888858171,"sku":"","price":100.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0340\/3166\/5211\/products\/DSC_81132-1.jpg?v=1591647074"},{"product_id":"ted-greenwald-later-lately","title":"Ted Greenwald : Later Lately","description":"\u003cp\u003eTed Greenwald’s book of poems, \u003ci\u003eLater Lately\u003c\/i\u003e, was printed and designed by Crane Giamo and Kyle Schlesinger under the R\u0026amp;B label in the spring of 2015. The book was typeset in Gil Sans Light and printed on a Vandercook 4 letterpress. The paper is Crane’s Lettta. The comb binding was executed by the printers. There are 50 copies, of which ten are for sale.\u003c\/p\u003e\n\u003cp\u003eBorn in Brooklyn, New York, Ted Greenwald earned a BA from Queens College, CUNY. He has authored more than 25 books of poetry, including \u003cem\u003eLapstrake \u003c\/em\u003e(1965); \u003cem\u003eBlink \u003c\/em\u003e(1972); \u003cem\u003eThe Life \u003c\/em\u003e(1975); \u003cem\u003eYou Bet! \u003c\/em\u003e(1978); \u003cem\u003eCommon Sense\u003c\/em\u003e (1979, 2016); \u003cem\u003eWord of Mouth \u003c\/em\u003e(1986); \u003cem\u003eLooks Like I’m Walking \u003c\/em\u003e(1991); \u003cem\u003eYou Go Through \u003c\/em\u003e(1992); \u003cem\u003eSomething, She’s Dead \u003c\/em\u003e(1999); and \u003cem\u003eThe Up and Up \u003c\/em\u003e(2004). Greenwald has received grants from the National Endowment for the Arts, the Fund for Poetry, the Kulcher Foundation, and the Foundation for Contemporary Arts. He lived in New York City until his death in 2016.\u003c\/p\u003e\n\u003cp\u003ePAPERBACK. 7x12inches. 40 pages. 2015.\u003c\/p\u003e","brand":"Cuneiform Press","offers":[{"title":"Default Title","offer_id":33929890168891,"sku":"","price":250.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0340\/3166\/5211\/products\/DSC_7973-1-768x1151.jpg?v=1591647162"},{"product_id":"helen-adam-the-collages-of-helen-adam","title":"Helen Adam : The Collages of Helen Adam","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eHelen Adam always had her camera with her. The first picture I have of hers is from a Halloween Party with Ebbe Borregaard, Joe Dunn, and me in costume. She was famous for the strange phenomena her brownie camera permitted—swirls of light and water spouts rising up out of ponds next to Robert Duncan. After I returned from Japan in 1964, I found my old friend, painter and Zen student Bill McNeill, was making a movie starring Helen—\u003cem\u003eDaydream of Darkness\u003c\/em\u003e. Scenes were dramatic, overlooking the ocean, crashing waves, swirling capes in front of moody cypress. 1963-64 was a time of heightened social activity, and Helen took lots of pictures of her poet and artist friends, many of which were in her show at Buzz Gallery. Her photos were a great gift of the moment.\u003c\/p\u003e\n\u003cp style=\"text-align: right;\"\u003e— Joanne Kyger \u003c\/p\u003e\n\u003cp\u003eThe seamless collages of Helen Adam seem to defy their own construction. The collaged images are so deftly woven together that we often do not at first see the eerie combinations half hidden in what appears to be a normal, regular, expected scene. Then our eyes draw back in question and looking again we see that the highly fashionable, exquisite gown is held up by clinging bats stretched neatly over the pale shoulder of the young girl, replacing elegant spaghetti straps with slender bat arms and long bat fingers. How did Helen Adam do that? This must be tweezers work of the highest order. We can only marvel at the creation of these chilling, stunning, magical, monstrous, intriguing paperworks. They become interconnected, forming an ever-widening labyrinth that draws us into the dark, uncharted world of Helen Adam, where her marvelous camouflage unhinges our reality.\u003c\/p\u003e\n\u003cp style=\"text-align: right;\"\u003e— Maureen Owen\u003c\/p\u003e\n\u003cp\u003eHelen Adam lived the dream-scape of visionary poesis and made dramatic icons of her visions in witty, wicked, and campy-critical collages. It is thrilling to have this selection of her bewitching and informative art treated with the care and affection it deserves in this elegant presentation.\u003c\/p\u003e\n\u003cp style=\"text-align: right;\"\u003e— Rachel Blau DuPlessis\u003c\/p\u003e\n\u003cp\u003eEdited by Alison Fraser. Featuring essays by James Maynard, Lewis Ellingham, Samuel R. Delany, Robert Hershon, and Kristin Prevallet. Published in conjunction with Further Other Bookwork\u003c\/p\u003e\n\u003cp\u003eILLUSTRATED HARDCOVER. 176 pages. Full color. 2017.\u003cbr\u003eISBN: 978-0-9893132-4-7\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Cuneiform Press","offers":[{"title":"Default Title","offer_id":33929955639355,"sku":"","price":40.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0340\/3166\/5211\/products\/HELEN-ADAM-1.jpg?v=1591648437"},{"product_id":"philip-trussell-sentences","title":"Philip Trussell : Sentences","description":"\u003cp\u003ePhilip Trussell’s \u003cem\u003eSentences\u003c\/em\u003e are fallen aphorisms from a hermetic cosmos: quotidian and mystical, cantankerous and surprisingly humane. These cutting ripostes to the information age are more Elizabethan than postmodern, yet timeless in their devotion to the craft of disciplined observation. Trussell’s truncated satire probes at the habits of social life and the routines of ego with a nihilist’s shtick, discontinuous and unabashedly promethean. \u003cem\u003eSentences\u003c\/em\u003e is a singular literary debut by a seasoned outsider artist. Edited by Bradley Ray King.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eSentences \u003c\/i\u003ewas designed and typeset in Jan Tschichold’s Sabon by Bradley Ray King \u0026amp; Kyle Schlesinger at Cuneiform Press in Austin, in the autumn of 2018. Printed in an edition of three hundred copies, of which twenty-six are lettered and signed by the author with a unique sentence penned below the colophon.\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003ePAPERBACK. 5.33x8.33 inches. 84 pages. 2019.  \u003cbr\u003eISBN: 978-1-950055-00-5\u003c\/p\u003e","brand":"Cuneiform Press","offers":[{"title":"Default Title","offer_id":33929987391547,"sku":"","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0340\/3166\/5211\/products\/Sentences-1.jpg?v=1605558406"},{"product_id":"alan-bernheimer-from-nature","title":"Alan Bernheimer : From Nature","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eGrounded in vernacular and yet displacing it, Alan Bernheimer makes poetry that is somehow aphoristic, surreal, and down to earth. “Speaking \/ in the language of things,” \u003cem\u003eFrom Nature\u003c\/em\u003e revels in the present: what can be said in it and with it, without permitting the future to “spoil the present.” These poems seem to float on the surface of language, which is after all where we spend most of our time. The prose is as rhythmically propulsive as the poetry is honed and full of bright coinages (“beautilities” anyone?). \u003cem\u003eFrom Nature\u003c\/em\u003e is a “travel size heartthrob” where “it feels great being anyplace” because anyplace is where Alan Bernheimer makes poems out of sheer air.\u003c\/p\u003e\n\u003cp style=\"text-align: right;\"\u003e—Alli Warren\u003c\/p\u003e\n\u003cp\u003e“Philosophy should come out to play,” says Alan Bernheimer – and in \u003cem\u003eFrom Nature\u003c\/em\u003e, it does. What I want to know is how poems can be both so angst-laden and so buoyant. These poems seem like a record of what one notices while falling from such a height that free fall is indistinguishable from floating. They show how we might give up ownership of words\/experiences while wondering “if any of these places are open for breakfast.”\u003c\/p\u003e\n\u003cp style=\"text-align: right;\"\u003e—Rae Armantrout\u003c\/p\u003e\n\u003cp\u003eAlan Bernheimer's quick-moving, witty, angular poems make a point of pulling the rug out from under. Don't take us, they seem to be saying, too seriously.  But for all their jump-cuts, puns, bumper-to-bumper phrasings, the poems are very serious indeed, with real life just beside or beneath the language play. Whether the dreamlike prose poems in the second section are recorded dreams or imaginative scenarios, their disturbing oddnesses stem from real people and real situations, culminating in the resonant (and wonderfully titled) \"Characteristic Café\" and \"Musée Mécanique\" with details à la Raymond Roussel.  Cover to cover, this is an imaginative, invigorating book.\u003c\/p\u003e\n\u003cp style=\"text-align: right;\"\u003e—Charles North\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eFrom Nature \u003c\/i\u003ewas designed by Kyle Schlesinger and typeset in Sabon at Cuneiform Press in the autumn of 2018. There are 500 copies, of which 26 were lettered and signed by the author. \"Flight Risk\", by Bernheimer, a broadside printed letterpress in two colors tipped in. \u003c\/p\u003e\n\u003cp\u003ePAPERBACK. 5.5x7.5 inches. 82 pages. 2019. \u003cbr\u003eISBN: 978-0-9860040-8-7\u003c\/p\u003e","brand":"Cuneiform Press","offers":[{"title":"Default Title","offer_id":33929989980219,"sku":"","price":18.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0340\/3166\/5211\/products\/From-Nature-1.jpg?v=1605558074"},{"product_id":"jamaica-cole-the-endlessly-forking-snake-tongue","title":"Jamaica Cole : The Endlessly Forking Snake Tongue","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eA drumstick, a heart-shaped box, an allusive tattoo, ‘I am only borrowing these fragments of you.’ \u003cem\u003eThe Endlessly Forking Snake Tongue \u003c\/em\u003eemerges from the vanishing point where daydreams and memory intersect. Jamaica Cole’s debut work of literary nonfiction chronicles the disappearance of her brother, a brilliant young musician, from the rocky banks of Northern California’s Sacramento River. Poetic, elegiac, witty, and sublime, \u003cem\u003eThe Endlessly Forking Snake Tongue \u003c\/em\u003etakes the author through her own stages of grief and across the American southwest to a new home in Texas.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eJamaica Cole grew up in the foothills of Northern California. She spent her teen years staying up late writing short stories and plays which she still has packed up in boxes somewhere. She's thirty-five years old and has lived in thirty houses. \u003cem\u003eThe Endlessly Forking Snake Tongue\u003c\/em\u003e (Cuneiform Press, 2019) is her first book.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003ePAPERBACK. 4.5x6.5 inches. 58 pages. 2019.\u003cbr\u003eISBN: 978-1-950055-01-2\u003c\/p\u003e","brand":"Cuneiform Press","offers":[{"title":"Default Title","offer_id":33930052075579,"sku":"","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0340\/3166\/5211\/products\/EFST-1.jpg?v=1605558207"},{"product_id":"ron-padgett-trevor-winkfield-encore-with-rectangle-and-philosophy","title":"Ron Padgett \u0026 Trevor Winkfield : Encore with Rectangle and Philosophy","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\"I figured there was time \/ but for what?\"\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eEncore with Rectangle and Philosophy\u003c\/i\u003e is the work of a seasoned duo—a meditation on beginnings and ends and what it's all been all about. Whatever gloominess we might expect from such ruminations is deflected by Padgett and Winkfield's characteristic playfulness and grace. It’s as if every line of the poem is aware of itself as something that's being felt and written in the moment. Some parts deepen as the poem goes on; others find themselves deflated the next line down. Winkfield's clean, architectural drawings play variations on Padgett's nimbly shifting tones. Padgett says, \"I built a house that had ideas in it,\" and Winkfield reifies the house's geometry, its contraptions, and the echo of departing footsteps. This genial adventure goes beyond the usual categorization of New York School collaboration and into that something known as real life.\u003c\/p\u003e\n\u003cp\u003eEdition of five hundred copies, of which twenty-six are lettered and signed by the author and artist.\u003c\/p\u003e\n\u003cp\u003ePAPERBACK. 11x8.5 inches. 36 pages. 2019.\u003cbr\u003eISBN: 978-1-950055-02-9\u003c\/p\u003e","brand":"Cuneiform Press","offers":[{"title":"Default Title","offer_id":33930053189691,"sku":"","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0340\/3166\/5211\/products\/Encore-1.jpg?v=1605558441"},{"product_id":"john-godfrey-a-torch-for-orphans","title":"John Godfrey : A Torch for Orphans","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eIn the tradition of direct communication with the brain of the poet, this book is free.\u003c\/p\u003e\n\u003cp style=\"text-align: right;\"\u003e— Bernadette Mayer\u003c\/p\u003e\n\u003cp\u003eJohn Godfrey’s poems keep the figures and voids, the letters and haunts, the anthems and hums all equally active. They work perspective from the inside-out, making through their cuts the world be worn as seen, on the streets-mind and felt underneath. Living sonics keep time where decisions quietly and loudly get made, every line on in or about a plane, with connections. \u003cem\u003eA Torch for Orphans\u003c\/em\u003e turns out what it, being specific, and therefore mystical, is to be alone with many, to be many alone with this curious ongoing everybody, staying in the way of them who back walk, singing powerful unlikeness from the depths of the real spaces between us.\u003c\/p\u003e\n\u003cp style=\"text-align: right;\"\u003e— Anselm Berrigan\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eA Torch For Orphans\u003c\/em\u003e is a lovely book. Perpetual observer and arranger, John Godfrey walks city streets (and his internal cityscape) to give us a new music made of longing, people, weather, objects, and sensation. His poems walk the thin line between here and now—contingent but concrete, sensibly confusing, wise-guy clever, exquisitely sad, always sincere. Godfrey loves and worries over his world and everything in it, “Hiding love within wisdom\/when eyes reverberate light\/in otherwise\/stupid darkness.”\u003c\/p\u003e\n\u003cp style=\"text-align: right;\"\u003e— Lorraine Lupo\u003c\/p\u003e\n\u003cp\u003eJohn Godfrey’s \u003cem\u003eA Torch for Orphans\u003c\/em\u003e typifies the poet in the world and the world in the poet—never missing the dreamy and transfiguring the banal. Godfrey remains, as in all his oeuvre, consistent in imagination, devoid of poeticism, occasionally laugh-out-loud. He says it best in “Whispers All the Time”: “he goes where many others \/ likewise are more than less asleep.”\u003c\/p\u003e\n\u003cp style=\"text-align: right;\"\u003e— Paul Maziar\u003c\/p\u003e\n\u003cp\u003eA Torch for Orphans was typeset by Kyle Schlesinger at Cuneiform Press. The fonts are Martin Majoor's Scala and Scala Sans. There are five-hundred copies, or which twenty-six are lettered and signed by the author. Cover art by Jen Waters.\u003c\/p\u003e\n\u003cp\u003ePAPERBACK. 6x8.75 inches. 96 pages. 2020.\u003cbr\u003eISBN: 978-1-950055-04-3\u003c\/p\u003e","brand":"Cuneiform Press","offers":[{"title":"Default Title","offer_id":33930054893627,"sku":"","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0340\/3166\/5211\/products\/atorchfororphanscover01.jpg?v=1610504219"},{"product_id":"jim-dine-a-song-at-twilight","title":"Jim Dine : A Song at Twilight","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cdiv class=\"gs\"\u003e\n\u003cdiv class=\"\"\u003e\n\u003cdiv id=\":yg\" class=\"ii gt\"\u003e\n\u003cdiv id=\":102\" class=\"a3s aXjCH\"\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan face=\"ScalaSans\"\u003e“The people that I love, I love,” said Cecil Taylor. That goes for the named (for instance, Diana, Ted, Bob, Claude, Mandelstam, Barbara, Ernie, Ron and others) and the unnamed in these intimate, intense, fractured elegies. Reading the poems, we might think we know these people. There are the stunning longer poems, “Jewish Fate” and “My Letter to the Troops,” each figuring like a playlet, particular players performing their way from past and present time toward a horizon line—“We live forever\/On a minute.” Dine’s sense of measure (echoing Creeley here?) provides the tension between experiencing exuberance and the darker tones of grief. There’s painting in this book. Colors become words naming colors: blue, silver, white, grey, orange, black, yellow. Red goes with bolt cutters, a shawl, risotto, brain, smudges, coat, stars, ears, leaves, a shell, an axe, dreams. Loads of dreams in the poems. And places in this journey of the soul, for instance Ohio, Manhattan, Vienna, Rome and Paris, Montrouge where Dine had a studio and where many of the songs occur. “The soul…\/is a journey that never ages.” Timely and timeless, the Elysian Fields are here, in A Song at Twilight.\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan face=\"ScalaSans\"\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"text-align: right;\"\u003e\u003cspan face=\"ScalaSans\"\u003e— Norma Cole \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"ScalaSans\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"ScalaSans\"\u003eThe poems in A Song at Twilight are songs of experience as well as innocence, never settling down in one place, incessantly commuting between air and ink, music and words, always moving on. An all-over Orpheus, the angel of poetry materializes in the printed poems, each a different occasion to join the song. \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan face=\"ScalaSans\"\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"text-align: right;\"\u003e\u003cspan face=\"ScalaSans\"\u003e— Olivier Brossard \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"ScalaSans\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"ScalaSans\"\u003eWhen you have circled the sun more than eighty times, mourning has become deeply folded into your daily life and memories are apt to make an unexpected appearance. “I am a child with red ears.” There are many more dots to connect. “My thoughts\/go back to\/Jules Ferry Square\/where I was given\/the secrets of\/unhappiness.” And yet, despite the death of many close friends and colleagues, Jim Dine continues to be a purposeful and enthusiastic peripatetic celebrating the commonplace, often with a sweet humor “Return to the Metro!\/all the Alsatian ‘crybabies’\/are our cousins,\/(the little elves).” Dine’s perceptions are a torrent that he shapes. The music animating the poems is all his. Whether short or long and skinny on the pages, the poems are constellations of light brimming with declarations of love, sad and happy memories, of being alive to the tremors and aftershocks of the world. Through it all Dine remains full of wonder and in pursuit of joy. \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan face=\"ScalaSans\"\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"text-align: right;\"\u003e\u003cspan face=\"ScalaSans\"\u003e— John Yau\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"ScalaSans\" style=\"font-family: ScalaSans;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cspan face=\"ScalaSans\" style=\"font-family: ScalaSans;\"\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"hi\"\u003eA Song at Twilight was edited by Vicent Katz, designed by Jim Dine \u0026amp; Kyle Schlesinger, and typeset in Martin Majoor's Scala. There are 500 copies of this first edition of which 26 have been lettered and signed by the author. Cover art by Jim Dine.\u003c\/div\u003e\n\u003cdiv class=\"hi\"\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003ePAPERBACK. 7.5x11 inches. 94 pages. 2020.\u003cbr\u003eISBN: 978-1-950055-03-6\u003c\/p\u003e","brand":"Cuneiform Press","offers":[{"title":"Default Title","offer_id":33930059415611,"sku":"","price":20.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0340\/3166\/5211\/products\/asongattwilight.jpg?v=1610504148"},{"product_id":"lisa-rogal-la-belle-indifference","title":"Lisa Rogal : la belle indifference","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan\u003ela belle indifference\u003c\/span\u003e\u003c\/i\u003e\u003cspan\u003e exposes and inverts the conflict of desire, questioning the basis of want, and conceding the impracticality of the self. Rogal’s poems capture an inner auto-correcting at play in a boldly contemplative voice with overarching homages to \u003c\/span\u003e\u003cspan\u003eEmily\u003c\/span\u003e\u003cspan\u003e Dickinson that seal the work’s paradoxical balance of reservation and avowal. The false enticement of fantasy rings true, providing “the usual mode \/ to construct \/ a scene,” and quickly imploding.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: right;\"\u003e\u003cspan\u003e— Emily Toder\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis is a book about body in space, a body in space, perhaps a female body in space, perhaps a female’s body in space. It’s a work of art that seeks a space and is making space for this body that is pre-female, sub-female and supra-female and female-loving and desire-loving and careful and close female-desire-mind observing of that which is desire and that what is done to desire in the female body, to the female’s body. I want to say loudly that when I read \u003c\/span\u003e\u003ci\u003e\u003cspan\u003ela belle indifference\u003c\/span\u003e\u003c\/i\u003e\u003cspan\u003e I didn’t feel indifferent, I felt very elated and happy. I want to say that this is also a study of clouds. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: right;\"\u003e\u003cspan\u003e— Rachel Levitsky\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eLisa Rogal’s poems trace the distances between bodies, the fantasy of intimacy and the actual fact of closeness, all the unguarded feelings and mixed signals, the strangers who stare at you on the street and you look back and then look away, all the frozen moments when nothing (and everything) happens. “You can’t know what you want,” she writes, “when something’s being given to you,” and that’s true whenever something is being offered (whether you want it or not).  The momentum in Rogal’s poems leads her forward and back to a place that may or may not exist, and in the end might sweep her out to sea, but she is never unwilling to risk everything to get there. The poetics of total attention are on display here for your pleasure.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: right;\"\u003e\u003cspan\u003e— Lewis Warsh\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eTypeset in Monitor Pro. Design by Kyle Schlesinger with cover art by Flynn Maria Bergmann.\u003c\/p\u003e\n\u003cp\u003ePAPERBACK. 5.5x7.75. 92 pages. 2020. \u003cbr\u003eISBN: 978-1-950055-07-4\u003c\/p\u003e","brand":"Cuneiform Press","offers":[{"title":"Default Title","offer_id":34137103171643,"sku":"","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0340\/3166\/5211\/products\/BELLE5.jpg?v=1627679303"},{"product_id":"sunnylyn-thibodeaux-the-world-exactly","title":"Sunnylyn Thibodeaux : The World Exactly","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003ePoems moving as music, first thought the first chord, playing with trust to a notion of free improvisation, rhythm guiding the tongue to an ending fade. Each page seems as if news from a day, a report made magic by poetry's promise, a devotion—in love with a world thought safe, yet entirely askew. Sunnylyn's voice is on the radio, some mystic Southern station, and it sounds beautiful.\u003cbr\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: right;\"\u003e— Thurston Moore\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eHow can there be pleasure amid personal and societal dread? How can there be such beauty when one must constantly “survive\/ another night in this body, mind\/ racing with its tickertape?” Sunnylyn Thibodeaux’s poetry knows that this intermixture, in its idiosyncratic detail, its weather, temperament, tragedy, is the one thing there is. “The things we know\/ know us first.” So there’s a surprising amount of radiance and pleasure; San Francisco is real; the family is individuals; politics just there. You go on, shaky and graceful (full of \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003egrace\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: right;\"\u003e\u003cspan style=\"font-weight: 400;\"\u003e— Alice Notley\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eSunnylyn Thibodeaux’s poems hold an almost indescribable quality of intimacy, of nearness. In its freely melodic subtle though acute turns and shifts her ardent, lucky readers have come to cherish, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe World Exactly \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003ecarries a meditative, keenly perceptive, loose and wily music. Accompanied by an ever-expanding world vision, these vulnerable lyrics are freshly carved as today’s mango as the world burns. Lest we go too far along her cosmic reach into infinity, she has us put on some folk music, or some Lou Rawls. We could put this book on a turntable. Faithful to the actual, inherently political, “we are in desperate search of a back-up planet”––Thibodeaux traverses global disaster, family, motherhood, illness, death, all while living on the brink in our urban, infested, corporatized scapes. If you can only buy one poetry book this year, buy this one, or sneak it in your pocket. T\u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003ehe World Exactly \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003earrives just as our trust in the actual is under so much scrutiny. Thibodeaux is brave enough to tell us why we must stay alive: “that we make it to know love in its boundless array of faith. That we make it to know love.”\u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003e \u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: right;\"\u003e\u003cspan style=\"font-weight: 400;\"\u003e— Gillian Conoley\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe events of Sunnylyn’s poems are quotidian transubstantiation. We are brought into a communion where the phenomena of the apparent becomes an apparition of what’s been communicated to us. Musical and spiritual resonances arise as absence is invoked in the remains of what’s left. The impersonal traumas of the body meet the personal traumas of the world. “What would it look like\/if we left this place” sings the ghostly chorus.    \u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: right;\"\u003e\u003cspan style=\"font-weight: 400;\"\u003e— James Yeary\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: right;\"\u003e \u003c\/p\u003e\n\u003cp\u003ePAPERBACK. 5.8.5 inches. 92 pages. 2020.\u003cbr\u003e\u003clabel\u003eISBN\u003c\/label\u003e978-1-950055-08-1\u003cbr\u003e\u003c\/p\u003e","brand":"Cuneiform Press","offers":[{"title":"Default Title","offer_id":34399272009787,"sku":"","price":22.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0340\/3166\/5211\/products\/WORLD6.jpg?v=1627679531"},{"product_id":"larry-fagin-peaches-gravy-selected-poems-1966-2016","title":"Larry Fagin : Peaches \u0026 Gravy: Selected Poems 1966-2016","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eEdited by Miles Champion. \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003ePeaches \u0026amp; Gravy: Selected Poems 1966–2016\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e is the first wide-ranging selection of Larry Fagin's work to be published since his selected early poems, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eI'll Be Seeing You: Poems 1962–1976.\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e Edited with an introduction by Fagin's friend and literary executor, Miles Champion, the book primarily focuses on the poetry Fagin wrote after moving to New York City in 1967, his collaborations with the artists Joe Brainard, George Schneeman, and Richard Tuttle, and the prose poems he devoted himself to almost exclusively from the mid-1970s onward. \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003ePeaches \u0026amp; Gravy\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e sports a full-color cover by Richard Tuttle.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cmeta charset=\"UTF-8\"\u003e \u003cspan class=\"A1\"\u003e\u003cspan\u003eLarry Fagin (1937–2017) was a poet, editor, and publisher, and a great admirer of Lora Logic. His books include \u003ci\u003eRhymes of a Jerk\u003c\/i\u003e, \u003ci\u003eStabs\u003c\/i\u003e, \u003ci\u003eI’ll Be Seeing You: Poems 1962–1976\u003c\/i\u003e, \u003ci\u003eDig \u0026amp; Delve\u003c\/i\u003e (with Trevor Winkfield), \u003ci\u003eComplete Fragments\u003c\/i\u003e, and \u003ci\u003eEleven Poems for Philip Guston\u003c\/i\u003e. His selected poems, \u003ci\u003ePeaches \u0026amp; Gravy: Selected Poems 1966–2016\u003c\/i\u003e, and his selected non-poems, \u003ci\u003eSmash the State \u0026amp; Have a Nice Day: A Larry Fagin Reader\u003c\/i\u003e, were edited for Cuneiform Press \u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003eby Miles Champion\u003c\/span\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003ePAPERBACK. 5.25x7.75 inches. 204 pages. 2020.\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eISBN: \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e978-1-950055-09-8\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Cuneiform Press","offers":[{"title":"Default Title","offer_id":34399272599611,"sku":"","price":22.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0340\/3166\/5211\/products\/PEACHES1.jpg?v=1627679424"},{"product_id":"stephen-ratcliffe-rocks-more-rocks","title":"Stephen Ratcliffe : Rocks \u0026 More Rocks","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eThese meditations explore, with measured attention and endless affection, how the mind walks the body farther than it could ever walk itself, and makes it, in fact, walk out of itself and into a beyond populated by Shakespeare, Oppen, Catullus, Pound, and so many others, all counting each syllable as a step in a journey whose goal is itself. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: right;\"\u003e\u003cspan style=\"font-weight: 400;\"\u003e—Cole Swensen\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eIn \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eRocks\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, as always, Steve Ratcliffe soothes, excites, mesmerizes. These long poems about heroic mountains and lakes at high altitude are also about being alive in language and thought, about the intense performance (as in Hamlet—the play keeps intruding on the poem) of presence in the world, and about syllables, as counted, step by step, stanza by stanza, line by line, with commas systematically placed, forward, enjambed—in one continuous flow—until an ending appears. These poems are music of the impersonally personal, a life lived only now, beyond conceived identity. Ratcliffe’s ongoing commitment to the practice of poetry and to being in nature’s silences has produced a barely graspable monument to our time —in words solid and elemental as rocks.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: right;\"\u003e\u003cspan style=\"font-weight: 400;\"\u003e—Norman Fischer \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eA wonderful extended meditation that arrived as the poet, hiking in the Sierra, was, in his own words, “walking and thinking and writing, walking, thinking, writing.” What arose was a way of existing directly in the sense perceptions, in the images arising with them, in even the written words and spaces as they unscrolled as the poet wrote them down, pausing for a few moments to jot them in a tiny notebook. The pieces of knowledge and speculation that inevitably attach in the mind as it moves stay in the mix. Nothing is left out of this unscrolling. The phrase “as if” echoes through the poem(s):  little stone cairns signaling not just a slight shift, as an enlarging view of meaning, but an awareness of a shift that is a discontinuity, itself a step in the walking poem, the poem walking. This is a poem where the continuous moment and movement—the environment if you will—takes over any prior presumed location of the one writing (and thinking and walking). When you read it, take every word literally.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: right;\"\u003e\u003cspan style=\"font-weight: 400;\"\u003e—Susan Thackrey  \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eRatcliffe’s answer to Basho, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eMore\u003c\/span\u003e\u003c\/i\u003e \u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eRocks\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e travels along an axis of spontaneity and formal restraint, distance and intimacy, where natural landscape becomes a landscape of the mind. It is poetry as practice, a moving meditation, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003ethat form of presence\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e – \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003econtinuous\/as moments.\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: right;\"\u003e\u003cspan style=\"font-weight: 400;\"\u003e                                                                        —Eric Selland\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eRocks\u003c\/em\u003e was written on a backpacking trip in the Sierra Nevada between South Lake and Whitney Portal, 120 miles over six 12,000-foot passes August 10-18 1993. I wrote in three-line stanzas (five syllables in the first line, three in the second, five in the third) as a kind of walking meditation. \u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eMore Rocks\u003c\/em\u003e was written on a backpacking trip in the Sierra Nevada between North Lake and South Lake, 60 miles over three 12,000-foot passes August 15-21, 1994. I wrote in two-line stanzas (four syllables in each line, a mark of punctuation in each pair of lines) as a kind of walking meditation.\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003ePAPERBACK. 4.5x6.25inches. 104 pages. 2020.\u003cbr\u003eISBN: 978-1-950055-05-0\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003ePAPERBACK. 4.5x6.25inches. 136 pages. 2020.\u003cbr\u003eISBN: 978-1-950055-06-7\u003c\/span\u003e\u003c\/p\u003e","brand":"Cuneiform Press","offers":[{"title":"Default Title","offer_id":34399273025595,"sku":"","price":40.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0340\/3166\/5211\/products\/morerocks01.jpg?v=1610503970"},{"product_id":"kyle-schlesinger-ed-a-poetics-of-the-press","title":"Kyle Schlesinger, ed. : A Poetics of the Press: Interviews with Poets, Printers, \u0026 Publishers","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eThe publication of Donald Allen’s \u003cem\u003eThe New American Poetry\u003c\/em\u003e in 1960, as well as the Vancouver and Berkeley poetry conferences, sparked a poetic renaissance. It was an era rich in exploration and innovation that articulated a new relationship between form and content. Simultaneously, American artists began working with the book as a creative medium that rivaled the European tradition of the early twentieth century. This book is the first collection of interviews with some of the pioneers working at the intersection of the artists book and experimental writing that continues to this day.\u003c\/p\u003e\n\u003cp\u003eIncludes interviews with Keith \u0026amp; Rosmarie Waldrop (Burning Deck Press), Tom Raworth (Matrix Press and Goliard Press), Lyn Hejinian (Tuumba Press), Alan Loney (Electio Editions), Mary Laird (Quelquefois Press and The Perishable Press Limited), Jonathan Greene (Gnomon Press), Alastair Johnston (Poltroon Press), Johanna Drucker (Druckwerk), Philip Gallo (The Hermetic Press), Steven Clay (Granary Books), Charles Alexander (Chax Press), Annabel Lee (Vehicle Editions), Inge Bruggeman (INK-A! Press), Matvei Yankelevich \u0026amp; Anna Moschovakis (Ugly Duckling Presse), Aaron Cohick (NewLights Press), and Scott Pierce (Effing Press).\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"UTF-8\"\u003eKyle Schlesinger\u003cspan\u003e is a poet, printer, and professor. He is the author of\u003c\/span\u003e\u003cem\u003eA New Kind of Country\u003c\/em\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cem\u003eVast Acid West\u003c\/em\u003e\u003cspan\u003e (with Crane Giamo), \u003c\/span\u003e\u003cem\u003eSwish Void\u003c\/em\u003e\u003cspan\u003e (with Grant Cross), Sydney Omarr’s \u003c\/span\u003e\u003cem\u003eWild Children\u003c\/em\u003e\u003cspan\u003e (with Flynn Maria Bergann),\u003c\/span\u003e\u003cem\u003e Keep the Change\u003c\/em\u003e\u003cspan\u003e (with Deborah Poe), \u003c\/span\u003e\u003cem\u003eParts of Speech\u003c\/em\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cem\u003eCommonplace\u003c\/em\u003e\u003cspan\u003e, and other books. Scholarly works include \u003c\/span\u003e\u003cem\u003eThreads Talks\u003c\/em\u003e\u003cspan\u003e (with Steve Clay) and \u003c\/span\u003e\u003cem\u003ePoems \u0026amp; Pictures\u003c\/em\u003e\u003cspan\u003e. He is the proprietor of Cuneiform Press\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eILLUSTRATED PAPERBACK. 5.75x8.75 inches. 384 pages. 2021.\u003cbr\u003eISBN: \u003cmeta charset=\"UTF-8\"\u003e\u003cspan\u003e 978-1-937027-74-2\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eCo-published with Ugly Duckling Presse. A special edition of this book limited to 100 copies is available from \u003ca href=\"https:\/\/uglyducklingpresse.org\/publications\/a-poetics-of-the-press\/\"\u003eUgly Duckling Presse\u003c\/a\u003e.\u003c\/p\u003e","brand":"Cuneiform Press","offers":[{"title":"Default Title","offer_id":39567168143419,"sku":"","price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0340\/3166\/5211\/products\/POETICS3.jpg?v=1627679921"},{"product_id":"kyle-harvey-cosmographies","title":"Kyle Harvey : Cosmographies","description":"\u003cp style=\"font-weight: 400;\"\u003eIt's always been the matter with poetry\u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003eposing the question       asking the answer\u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003eputting the next      opener and shaper\u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003eKyle Harvey lets those hidden corners show\u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003ea flash in the dense      a wink to a world\u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003edancing substances       moving poems   \u003c\/p\u003e\n\u003cp style=\"font-weight: 400; text-align: right;\"\u003e— Clark Coolidge\u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003e \u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003eKyle Harvey’s \u003cem\u003eCosmographies\u003c\/em\u003e is a fearless book. In the eponymous opening section he really does take on the origins of time and space, mind and language; he then goes on in “The Alphabet That Never Recovers” to channel early humans’ experiences of language, thought, and spirituality; and finally in “Western Suites,” gets personal, if you can say that such free-swinging and wide open language is ever exactly personal in any usual sense. \u003cem\u003epoems\/go, taking\/with them only\/what we let go of.\/Whole oceans of meaning\/revealed.\/ Don’t ask me\/what I mean\/Don’t tell me\/what you mean.\/ Meaning\/is the murder\/ of process.\u003c\/em\u003e Indeed! \u003c\/p\u003e\n\u003cp style=\"font-weight: 400; text-align: right;\"\u003e — Norman Fischer\u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003e \u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003eA humility born of contemplation of the cosmos underwrites the poems of Kyle Harvey’s \u003cem\u003eCosmographies\u003c\/em\u003e, radiating outward from the poet’s I to the furthest reaches of the universe. Literary time falls away and history too and place as only local, and one is where one is, which is here, in geological space\/time, Denver Nuggets notwithstanding. It would almost be prayer if it weren’t too much poem. The visionary still puts in the work, weighing and measuring his materials with a careful hand. A mountain Mallarmé withdrawing volumes from adjacent book cliffs, Harvey has built a refuge from the transactional chaos of an illyrical world, a cool place to inhabit. \u003c\/p\u003e\n\u003cp style=\"font-weight: 400; text-align: right;\"\u003e\u003cspan\u003e \u003c\/span\u003e— Garrett Caples\u003c\/p\u003e\n\u003cp\u003eKyle Harvey is a poet, filmmaker, photographer, and musician. His collection, \u003ci\u003eHyacinth\u003c\/i\u003e, was a finalist for the Colorado Book Award, and winner of the Mark Fischer Poetry Prize. His work has appeared in \u003ci\u003eAmerican Life in Poetry, Dirty Chai, Entropy, Heavy Feather Review, HOUSEGUEST, Metatron, Pilgrimage, SHAMPOO, Think Journal, The Wallace Stevens Journal, \u003c\/i\u003eand elsewhere. He has published two serial poems, \u003ci\u003eJuly, \u003c\/i\u003eand \u003ci\u003eFarewell Materials \u003c\/i\u003e(Lithic Press), as well as a package of broadsides titled \u003ci\u003eThe Alphabet’s Book of Colors \u003c\/i\u003e(Reality Beach). Harvey directed the documentary films, \u003ci\u003ePortolano: A Film About Jack Mueller \u003c\/i\u003eand \u003ci\u003eIt’s Nice to Be with You Always: A Film About Neeli Cherkovski\u003c\/i\u003e. He lives with his wife and children in Fruita, Colorado, where he manages Lithic Bookstore \u0026amp; Gallery and designs books for Lithic Press.\u003c\/p\u003e\n\u003cp style=\"font-weight: 400; text-align: left;\"\u003ePAPERBACK. 7x9 inches. 100 pages. 2022.\u003cbr\u003eISBN: 978-1-950055-11-1\u003c\/p\u003e","brand":"Cuneiform Press","offers":[{"title":"Default Title","offer_id":40720016834619,"sku":"","price":20.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0340\/3166\/5211\/products\/COSMOGRAPHIESCOVER2022.jpg?v=1661705337"},{"product_id":"danny-rosen-the-tuscan-journals-other-poems","title":"Danny Rosen : The Tuscan Journals \u0026 Other Poems","description":"\u003cp style=\"font-weight: 400;\"\u003eI took a trip to Neeli… Italy was in the background. From various notebooks, landscapes, cafés, frantic roads… \u003cem\u003eThe Tuscan Journals \u003c\/em\u003earose. It is at heart an homage to poet Neeli Cherkovski, with whom I traveled in the summer of 2018. I asked of his plans for the journey and he replied, “we'll get on the plane, fly to Milan, go through customs, get the car, drive to Bagnone, get our room, have something to eat, and go to sleep. In the morning we’ll get up, go to the bar, have our coffee, and… get to work.” And so we did. It is invigorating to be in Neeli’s presence. He is a poet. He makes poems throughout the day, every day. His energy is infectious.\u003c\/p\u003e\n\u003cp style=\"font-weight: 400; text-align: right;\"\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003cspan\u003e— \u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003eDanny Rosen\u003c\/p\u003e\n\u003cp\u003eEach morning Danny pees on the bank of the largest unnamed tributary to the East Branch of Big Salt Wash which flows into the Colorado River several miles below Fruita, Colorado. Early on he learned to swing a hammer and that changed everything. He has been a poet, publisher, teacher, geologist, astronomer, and carpenter. In the middle of his journey he found himself running an astronomical observatory in the heart of the Namib Desert under the southern sky where he cultivated an optimistic outlook based on his familiarity with big space and deep time. He is the author of \u003ci\u003ePrimate Poems \u003c\/i\u003e(2016), \u003ci\u003eGhosts of Giant Kudu \u003c\/i\u003e(2013), and \u003ci\u003eThat Curve \u003c\/i\u003e(2006). He founded Lithic Press in 2007 and has run Lithic Bookstore since its opening in 2015. An inveterate rock hanger, he has collaborated with beavers on a variety of landscape installations.\u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003eCalligraphy by Sharon Roos. \u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003ePAPERBACK. 5.25x8.25 inches. 80 pages. 2022. \u003cbr\u003eISBN: 978-1-950055-13-5\u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003e \u003c\/p\u003e","brand":"Cuneiform Press","offers":[{"title":"Default Title","offer_id":40720059072571,"sku":"","price":20.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0340\/3166\/5211\/products\/TUSCANCOVER.jpg?v=1661706650"},{"product_id":"lorraine-lupo-the-unwanted-sounds","title":"Lorraine Lupo : The Unwanted Sounds","description":"\u003cp style=\"font-weight: 400;\"\u003eIf the \"unwanted sounds\" in Lorraine Lupo's new collection of poems are implacable, they are also, and even more vividly, those odd orphans of daily life for which we feel a special affection and empathy. Acutely attuned to these, Lupo proposes a funny, beleaguered, bemused, and slightly haunted alter-ego who, while opining that it's \"not the fate of words \/ to make sense,\" makes terrific sense out of words. Her observations are wry and often sneakily urgent in the matter of how to live. By definition never satisfied, in one poem she wants to \"eat cookies and donuts, hump trees, drink coffee, sleep running\"; in the next she roams through the riches of real and missed experiences, reminding us that \"History isn't interesting \/ if you only remember one thing.\" These are sounds you may not know you want but will be oh so lucky to have.\u003c\/p\u003e\n\u003cp style=\"font-weight: 400; text-align: right;\"\u003e— Jean Day\u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003eFast, sharp, and unfathomably deep, wide open and utterly unpredictable, Lorraine Lupo’s poems always make perfect sense, though I often don’t know what that sense is. She’s way out in front of me, and what a pleasure to jog along after her giddily trying to catch up. That’s what makes me so sure she’s a genius. This poetry is where, for instance, “You put on your wetsuit \/ and get acquainted with the sublime,” and where “Weather takes the world \/ by its fingertips \/ and puts it somewhere else.” It’s the poetry of everyday existence in all its oddity and “nothingbutness,” in other words. It gives me joy.\u003c\/p\u003e\n\u003cp style=\"font-weight: 400; text-align: right;\"\u003e— Barry Schwabsky\u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003eNow more than ever I look to poetry to offer another way of seeing into conditions, including the conditions of language. I want poems that help to unscramble the codes, that keep me vigilant and free of stasis, that keep \u003cem\u003ethe unwanted sounds\u003c\/em\u003e at bay if you will. The poems in Lupo’s new collection perform this exact and generous gift. Like a waking dream, her lines move quickly down the page with electric precision, amassing into an active and mutable arc of thinking. Divided into three sections, Lupo modulates her pressures with the language of absence and presence, beginning with “I Wasn’t There” and ending with “Me As A Shape”, while “Other Things” plays the apt bridge in the middle. There is a deft interplay of lines sussing things out, sussing language itself out, against a backdrop of architecture and interiors. In Lupo’s world, doors, walls, buildings, mirrors, and windows all have something to show us. In “Yes Is Always The Answer”: “I like walls because they \/ Have no choice \/ We correspond to the wall as temporality \/ Or growing like a vine \/ Describing, describing \/ Changing the world with these additions \/ Never a bodily jump.” And in “Utility”: “The window makes sense of a view \/ the way the boat makes sense of water \/ the way the door chooses \/ who’s home when we knock.” Perhaps the unwanted sounds are actually the very places in language I’m so ferociously trying to get to. Language stripped of its numbing manipulations. The peeled back hard to reach various spaces between things. That’s what \u003cem\u003eThe Unwanted Sounds\u003c\/em\u003e has on offer. The collection opens with a solid quote from Elizabeth Rangel — “Poetry, I’m used to it.” Indeed, Lupo’s poems are vital. Get used to it!\u003c\/p\u003e\n\u003cp style=\"font-weight: 400; text-align: right;\"\u003e— Ann Stephenson\u003c\/p\u003e\n\u003cp\u003eLorraine Lupo loves collaboration. As the Poet-In-Residence at Creative Growth Art Center, she facilitates collaborative poetry workshops which have resulted in the books \u003ci\u003eThe Poem Is Telling Me I Remember \u003c\/i\u003eand \u003ci\u003eDear Volcano \u003c\/i\u003e(both from Slacks Books). She has also collaborated with artist and architect Max Jacobson on the video series “Guy: A Sad, Faced Paced Story” and the chapbook \u003ci\u003eDust Exchange \u003c\/i\u003e(Slacks Books). Lorraine edits the Periodic Postcard, an art and text series distributed by the USPS.\u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003ePAPERBACK. 5.25x8.25 inches. 104 pages. 2022.\u003cbr\u003eISBN: 978-1-950055-10-4\u003c\/p\u003e","brand":"Cuneiform Press","offers":[{"title":"Default Title","offer_id":40720106553403,"sku":"","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0340\/3166\/5211\/products\/THEUNWANTEDSOUNDSCOVER.jpg?v=1661708250"},{"product_id":"quick-millions","title":"Paul Maziar : Quick Millions","description":"\u003cp\u003eI hear an unerring genius for phrasing in this voice, a poet brimming with charm and ‘self-selecting’ vividness. I am reminded of the work of Eileen Myles, Pierre Reverdy, and John Wieners. The voice is being reshuffled to the point of constant motion, like when a notebook poem just fits together endlessly, and the poet can even speak through someone else’s text with an alarming clarity. Paul Maziar introduces a new way of making poems through addition, subtraction, and through the beheading of storytelling. He is a true hero locked in his quest. \u003ci\u003eQuick Millions\u003c\/i\u003e is dripping with magic — get a handle on it as quickly as you can.\u003c\/p\u003e\n\u003cp style=\"text-align: right;\"\u003e— Cedar Sigo\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003ePaul Maziar’s poems communicate fluently across bursts of interruption, code-switches, and second thoughts. What gets communicated is an aesthetic of exuberant nonchalance, a devil-may-care attitude that is as attractive as it is elusive. Inner and outer realms converge to paint a cubist picture of experience, alternately dreamlike and awake to possibility, both current and buried deep in the past. “I wake up \/ a funny form \/ on a flat speck \/ of red silt \/ a million or more years on…” Maziar’s sensibility, refined through his work as an art critic, is relaxed and alert. It’s a breath of fresh air.\u003c\/p\u003e\n\u003cp style=\"text-align: right;\"\u003e— Kit Robinson\u003c\/p\u003e\n\u003cp\u003ePaul Maziar is the author of two books of art writings, \u003ci\u003eOne Foot in the Other World \u003c\/i\u003eand \u003ci\u003eFlower Power\u003c\/i\u003e, as well as a handful of chapbooks of poems including \u003ci\u003eTo The Air\u003c\/i\u003e, a collaboration with artist Cynthia Lahti (Cooley Gallery); \u003ci\u003eNew Kind of Neighborhood\u003c\/i\u003e, a collaboration with Sam Lohmann (Great Fainting Spells); and \u003ci\u003eLittle Advantages \u003c\/i\u003e(Couch Press). He’s the proprietor of Breather Editions and, alongside Aaron Simon, editor of Ergo Press.\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e\u003cbr\u003eCover art by George Horner\u003cbr\u003ePAPERBACK. 5.5x8 inches. 100 pages. 2023\u003cbr\u003eISBN 978-1-950055-14-2\u003c\/p\u003e\n\u003cp style=\"text-align: right;\"\u003e \u003c\/p\u003e","brand":"Cuneiform Press","offers":[{"title":"Default Title","offer_id":41089388478523,"sku":"100","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0340\/3166\/5211\/products\/QUICKMILLIONSCOVER-1.jpg?v=1674521366"},{"product_id":"lewis-warsh-archie-rand-single-occupancy","title":"Lewis Warsh \u0026 Archie Rand : Single Occupancy","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eSingle Occupancy is a classic New York School collaboration between award-winning poet Lewis Warsh and revered painter Archie Rand. This collaboration includes 126 units, ink on paper, the originals measuring 19x16 inches each. Working in real time and space, Warsh and Rand complete the project in 2017. \u003ci\u003eSingle Occupancy\u003c\/i\u003e is a handsome hardcover limited edition containing the collaboration in its entirety.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eILLUSTRATED HARDCOVER. 8.5x11 inches. 136 pages. 2022.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eISBN: 978-1-950055-12-8\u003c\/span\u003e\u003c\/p\u003e","brand":"Cuneiform Press","offers":[{"title":"Default Title","offer_id":41154900820027,"sku":"","price":50.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0340\/3166\/5211\/products\/SINGLEOCCUPANCY.jpg?v=1678291669"},{"product_id":"ron-padgett-dick-a-memoir-of-dick-gallup","title":"Ron Padgett : DICK: A Memoir of Dick Gallup","description":"\u003cp\u003eOne of America’s finest poets also turns out to be one of our premier memoirists. With his remarkably engaging trio of portraits, \u003ci\u003eTed\u003c\/i\u003e, \u003ci\u003eJoe \u003c\/i\u003eand now perhaps his best, \u003ci\u003eDick\u003c\/i\u003e, Padgett provides a master class about how to convey the complexities of friendship. Insightful, humorous, anecdotally rich and ruefully honest, its sense of fair play, without pulling any punches, is astonishing and enviable.\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: right;\"\u003e— Phillip Lopate\u003c\/p\u003e\n\u003cp\u003eI read \u003ci\u003eDick \u003c\/i\u003ewith rapt fascination. It leaves me tongue-tied with respect.\u003c\/p\u003e\n\u003cp style=\"text-align: right;\"\u003e— Peter Schjeldahl\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003ePoet Ron Padgett is the author of memoirs of Wayne Padgett (his father), Ted Berrigan, and Joe Brainard. Padgett’s \u003ci\u003eHow Long \u003c\/i\u003ewas a Pulitzer Prize finalist in poetry and his \u003ci\u003eCollected Poems \u003c\/i\u003ewon the LA Times Prize for the best poetry book of 2014 and the William Carlos Williams Award from the Poetry Society of America, from whom he also received the Frost Medal. His translations include \u003ci\u003eZone: Selected Poems of Guillaume Apollinaire \u003c\/i\u003eand Blaise Cendrars’ \u003ci\u003eComplete Poems\u003c\/i\u003e. Seven of his poems were used in Jim Jarmusch’s film, \u003ci\u003ePaterson\u003c\/i\u003e. New York City has been his home base since 1960. He was Dick Gallup’s friend for seventy-one years.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eDick \u003c\/i\u003ewas typeset in Albertina MT Pro and designed by\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003eKyle Schlesinger at the Cuneiform Press. In addition to the trade paperback edition, there are twenty-six hardcover copies of this book lettered and signed by the author.\u003c\/p\u003e\n\u003cp\u003eLIMITED EDITION: ILLUSTRATED HARDCOVER lettered and signed by Padgett.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e\u003cspan class=\"Apple-converted-space\"\u003eILLUSTRATED PAPERBACK. 5x8.5 inches. 242 pages. 2024 \u0026amp; 2026.\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"Apple-converted-space\"\u003eISBN: \u003c\/span\u003e978-1-950055-15-9\u003cbr\u003e\u003c\/p\u003e","brand":"Cuneiform Press","offers":[{"title":"Standard Edition","offer_id":43597125025851,"sku":null,"price":25.0,"currency_code":"USD","in_stock":true},{"title":"Limited Edition","offer_id":43597145243707,"sku":null,"price":200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0340\/3166\/5211\/files\/PBDICKCOVER-1.png?v=1739646861"},{"product_id":"kostas-anagnopoulos-night-painting","title":"Kostas Anagnopoulos : Night Painting","description":"\u003cp\u003eAs experimental as Stein, and as personal as O’Hara, Anagnopoulos creates his own mesmerizing language in this ripe, delicate collection. These are poems as immediate and intimate as an unlocked diary. The result is a wild and liberating work filled with tenderness.\u003c\/p\u003e\n\u003cp style=\"text-align: right;\"\u003e\u003cspan\u003e\u003ci\u003e\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/i\u003e\u003c\/span\u003e— Ira Sachs\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eI admire the clarity, simplicity, and casual elegance of these poems. Kostas Anagnopoulos’ style is distinctive: keenly perceptive, playful, practical, and impractical at the same time, not trying to convince or coerce, remarkably free from hype —“Trees need no introduction\/everyone knows sap when it flows.” Throughout this substantial collection, Anagnopoulos writes about the business of life — cooking, doing laundry, running errands, making money, having sex, and keeping appointments, all at a brisk pace, never “wasting precious momentum\/while the sun goes down on you.” It’s delightful to spend a day, a night, a weekend or more with these poems. You’ll come away refreshed!\u003c\/p\u003e\n\u003cp style=\"text-align: right;\"\u003e\u003cspan\u003e\u003ci\u003e\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/i\u003e\u003c\/span\u003e— Elaine Equi\u003c\/p\u003e\n\u003cp\u003eEveryone has disconnected thoughts and impressions. But Kostas Anagnopoulos is master of a hidden syntax that reveals how even the most transitory perceptions serve together in one’s own redemptive dynamic of courage, reflection, and care. Reading his quicksilver yet reconstituting poems in \u003ci\u003eNight Painting\u003c\/i\u003e can leave you ready—it did me—to count him as a vivid exemplar, perhaps confiding counsel, and certainly as a friend.\u003c\/p\u003e\n\u003cp style=\"text-align: right;\"\u003e\u003ci\u003e\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/i\u003e— Douglas Crase\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eNight Painting \u003c\/i\u003eis a play (noun and verb) with words. The poet observes the minute and the abstract yielding short phases that are pictures with a proclivity for the quotidian: ‘skimming all the while with a slotted spoon’, ‘the cake is inverted’, ‘blowing bags into the trees.’ Anagnopoulos is looking, changing, asking. Objects exist proffering beauty and solace. You move on, filling our eyes.\u003c\/p\u003e\n\u003cp style=\"text-align: right;\"\u003e— Nancy Shaver\u003c\/p\u003e\n\u003cp\u003eKostas Anagnopoulos was born in Chicago on November 20, 1974. His first book of poetry, \u003ci\u003eMoving Blanket\u003c\/i\u003e, was published by Ugly Duckling Presse (2010). He is the proprietor of two stores in Oak Hill, New York: Pidgin and Norman Hasselriis. In the long-standing tradition of poets publishing poets, he runs the small press Insurance Editions, through which he publishes the work of peers he admires. Anagnopoulos also volunteers at his local library, where he leads Poet Hour, a free intergenerational reading and writing program. He divides his time between Rensselaerville, New York, and Jackson Heights, Queens, where he lives with his husband and daughter.\u003c\/p\u003e\n\u003cp\u003ePrinted in January 2026 by BookMobile in Minneapolis. Typeset in Sabon, a descendant of the types of Claude Garamond designed by Jan Tschichold in 1964. Design by Kyle Schlesinger with \u003cspan\u003ecover art by Katrien de Blauwer.\u003cspan class=\"Apple-converted-space\"\u003e \u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003eLIMITED EDITION: Twenty-six copies have been lettered and signed by the poet and artist.\u003c\/p\u003e\n\u003cp\u003ePAPERBACK. 5.5x9.25 inches. 178 pages. 2026.\u003cbr\u003e\u003cspan\u003eISBN: \u003c\/span\u003e978-1-950055-16-6\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Cuneiform Press","offers":[{"title":"Standard Edition","offer_id":43573302329403,"sku":null,"price":25.0,"currency_code":"USD","in_stock":true},{"title":"Limited Edition","offer_id":43585992032315,"sku":null,"price":100.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0340\/3166\/5211\/files\/NIGHTPAINTINGCOVER_final_lowres_reference.jpg?v=1773258095"},{"product_id":"jim-dine-each-day-at-night","title":"Jim Dine : Each Day, At Night (Intimacy and other poems)","description":"\u003cp class=\"MsoNormal\" style=\"text-align: left;\"\u003eThese wonderful poems, full of the energy that comes from loving art as life and life as art, demonstrate the intense and joyous originality of Jim Dine’s mind and language. The book is not only a total pleasure to read, but it will stay with you long after. Here is a picture of life in its purest form as we “have gone on \/ about our business” and find “our days \/ full of affection, \/ for life \/ and citrus.” Full of sweetness and acid, these poems are witty, wise and tender.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"text-align: right;\"\u003e— Karin Roffman\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"text-align: left;\"\u003e\u003cspan style=\"font-size: 0.875rem;\"\u003eThese lines: \u003c\/span\u003e\u003cspan style=\"font-size: 0.875rem;\"\u003e“Again rose and sweet-pea jelly\/ a vein\u003c\/span\u003e\u003cspan style=\"font-size: 0.875rem;\"\u003e¼\u003c\/span\u003e\u003cspan style=\"font-size: 0.875rem;\"\u003e”\u003c\/span\u003e\u003ci style=\"font-size: 0.875rem;\"\u003e \u003c\/i\u003e\u003cspan style=\"font-size: 0.875rem;\"\u003etransport us into Jim Dine’s mind, a swish of hand over the words in his elaborate personal account. The magnificent details pull the reader into his heart; he paints with words, climaxing not with death but awareness. His story opens to be read with cautious appreciation: love regrets; Roses; romancing poets; Creeley talk; open heart Love; Jim the printer; private joy; abstract distances; another life; words dissolve into images; colors bright with Passion. There is a lot to peruse here. Readers beware. You won’t be able to read \u003c\/span\u003e\u003ci style=\"font-size: 0.875rem;\"\u003eEach Day, At Night\u003c\/i\u003e\u003cspan style=\"font-size: 0.875rem;\"\u003e just once. He broke the mold of memories with his broad RED paint wash. Covered, the words magnify. This man knows his talents, knows his fate. He enjoys his life by writing about it as he continues to paint it.\u003c\/span\u003e\u003cem\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" align=\"right\"\u003e— Patty Mucha\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eWhat a great master of plasticity. Energy and capacity and beauty much to admire in this sumptuous collection of Jim Dine’s poetry. With pentimento manuscript and\u003cbr\u003evisuals. Poems like sculptures. Poems as testimonies to friendship to profundity of\u003cbr\u003elifelong haunting curiosity in myriad directions. Gustatory heart. And heartbreak for a shimmering wounded world. Tall order: quotidian detail, poetry-in-action never messy but musical. Pruning the garden, travel, home, muscular skinny screeds and elegies, endless conversation, struggle and wit, a huge span. Hail the hunter and gatherer! How he builds poetry with such a firm hand. Yet intimacy day and night functions and magically protects as well. He is in league with Tom Raworth, Bob Creeley, Ron Padgett. Outliers, NY Schoolers, Black Mountaineers. Our genius avant-garde. I really hear and see you here, Jim. It’s a tonic, a lifeline, so refreshing. \u003c\/p\u003e\n\u003cp class=\"MsoNormal\" align=\"right\"\u003e— Anne Waldman \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eBeautiful rhythms undergird these new poems from Jim Dine. “Tulips equal perfect and deep love” – it could be true, or not, but it sounds true. Like a mathematical formula, poetry reminds us it is not math, not corporations, not finance, not even STEM, though it may, as in this case, have stems. Jim Dine’s poetry thrives on paradox, the thing that is true even though it seems impossible, as in the book’s very title. And that title brings us close to the truth of Dine’s poetry, and his art as a whole, which is the continuity to be found in language, in color, in changes of light during twenty-four hours, in what unites us. A heroic, celebratory collection by a master poet who wants us to join him, whether in rain or in sun, “A virtuoso of voices.”\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" align=\"right\"\u003e— Vincent Katz\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eEach Day, At Night \u003c\/i\u003ewas edited and designed by Jim Dine and Daniel Clarke. Typeset in Hermann Zapf’s Palatino, Optima, and Michelangelo. This first edition is limited to five-hundred copies\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003eof which twenty-six are lettered and signed\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003eby the author and include\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003ea limited-editon print by Jim Dine.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" align=\"right\" style=\"text-align: left;\"\u003eLIMITED EDITION: 26 hardcover copies lettered and signed by the poet, plus an original lithograph printed on Rives by Dine, also signed and numbered.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" align=\"right\" style=\"text-align: left;\"\u003eILLUSTRATED HARDCOVER. 7.5x9.75 inches. 120 pages, some in color. 2026.\u003cbr\u003e\u003cspan\u003eISBN: \u003c\/span\u003e978-1-950055-18-0\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\" align=\"right\"\u003e \u003c\/p\u003e","brand":"Cuneiform Press","offers":[{"title":"Limited Edition","offer_id":43573320745019,"sku":null,"price":200.0,"currency_code":"USD","in_stock":true},{"title":"Standard Edition","offer_id":43586776694843,"sku":null,"price":40.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0340\/3166\/5211\/files\/EachDay_AtNightCover.jpg?v=1773260517"},{"product_id":"larry-fagin-smash-the-state-have-a-nice-day","title":"Larry Fagin : Smash the State \u0026 Have a Nice Day: A Larry Fagin Reader","description":"\u003cp\u003eThe primary motivating thought behind this book is that some of the lists Larry Fagin shared with friends and students over the years might be of interest to others. His three most substantial lists—“Film Favorites,” “Poetry,” and the longest by far, “Prose”—are here accompanied by other, shorter lists and occasional pieces of various kinds: travel writing (both armchair and actual), notes for talks, interviews Fagin conducted with himself (like Marcel Duchamp’s bachelor, the list-maker grinds his own chocolate), and assorted writing exercises and prompts. Designed by Richard Tuttle.\u003cbr\u003e\u003cbr\u003eThere is no one comparable to Larry Fagin in cultural breadth or clarity of approach. He gets results.\" — Bill Berkson\u003cbr\u003e\u003cbr\u003eI don't care to write criticism, as you can readily tell, but I do care to think about Larry and his writings. I would like to have a giant book of his poems to read instead of my head.\" — Ted Berrigan\u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003cspan class=\"A1\"\u003e\u003cspan\u003eLarry Fagin (1937–2017) was a poet, editor, and publisher, and a great admirer of Lora Logic. His books include \u003ci\u003eRhymes of a Jerk\u003c\/i\u003e, \u003ci\u003eStabs\u003c\/i\u003e, \u003ci\u003eI’ll Be Seeing You: Poems 1962–1976\u003c\/i\u003e, \u003ci\u003eDig \u0026amp; Delve\u003c\/i\u003e (with Trevor Winkfield), \u003ci\u003eComplete Fragments\u003c\/i\u003e, and \u003ci\u003eEleven Poems for Philip Guston\u003c\/i\u003e. His selected poems, \u003ci\u003ePeaches \u0026amp; Gravy: Selected Poems 1966–2016\u003c\/i\u003e, and his selected non-poems, \u003ci\u003eSmash the State \u0026amp; Have a Nice Day: A Larry Fagin Reader\u003c\/i\u003e, were edited for Cuneiform Press \u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003eby Miles Champion\u003c\/span\u003e\u003cspan\u003e.\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eSmash the State \u0026amp; Have a Nice Day \u003c\/i\u003ewas edited by Miles Champion and designed by Richard Tuttle. Typeset in Martin Majoor’s Scala by Kyle Schlesinger, this first edition is limited to 500 copies, of which thirty-three are signed by Champion and Tuttle.\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eLIMITED EDITION: 33 copies signed and numbered by Champion and Tuttle\u003cbr\u003eSTANDARD EDITION: HARDCOVER. 5x12 inches. 216 pages. 2026.\u003cbr\u003e\u003c\/span\u003eISBN: 978-1-950055-19-7\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Cuneiform Press","offers":[{"title":"Limited Edition","offer_id":43596371886139,"sku":null,"price":150.0,"currency_code":"USD","in_stock":true},{"title":"Standard Edition","offer_id":43596371918907,"sku":null,"price":40.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0340\/3166\/5211\/files\/SMASHTHESTATECOVER.jpg?v=1773260733"},{"product_id":"cuneiform-at-25-a-retrospective","title":"Cuneiform: A Retrospective","description":"\u003cp\u003eFounded by Kyle Schlesinger in 2000, Cuneiform: A Retrospective surveys the work of one of the most significant independent publishers in the United States. Cuneiform Press specializes in poetry, typography, and artists' books, as well as the integration of these genres. Renown for their masterful design, Cuneiform has published works by the Black Mountain Poets, the New York School, Bay Area poets, Outsider Artists, as well as writers and artists whose work defies categorization. This retrospective is comprised of new and previously unpublished work many of the authors, artists, and scholars with whom we have had the pleasure of working with over the last quarter century. Contributors include: Ron Padgett; Richard Hell; Dale Smith; Bill Berkson; Sunnylyn Thibodeaux; Lisa Rogal; Glen Baxter; Jamaica Cole; Johanna Drucker; and more. Cover art by Jim Dine. \u003cbr\u003e\u003cbr\u003e\u003cbr\u003ePAPERBACK. 5x7 inches. 250 pages. 2026.\u003cbr\u003eISBN 978-1-950055-17-3\u003c\/p\u003e","brand":"Cuneiform Press","offers":[{"title":"Default Title","offer_id":43274601365563,"sku":null,"price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0340\/3166\/5211\/files\/CUNEIFORM_25COVER.jpg?v=1773260985"},{"product_id":"luisa-giugliano-chapter-in-a-day-finch-journal","title":"Luisa Giugliano : Chapter in a Day Finch Journal","description":"\u003cp\u003eThis is Luisa's first and only book to date, and perhaps the first book to carry the Cuneiform Press imprint. Why 'perhaps'? Although \u003cem\u003eChapter in a Day Finch Journal \u003c\/em\u003ehas all of the attributes of a conventional chapbook, we gave it an ISSN instead of an ISBN, so technically it is a stand-alone periodical. \u003c\/p\u003e\n\u003cp\u003eI procured a small amount of Bembo type for the cover. If you look closely, you'll see that the 's' in 'Luisa' is upside down. Also, the colophon states that the book was handbound by the author, but for reasons I can't recall, she asked me to staple it instead. Finally, I'm fairly certain that I didn't finish assembling this book until 2001, but the copyright is 2000. I like round numbers, so I've always said Cuneiform started in 2000, although it was probably January or February of 2001. Live and learn!\u003c\/p\u003e\n\u003cp\u003eLuisa studied with Larry Fagin in New York City, and later at Bard. Today she is a practicing Quaker who works as a circle facilitator and yoga therapist. She splits her time between Manhattan and Long Island.\u003c\/p\u003e\n\u003cp\u003ePAPERBACK. 8x8.5 inches. 32 pages. 2000.\u003cbr\u003eISSN 1532-2254\u003c\/p\u003e","brand":"Cuneiform Press","offers":[{"title":"Default Title","offer_id":43578464632891,"sku":null,"price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0340\/3166\/5211\/files\/ChapterinaDayFinch.jpg?v=1780863152"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0340\/3166\/5211\/collections\/QUICKMILLIONSCOVER-1.jpg?v=1780418329","url":"https:\/\/www.cuneiformpress.com\/collections\/poetry.oembed?page=2","provider":"Cuneiform Press","version":"1.0","type":"link"}