True Poem Dead PDF

A weaving draft is a kind of notation for planning and sharing woven textil structures. The threading, along the top, shows how the warp is threaded through the heddles and frames; the treadling, along the right-hand side, show the order in which the treadles of the loom are to be pressed; and the tie-up, in the upper right-hand corner, shows how each treadle interacts with the loom’ frames. The drawdown, in the lower left, shows whether the warp or weft will be on top at any particular intersection of threads—thereby providing a “preview” of the completed textile. Often a draft diagram will indicate the intended color of the warp and weft threads, and the drawdown will show the completed textile’s color patterns. In “Drafts,” Allison uses letters instead of colors, melding digital weaving with writing.

WITHOUT THE E is a series of pamphlets responding to a presence or an absence felt in contemporary digital culture.

as the non-world falls away is set of fragmented poetic compositions, created through iPhone scans of the artists notebook that have then been worked over digitally, testing the boundaries between image and text in a palimpsestic manner

WITHOUT THE E is a series of pamphlets responding to a presence or an absence felt in contemporary digital culture.

Utterly magnetic, Summer Farah’s debut poetry collection The Hungering Years is a rush of breathless song, voicing confessions so often left unsung amidst personal and collective crisis. “I am afraid of asking the right questions,” Farah admits. But through intimate conversations with fellow Arab-American writer and literary ancestor Etel Adnan, this work finds the courage to ask: What is art? An escape? A reflection? Another unhealthy attachment? Though the answers are elusive, what steps into the light is a collective of friends whose genuine care and companionship anchor these poems through their spiraling search. 

“I am always looking for Palestine, and yes, I am always looking for love,” these poems croon, holding so much of the world even as they trace an inheritance of displacement. The Hungering Years conjures startling landscapes where we may also experience what it is to be consumed by obsession, echoing with songs by Mitski, iconic scenes from Supernatural, and the sound of the Mediterranean Sea. But as Lena Khalaf Tuffaha writes in her introduction, Farah’s repetitions “are more than echo. They are a vernacular of this unspeakable era,” anchored in “questions that keep us reaching toward life,” and questions toward each other.

Building glass structures from her questions, Farah pushes their architecture almost to breaking. Then breaking, the spirit—luminous, actualized—reveals itself through the cracks. Through the landscapes of California, Palestine, and all of the distances in between, there emerges a new sense of devotion to what is possible which might thrust us, together, “off the edge, / in love, towards God.”

With an introduction by poet, essayist, and translator Lena Khalaf Tuffaha.

Summer Farah’s debut collection The Hungering Years bubbles with language, is desirous, sensitive, and hysterically (ferociously) human. “I” is I, is mother, is the guiding wisdom of Etel Adnan, is Palestine, is the work that writes Palestine into the future, is the epistolary thread of love that holds this daring young poet’s work together. “i am an enemy of dust i am an amalgamation of everyone i have ever loved …” writes Farah, enlisting us in this vital poetry against the death cult, lush with solidarity, teeming with the futurity we need. — Wendy Xu, author of The Past

What I most adore about Summer Farah's work, and what most comes alive in The Hungering Years is that there is no such thing as an unworthy affection, nothing unworthy of close and careful attention, nothing unworthy of being pressed up against the undeserving world and becoming something greater. This is a gift and a delight, and through that gift, these poems are richly and generously populated, and teeming with beauty. — Hanif Abdurraqib, author of There’s Always This Year

Summer Farah's words ease me, compel me, motivate me. Her work is agile and brilliant, her mind potent and illustrious—like air, a song, rhythmic and concise. These poems move me to my core, rupturing something deep inside of me about place, Palestine and Etel Adnan. "I memorize no language/but their voices," she writes as I memorize her words again and again, uttering gratitude that I get to be alive and read Summer's words. This book is both a spell and an oracle. — Fariha Róisín, author of Survival Takes a Wild Imagination

chop is a collection of poems that center on the life and work of proto-feminist and civil rights activist, Fannie Lou Hamer.

A Mississippi native, Treasure Shields Redmond is a poet, speaker, diversity and inclusion coach, and social justice educator. In 2016 she founded her company, Feminine Pronoun Consultants, LLC. Even though Treasure is completing a PhD in English Literature and Criticism, is a published writer, gifted veteran educator, and has spoken on stages all over the U.S. and in Europe, she uses her humble beginnings in the federal housing projects in Meridian, Mississippi to fuel her passion for helping college-bound families navigate college admissions painlessly and pro tably, and o ering perceptive leaders creative diversity and inclusion facilitation. Additional information on her poetry, writing, and multidimensional practice are available at: www.FemininePronoun.com.

About her collaboration with Robert Glück, Kathleen Fraser writes:

"In Commemoration of the Visit of Foreign Commercial Representatives to Japan, 1947 is a small picture book assembled as a memento of Japan’s finest tourist sites, to be given to their new allies (and recent adversaries). I discovered the book when my friend Bob Glück sent me to an Asian antique store, where he thought I might find 'little things' for Christmas gifts. Seeing this book in the $1 box, I bought a copy and began to write a poem sequence based on each of the photos and their captions, not knowing that Bob had also bought this book and was writing his own version from the same collection of pictures."

Featuring color reproductions of the entire postcard book, In Commemoration of the Visit is an accidental collaboration–and we couldn’t be happier for the accident.

Entropia (vol. I & II) – written by William Kherbek and edited in collaboration with Jack Clarke – is a publication which seeks to recount and re-examine a decade of artistic curation, production, and critique between London, Berlin, and other urban art centres from 2010 to 2020.

Comprised of two volumes, this publication contains a compendium of over one hundred reviews and interviews with luminaries of contemporary art (Vol I), as well as a speculative attempt to create a newly generated algorithmic art(ificial) critic (Vol II). Together they serve to document, excoriate, and theorise an art world which is simultaneously hegemonic and precarious, complicit and constructive, driven by values, yet fed by extraction, all filtered through Kherbek’s precise, aphoristic, acerbic, lens.

The publications include contextual contributions from both Josie Thaddeus-Johns, writer for the New York Times, The Financial Times, Frieze; and Rozsa Farkas, director of London-based gallery Arcadia Missa.

Alice Notley has consistently peopled her poetry with the voices of those around her: kids, friends, husbands, strangers, and the dead. Thirty-Odd Functions of Voice in the Poetry of Alice Notley offers an array of interpretations of this technique. While not aspiring to completeness, and limiting its attention to one formal aspect of a single author's work, this poem-essay sketches relationships between intimate speech and literary language.