Natural Selection: Ecological Postcolonialism as Bearing on Place

For my son, Aidan, on his graduation with a PhD in biomolecular ecology.

Australian poetry reminds us that we cannot encounter the natural world except by cultural means. As Tom Griffiths writes, the idea of the natural world as a ‘cultural landscape acknowledges that an area is often the product of an intense interaction between nature and various phases of human habitation, and that natural places are not, as some ecological viewpoints suggest, destined to exist as climax communities or systems untouched by human hands’ (1996, p 277). Continue reading

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Divergent Culture, Historical Influence: 11 Works by Abdul-Rahman Abdullah


Abdul-Rahman Abdullah | In the name (ed 3) (2015) | Tinted silicone, steel gambrel, galvanised chain | 140 x 65 x 25cm

My name is Abdul-Rahman Abdullah. I am a West Australian artist working primarily in sculpture and installation. My practice draws on the storytelling capacity of animal archetypes, familial space and the subjective nature of memory to explore and define personal experiences of cultural identity.

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This is Not a Poetry Review: Self-publishing 101

Romy Durrant, Love Poems. scribd.com, 2015

Cathoel Jorss, comb the sky with satellites, it’s still a wilderness. Australia: House of Lovers, 2014
(limited first edition of 100, reprinting 2015)

Justin Lowe, Nightswim. Katoomba: Bluepepper, 2014

Juan Garrido-Salgado, The Two Rivers of Granada Descend from the Snow to the Wheat.
Adelaide: Monje Califa, 2014 (limited edition of 100)


Self-publishing has never been easier to do than now, yet it’s often spoken about in terms of ‘last resorts’ or ‘building up’ to something. Some people do it shamelessly, others create publishing houses to mitigate the ‘stigma’. I’ve been sent four books to examine as case-studies, each of which use completely different styles of self-publishing.

I’m not a poet, nor a commercial publisher. Therefore, there are things I can’t do, even if I research them: I can’t really talk about perceptions of stigma from within the poetry community, or spout statistics on how many self-published poets find their way to ‘real’ publishing. I can’t tell you whether the poems that I have in front of me are ‘good’ or ‘bad’ writing, although I know if something is awful – and none of them are that.

I am a mix of designer, printer and artist, and I have spent most of my creative life in the company of poetry books, but on a different spectrum: zines, artist’s books and fine press books. All of which are, let’s face it, self-publishing formats. So what I propose to do is examine these four books through that lens, do some ‘thick description’, and see what emerges. First, though, I’d like to show you why self-publishing is particularly easy now, from a material/technological point of view.

Access to the making

Independent publishing has always been possible throughout history, but until the last twenty years or so, it has depended upon commercial relationships with those who own the means of production. The means of production were large machines, expensive to run and demanding to maintain, especially in terms of space and energy; machines that were physically dangerous, laborious to use, dust-catching, heavy and hard to move, and increasingly technical. The machines are still there – someone has to print on demand – but we don’t easily see them because that involves international travel to Asia. Private presses (those not beholden to commercial demands) were usually owned by those who had enough money to obtain and house some of the prettier pieces of equipment and the leisure to use it. Innovative poets and artists needed to befriend a printer, commercial or otherwise, and persuade them to use their skills interestingly (this is still often the case).

The first big change that gave poets and artists the power to fully realise their ideas was not part of the ‘press’ side of production, but in the ‘pre-press’ process, thanks to photography. The development of photographic reproduction in the very early part of the twentieth century allowed people enormous liberty with page space. Initially it was expensive, as text would still have to be set and printed with letterpress and then cut and pasted into interesting shapes before photographing and printing (this is one of the reasons why collage, using found text, was so exciting for the Dadaists et al). A few decades later, however, printing technology had advanced to the point where anyone could prepare text (‘artwork’) for the press using hand-drawn graphic methods, cut-and-paste text from typewriters and dry transfer lettering like Letraset, and it could be printed reasonably affordably (See Burke 1980). That is, if you could afford the offset printing process, which required a minimum of 500 copies and got exponentially cheaper the more copies you printed (which is why everyone had boxes and boxes of unsold books to store under beds and in broom cupboards). Later, ‘camera-ready copy’ was available to anyone with a personal computer and graphic software, and desktop publishing (in theory) allowed self-publishing to look much more professional.

Alongside this commercial publishing activity was the alternative stream of publishing, the kind that wanted or needed to sidestep the large machines. William Blake is one of the most famous self-publishers of history: he wanted to ‘cut his production costs, to be free of publishers and printers’, so he engraved his poems – backwards – onto his etching plates, incorporating them with his images and printing the plates as book pages (Oppen & Lyssiotis, 13). Not only is he a self-published poet, but he has been claimed as one of the first artists’ book makers, and here we first encounter a slippage between poetry publishing and artists’ books. The next one, after Blake, is Mallarmé, who knew enough about the printing processes of his time (1890s) to know how far he could push the process, which indicates that he had at least a working relationship with a printer.

Cheap and accessible methods of textual reproduction have proliferated over the last century: typewriters (especially with carbon paper), screen-printing, solvent copiers like Gestetner machines, photocopiers, risographs, and then desktop laser-printers and inkjet printers. Many of these are being revived by twenty-somethings keen to make something material without wanting to invest in large machines, or if they have committed to the big equipment (like Big Fag Press, in Sydney), they work co-operatively. Bindings, another expensive and technical consideration, were often rudimentary: staples, string, clips, coils.

The invention of the desktop computer and printer, and then a blip further, the development of the internet, is the biggest publishing revolution since the invention of the printing press. Suddenly there was infinite space, and very few overheads. Send a file by email and print one book at a time, via digital publishing or print on demand. But — why ‘print’, when you can simply jump to ‘publish’? Websites: blogs, online journals, digital archives, all threatening to kill the material book. Yet the book has refused to lay down and die, and poets as well as creative publishers like me are part of the reason why.

It has never been easier to self-publish across every genre of visual/textual expression than right now. Design, production, marketing, commerce: everything has dedicated software and most parts of the world can easily access your work if they know how to find it. So why does the notion of self-publishing make people wince?

Self-publishing, as I mentioned earlier, is an accepted form of artistic publishing. This is thanks to the persistence of the attitude that unique or limited output is of greater value than something produced in multiple – propagated, says Pierre Bourdieu, by the ‘cultural bankers’ (77). The opposite seems to be valued by poets: the dream is a wide audience, lots of good, serious reviews and ultimately – perhaps for one more generation – a large hard-copy print-run by a reputable publisher. Even when the poetry is conceptual, immaterial, gleaned from trawling the internet, it still often manages to end up as a hard copy book, because that matters.

Unprinted & online

For one more generation, perhaps? Let’s look at the first of my four examples: a downloadable PDF by Romy Durrant called Love Poems. Durrant, from her web presence, is a young savvy feminist student whose online username is @miseryclit. Her prolific output includes visual art as well as writing, and she is one of the founder/editors of a new online publishing platform called Alien She Zine (‘for women and non-binary artists and writers (but not exclusively).’ Calling the resolutely immaterial site a ‘zine’ is almost a manifesto, since zines have been the most lo-fi, low-tech, material vehicle for self-publishing since at least the 1950s.

Love Poems is downloadable for free from scribd.com and is a simple PDF file. Judging from Durrant’s other work, I supposed the title to be supremely cynical. It is cynical, but not supremely, because it turned out to be a tale of being lost and then found, or of seeing too much to be innocent, but still hoping for happy endings. The darkly saccharine photo-collage images reinforce the words like light bulbs switching on, then off as the file moves down.

What interests me here is the lack of trying to make this file unlike a book. The layout is quite conservative, despite the punkish use of lowercase text, and while I think it looks elegantly minimal, I suspect that it is instead insouciantly indifferent. It is hard to set poetry in any kind of dynamic layout file – the kind that devices like Kindles use – because much poetry is not dynamic, but rather completely inflexible thanks to its carefully composed and spacialised lineation. Thus most online poetry is in a static presentation format: PDFs, webpages, photographs. There are technicians working on the problem, but the dynamic/fixed line binary is pretty hard to overcome. Durrant’s PDF is seventeen ‘pages’ – actually, sixteen pages and a cover, in which it conforms to the print convention of pages needing to be divisible by four (because a sheet of paper, folded, has four reading sides). So if you tried to print it out as a booklet, it would actually make a slim chapbook. There is no ISBN, so she is relying on the/her internet community for distribution. The question is (and Durrant is welcome to answer it in the comments): would she prefer to publish in hard copy if the opportunity arose? Is that the end game? Or is broadening the exposure to her online work enough? She is obviously ambitious; sending her work into this publication shows that she takes herself seriously as a writer. The last line of this self-published book looks right back at the reader and says, ‘I found you.’

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(Self)Translation and the Poetry of the ‘In-between’

The subject and practice of translation has long been a feature of my poetry. It is a way of enacting bilingualism; the splitting and doubling of words, ideas, images and meanings that comes about in the processes of translation reflects my identity as someone who is in constant movement between cultures, split and doubled by my twin allegiances to different languages and places. In particular, I am interested in exploring my own practice of self-translation, to more fully understand the relationship between my poetic practice of writing across English and Italian and my subjectivity.

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Interview with Laurie Duggan (Ella O’Keefe edit)

Image courtesy of Australian Poetry Library

Hazel de Berg’s recordings take place in the homes or work spaces of the subjects rather than a recording studio. This allows something of these places into the recording whether birdsong, traffic or an r&b song playing in the background. In the recordings, de Berg remains enigmatic, the ghostly presence operating the machine.

Interview with Laurie Duggan (O’Keefe edit)

Recorded on 25 June 1980 by Hazel de Berg.
2016 edit by Ella O’Keefe

‘Laurie Duggan interviewed by Hazel de Berg in the Hazel de Berg collection’
Courtesy of the National Library of Australia, TRC 1/1168
Special acknowledgement to Duncan Felton, NLA Oral History & Folklore Branch

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Danielle Collobert’s Survie


Image courtesy of Françoise Morvan

Danielle Collobert’s Survie is a sequence of six sonnetoid poems written and published in 1978 shortly before her suicide. The title is ironic: ‘survie’ means either the state of remaining alive after an event or in an environment that is normally fatal. As with ‘survival’ in English, the meaning of the term is commonly extended to mean a precarious living situation. Continue reading

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Heavenly Emporium of Benevolent Knowledge


Image of Adrián Villar-Rojas’s ‘The Most Beautiful of All Mothers’ by Kubra Karacizmeli

When we consider the Heavenly Emporium of Benevolent Knowledge, we inevitably find ourselves discussing not the one but the many: the various extant editions of the compendium, the versions lost to fire and flood and strife over the centuries, the diverse and sometimes contradictory volumes that have pretended to the title at one time or another. Continue reading

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Shy nag (a code opera): ACT II

The libretto Shy nag (a code opera): Act II was created by Sonny Rae Tempest and Chris Funkhouser, using a process similar process to the one used to compose ‘Exit Ducky’, outlined in an essay ‘Picture Becomes Text, Becomes Writing: Software as Interlocutor’, published in Cordite Poetry Review 40.1: INTERLOCUTOR. Shy nag’s libretto started by opening the image file of an UnderAcademy College course logo (see below) as a Chinese character-encoded text file.

The resultant text became English via Google Translate, and was subsequently processed and filtered through Word spell-check. Since the code is lengthy, over fifty pages, the output was large. A perpetually prismatic text, comprised of choices made among thousands of possible options the software provided, results. After the libretto was composed, Tempest translated the text into sound by utilising the P22 Music Text Composition Generator. The resultant MIDI file was opened with Acid Pro 3 DAW (Digital Audio Workshop) software. He created three identical audio tracks (double bass, acoustic guitar, piano), manually transposing all notes into the appropriate range (per instrument) and into the key of D major. This process results in a score that is more than five hours long, the first seventy minutes of which was excerpted for performance. A second audio track, compressing the whole sound file produced by the code to seventy minutes, is also layered into the performance mix. To make the projected imagery, the original hexidecimal code was broken into 24-bit sections to act as the hex code for HTML web colours. An HTML file was then created to consecutively fade from one color to the next, based on that partitioned hex, using JavaScript. Each colour block is displayed in text above its colour field.

In February 2015, a first staged reading of Shy nag was produced in Newark by students and faculty of the Rutgers-NJIT Theatre Department (Louis Wells, Brian O’Mahoney, Daniel Ovalle, Kassandra Perez, Eric Holzer, Antonio Johnson, Allison Mitchell, Olivia Duho, Darian Capellan, Sindy Sanchez); a second staging (Act I) occurred in August 2015, at the Electronic Literature Organization Festival in Bergen, Norway (Maria Aladren, Sandy Baldwin, Kathi Inman Berens, Natalia Fedorova, Aleatory Funkhouser, Christopher Funkhouser, Fluorish Klink, Jeneen Naji, Álvaro Seiça, Louis Wells). Act I is published in VLAK 5 (Czech Republic: LITTERARIA PRAGENSIA 2015).

For further information, including links to documentation, an essay on the process of producing the work, and open-sourced materials used to prepare Shy nag.

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6 Poems from Nachoem Wijnberg’s Divan of Ghalib


Image by Alessandra Palmigiano

Since being shortlisted for the Dutch prize for the best poetic debut of 1989, Nachoem M Wijnberg has won a series of awards in both Belgium and the Netherlands, including the highly prestigious 2009 VSB Prize for the Netherlands’ best book of poetry.

Wijnberg is known for giving each of his poetry collections a distinct identity, both stylistically and in terms of content, and the poems reproduced here are drawn from his Divan of Ghalib, which was published in Dutch in 2009 and is due out in a complete English translation in May 2016 (White Pine Press, Buffalo).

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The End

If you’ve run out of things to say you may need better ideas. Having left the city in a wheeled conveyance. It was one of several periods in a life largely ruled by hand-me-down leopard print. Lacking the whirl and swoop of her language. Airless sunset on the interstate. Advancing into a backyard filled with small white lights. I’d prefer it if timebanks were called laborbanks or skillbanks. Cut off by the tour bus. You haven’t walked down this street for two months & now half the shops are new. No more cookies for breakfast. To always be working & never be finished. Electrical hum & air conditioner hiss. Becca says it’s because we’re living on the internet in real time. I knew I shouldn’t be so scandalized. ALWAYS ALREADY PART OF THE PROBLEM. Itching under the skin of my arms. His mother could as easily have been one of my aunts. The erotic privacy of adolescence. Because in Coleridge it’s all storms and feelings. The pleasure of telling tales on a mutually-reviled acquaintance. Parental fragility. I am a professional & therefore I did not respond with lmgtfy.com. Was poetry ever successfully an art of seduction. I’m speaking historically. How did I give off the scent of caring person & was it too late to change. What do you believe available for your poetry. Kings and Queens. I know I cannot properly see my own biases. As though the page were a container to be filled with the political speech of the moment. But really I came for the couch and the enormous glass of wine. Just another night crying on the subway. I’ve identified a large plate-glass window as a precondition for this afternoon.

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The End

I believed I had reasons aside from nostalgia. Kept it cunningly concealed. Changing the water in which the beans are soaking. Just add salt. Waking to the sound of the police chopper. How did you learn to believe you would survive your heartbreak. Bedroom painted womb-red. Champagne wishes & real estate dreams. What morning means in your home. First comes love then comes marriage. Never saw the face of the guy behind us who said if you love me you’ll lose weight. Great relief of a day indoors. I am careful not to bump the perpetually sore bone while lifting my feet onto the couch. Like the time we heard gunshots nearby and froze in the hallway with our hands to the walls. An argument on television in the other room. The singer didn’t know yet about the years of darkness ahead. They told me about the sound the tornado made as it razed the neighboring block. Sound of high heels in the hallway. Getting used to the tightness of underused limbs. The pain of a retrospectively blessed moment. Why did I find the YOU MAKE ME postcard so romantic. Cowering in the hall closet. I believed all spaceships sounded the same. Fight or flight. Giving a child an adult name as an optimistic gesture toward the future. The plant has outgrown its pot. The plan is miles behind us. Portrait of the Artist as Overtaxed Slob. The sentences come in small clusters punctuated by periods of waiting. How to multi-task. Excitement of driving to the museum. First meal of the fall cooked in a huge orange pot. Climbing out of the shower I say I told you so silently to myself.

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The End

We thought we could crystallize caring. Watching the umbrellas going by in the street. Sarah calls this studio time although all we’re really doing is thinking and making notes. I was worried about what I could no longer notice. All the beer distributors on their laptops at the counter. I made a note to watch for epic similes. But what if we really do experience thankfulness. I can now see the tree as a storytelling device. Rituals exist because sheer will isn’t enough. Because sheer love isn’t enough. The pop song I remember from 1998. How to see the things that have become invisible to you. We take each ornament from the box. From its bunched tissue paper. Every house a container for objects awaiting their own dissolution. Today I empty the refrigerator and smell each item before replacing it. Attempting to account for the hours we spend under man-made lights. We wanted to believe in the moral uprightness of bedtime. Your complicated scent-distribution machine. Quotation marks around planning. Wanting to lift and arrange the towering sadnesses contained in the season. I write something about the shortening days and the towering workload. But do you have someone to talk to. I think the phrase I used was gently suggest. When the volunteer shift ended without warning. The profound relief of having a place where I was supposed to be in these hours. It’s easy to send an email but sometimes this task takes you days. Did you want to see how mortal we are. Left alone to watch birds fly over a neighboring roof. I made a note to watch for images of height and depth. You make a list in order to cross things off it.

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The End

Record sleeves warped and covered in mold. Train train ferry to the small hotel. How to step away from your life and seamlessly reenter. Stay up all night before the flight. What your body does and what you will. I think walking into a cloud is a name for love. You had been at the bottom of a fjord for days. Feeling diminished by what you share with strangers. What I meant by domestic was native to the region. I sighted the path across the meadow. I was in college when this novel was published & therefore recognize its world as one I wanted but could not imagine. A small wooden sign. Scenes of the movie set in years when I knew those subcultures. As though photography had the witchy powers anthropologists claimed. The sadness of discovering adult life was not significantly different from what preceded it. Had walking become a way of seeing or a form of speech. Writing from the coast of her loneliness within marriage. Who is and is not an intellectual. How to lock up your brilliance in heterosexual commitment. I mean really it’s all body body body around here. Squinting at my reflection to check skirt length. I was on the couch before the sun came up reading their statistics. How we had traveled through time and returned weeks later. The man’s elbow resting on my arm & gut. All the brilliant men and their women at a dinner party in Paris decades ago. What does research look like. The tearing sound when something pries loose. I wake up early and write this poem without coffee or tea.

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The End

The past’s rage as the break approaches. Because of my gender I was playing the role of material life. I guess I wanted a way into myself. New shoes and new eyes. Ladies and gentlemen please be patient. IT’S NOT A CRISIS IT’S A SCAM. Could hear the train coming through the sound of crickets. I wanted to love you like a light slowly illuminating from underneath. Because having a body means doubting. All the tapping feet. Suddenly in the diner an entire ocean. Little liver that could. Lying on the floor breathing deeply. What I mean is. Is everybody comfortable. Something made me speak as though I were sure. How long is it permissible to grieve a lost love and when did he return to himself. Hearing the pitch of movement slowly rise. How darkness presses down above the well-lit station. I need to find my own card she said plaintively. What it means to survive. Is anybody hearing this. There were people everywhere willing to speak to and of power. High speed lights from the south. How a revolution once meant something cyclical. Your aphorisms read twice. Breathing into the knot of pain. So many choices with negligible difference between them. This is called a market. The thinking part and the stuff part combine to make a person. You carry the notebook. You keep showing up. Expired referral. Wind in your ears. All the poets on the blog trying to say what love is. A hand held to keep you upright. Sand all over the sidewalk. They are singing in the stopped train’s car. The moon waxes and wanes. You knew in writing before you knew in speech.

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The End

Some morning glories still hanging on past Thanksgiving. I couldn’t tell if the book was a fascist fantasy or a paranoid fantasy. Omnidirectional violence. You can’t just Urban Dictionary it. All the Christmas bulbs swaying on their fishing lines. Always on the edge of illness. I wanted to tell you about the Justin Timberlake song’s instrumental rendition. I had packed pajamas and toiletries and left my suitcase in my office during the rally. Lying in bed and reading off your phone screen for hours. It’s not a crisis it’s a plan. Years later I suddenly realize the boundary he’d tried to set. Dollar bills taped to the wall & curling away. What is the relationship between the past the future the present. How to still this incessant panic. Wanting to hold your hand although or because I didn’t agree with you. Was it a poem or a lab notebook. We wanted to be like tinsel moving slightly in the breeze. But also to lift our voices into the rapidly darkening park. I don’t believe that these judgments are valueless. It’s not an opportunity it’s a scam. The photograph of the bar façade made something small clench in your torso. How you learned where your home was. What kinds of healing ritual. I had to ask my students if I was using the slang term correctly. Resting your wrists on the cool cement counter. It’s not a plan it’s a coincidence. I had lost faith in the strength of professionalism. Instead I began class by talking about Beyoncé. The way the neglected body feels. When Christmas trees start to show up near bars’ front doors. We were crossing state lines to eat and lie on the couch. My body so full of history by which I mean chemicals. Wanting to know if geography means space. If history means time. The large Ziploc container of powdered cocoa. What did we believe about borders. When I looked up the book I found a page of quotes and each was the thing I most needed to read. Who slipped into the demonstration quietly and retreated into a police officer’s car. You know what they say about paranoia. All the bloody seams slowly unraveling.

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The End

Pushed with both hands against the promised land. Who approached the cathedral. I read the essay on my phone. Wiping tears away with less & less subtlety. Waiting for the moment the heat shuts off at 6. The speculative nature of global geography. Was it In the Pines or House of the Rising Sun. Capsized moon over Morningside Park. Pages falling from the notebook to the floor. You walked by the apartment dominated by a large wall clock. I was in your mother’s hospital room. Trying to be a thinner membrane. Was this a memory or a dream. In the rose garden overlooking Long Island Sound. All this before the world changed. The large brown ceramic cup full of crushed ice and mint. We all pretended we were a boy becoming a man. We fantasized living in the boutique hotel. When the new millennium started in earnest. Printing up the tax records to take to the clinic. After receiving three drunk texts I thought maybe I didn’t say my husband enough. Health care a persistent low-grade fever in the system. The work has no endpoint. All the young literary men are out at the bar. Were you walking away or standing still. The day already past apex. Car horns and the sound of a plane passing over. Your summer my winter. Your morning is my night. Is there a word for the way the ghouls move down the aisle. Not walking. Not dancing. Being a stubborn and glaring stone. Having hunkered down in your refusals.

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The End

The year when all I read about was what it would take for the Gulf Stream to shut down. You know how the day will end if the computer isn’t off by eleven. Becoming an ambassador of efficiency techniques. Holding it in. Whatever it is. Your posture veering away on the subway. The job that left you always at a deficit and the anger that moved around inside you while you did it. The process of writing is mostly a process of ego inflation and deflation. Psychic breathing. The way the sky is invisible from my living room window. You checked off the boxes that proved you were or could be ok. Some electrical hum. Debris on the stairs. How to count the number of trains you’ll need at the beginning of the week. How to make a small economy. The pit of my stomach when I bought the health insurance. Three thousand two hundred and four dollars. A disagreement about whether saving money or paying debts comes first. What it would mean to resist the economies that threaten via withheld promises. How credit means character and who gets to have either. Car horns from outside the school or the gas station. Waking up into the conditions of shortage after the storm. I grew up with money and then I guess walked away. Sometimes when I think of the future all I can see is ocean. Dead zone in the Pacific. The Atlantic’s trail of bodies and those bodies in history that crossed Earth’s oceans breathing the open air. The difficulty of talking about conditions not feelings. Woke up like this. Looking for the dust cloth to give my hands something to do. The line between a performance and a service. How ten years passed without leaving a mark. The only motion today will be across this room.

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The End

Googled the difference between description and naming. Performing speech acts alone and in pajamas. What kinds of plurals live in this weather. Slightly slimy feeling of the skin while moving through the city summer. I cleared a space for rhetoric. Sun pounding down all around you. In the dream she was alive and ran a restaurant in a Queens rowhouse. I sat at the table with composure. Is aging an effect of the body or of time. Little green strips laid end-to-end. New holes in your shirt. Drinking ginseng through a tiny straw. Her face was wider and more freckled. The opposite of winter. So hemispheric. Quoted the activist meeting while wondering how to define activism. How to articulate a position from afar. I remembered how he’d said I’ll call right back and then weeks passed. How the new place fits you like a hand-me-down coat. The fountain dried up and the ache after a day on your feet. Artmaking as a voluntary and uncompensated simulacrum of labor. Working my way into productive discomfort. This helped me know what not to expect. I imagined a t-shirt and then there it was. The pair of dirty socks left on the floor. Violent rocking of the ceiling fan. All the stars I imagine outside the city limits. Cooperative. Cheerful. How the noise of the air conditioner drowned out the movie dialogue. The sunburn peeling in centimeter-long strips. Wanting to walk through the coolness of the morning. Knowing how to make the string tight enough. Most of what I saw was a pair of buildings I went back and forth between. A perfect photo of pastel apartment trim. The problem is my feet not my shoes. New Haven Style Pizza delivered in the Texas night. Googled what kind of language is a description. In the dream she regarded me pleasantly but without recognition.

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The End

Let me call you when I’m off work. The shirtless man sleeping on the church steps. The scar running laterally up his belly. Wanting the little spaces of freedom inside an absolute structure that flows between time and space. Your foot dragging in the river beside the boat. A little snag in thinking. How I finally learned my bra size. It’s about everything else. The oiliness of good coffee. What goodness might mean and whether it has relevance for this historical moment. Totally administrated. Rooms for thinking or for fucking in. I hold my desirability tentatively and with deep ambivalence. Fly me to the moon. Sound of something unseen being dragged outside. The way the market might want something. What you learn about your clothing once you wear it outside the home. Sweeping the rug into some state of newness. Like hands on your windpipe. Like cold hands inside you. The pride I took in my own peripherality. My stance of non-involvement in things like fame or belonging. How fast and small every movement was then. Counting the recessed lines of bricks and the cement windowsills. When my reputation might mean my paycheck. How you stood at the edge with your eyes all over everything. Kids with cameras. Wanting to be pressed down onto a couch or bed by a stranger’s nonsexual hands. Wanting to be held suspended. Even I can’t hear voices from elsewhere so well anymore. Even I fantasized walking as an approximation of freedom. Liberty always in process and never achieved. I said as a poet I am naturally shy. Archived all your bodily aches as though you might appeal to them later. As though these cast-iron buildings might have had some other fate than condos and flagship stores. Pale blue all the way upriver. Rest your head on the oil-smudged window. Wanting to be a string of small acts of care. Laughter from the street below. The eerie familiarity of the man in the coffeeshop. Language making a small despair in the middle of the day like a hole into which you might breathe. What kind of work did you think these poems would do for someone else. On the bedspread on the concrete floor I tried to make a space for something new.

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The End

We practiced wiping sweat from our necks. Every song reminds you of a person you once knew. Then the heat kicked on with much hissing and clangor. I had crafted a parasitic practice that transformed my paid labor into post-market froth. Was it a field or was it a city. I wanted to lie down at the edge. The breeze just before the train’s headlight appears. You were making yourself a foreign continent. Feeling around the blunt edges of history. But medieval women may not have been so submissive. Standing on the sidewalk surrounded by luggage. Do you worry about what happens to humor when language moves away from a body. Is this getting too repetitive I asked though I was not even halfway done. Made an argument about the congruence of Lancelots. The children. The children. The protective phone case bought a day too late. I’d promised someone today would end. But somehow we found ourselves in Queens. Falling behind in the assignments you’ve set for yourself. Preferring to repair rather than to replace. Your body is so seasonal. Jo said one was quiet and proper and one was a screaming wench. Fluffing the covers and turning on the fan. Trying a new stairwell but finding nothing nothing nothing. Here I will comment on the flexibility of the form. A model of the world or a model of the self. You were watching it all with your microscopic eye. Sometimes you slip back into 2007 for just a moment. Memory of a hotel bed & whatever the opposite of seduction might be. I was trying to get it all down into words. Movement had become a precondition for air circulation.

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Chloe Wilson Reviews Tracy Ryan and Jill Jones

Hoard by Tracy Ryan
Whitmore Press, 2015

Breaking the Days by Jill Jones
Whitmore Press, 2015

These two slender and handsomely designed volumes of poetry are the result of the closely con-tested 2014 Whitmore Press Manuscript Prize, of which Tracy Ryan and Jill Jones were joint winners.

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The End

Picnicked near the Don’t Insult The Witch sign. Broke the stove again. You learn a thing in one place and write it down in another. Wanting to get out into the world. Tight shoe or pregnancy. Here you are humming around the apartment and refilling various glass jars. When they enter the poem. Blurry & on the horizon. Who left these jackets by the stairwell. In the morning made of traffic and voices you sleep through hours of sunlight. Maybe this is a kind of diffuse epistolary novel. Smudge of paint on the keyboard. On deadline as a permanent state. On the wrong side of Fortuna’s wheel & brimming with dailiness. Dearest liberty having taken you. Everyone adjusting their scarves in the new season. I liked the openly boring ones best. How could you make a poem into a tiny room. Predictors included writing or thinking. The carbon monoxide monitor beeps. How the coffee seemed to move around inside you reshaping your body in tiny ways. Almost too gentle to count as an allusion. Lingered on. How can I tell you what the afternoon has done. Holding his daughter’s hand and looking into his phone. Still thinking about the problem of audience. Enthusiasm of a new friendship three drinks into the end-of-summer party. The word social indicates a certain kind of bar. To be at a certain place in life. What labor might mean to a given person. What justice might look like at fifteen or twenty or thirty or forty. How many times can I pull this one off.

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12 Poems from M C Hyland

I’ve always been interested in the question of ‘the personal’ or ‘the autobiographical’ as a category constituted by a fairly arbitrary set of boundaries — in some ways, most of the poetry I write is an attempt to think about what those boundaries entail and mean. I’ve been writing this series of short prose poems, all titled ‘THE END’, for almost three years now — I started the project a few months after moving to New York, and I suspect I’ll continue writing them as long as I continue to live here. The project started with a simple task: that of noticing things, and of writing them down as simply as possible. I’ve tried to put at least some of everything into this online chapbook, without over-determining the poems in any one direction: they’re full of what I’ve been reading, talking and hearing about, and what I’ve been feeling physically and emotionally, but as, I think, more of a core sample of ambient conditions than as an especially personal account.

M C Hyland: The End
M C Hyland: The End
M C Hyland: The End
M C Hyland: The End
M C Hyland: The End
M C Hyland: The End

M C Hyland: The End
M C Hyland: The End
M C Hyland: The End
M C Hyland: The End
M C Hyland: The End
M C Hyland: The End

I think of them as ‘my New York School poems,’ borrowing from that tradition’s interest in the first-person speaker. My favourite articulation of this New York School tradition is Bernadette Mayer’s idea of the ‘emotional science project’ — which might, in a way, be a good description of what I’m trying to do here. While these poems started as an attempt to find a form through which to think about all the affective challenges of living in New York and attending grad school after a long break in my educational history, they ultimately ended up taking me in a different direction — an attempt to think about the role of feeling in forming and re-forming an aesthetic and political consciousness. In these twelve poems, I’ve found myself in dialogue with a number of texts, institutions and individuals, including at least the following: Judson Church, the Delaware River, Jeff Peterson, Herbert Marcuse, Anthony Reed, Hannah Arendt, Aleijuan King, SoHo, the B train, Tara Menon, Nextdoorganics, Elizabeth Kolbert, the Center for Book Arts, “Bifo” Berardi, Lisa Gitelman, Beyoncé, Laura Brown, Ian Dreiblatt and Anna Gurton-Wachter, Sulai Sivadel, Luke Davies, Chris Kraus, Deborah Stein, (G)IRL, Citron Kelly, Naomi Extra, Fred Schmalz, Andy and Rashmi Grace, Laura and David Herlihy, Becca Klaver, S T Coleridge, Jo Livingstone, Celeste Langan, Claire Vaye Watkins, the Cathedral of St. John the Divine, Caolan Madden, Madeleine L’Engle, Coffee Foundry, Justin Timberlake, Ada Smailbegovic, Black Lives Matter Minneapolis, Sarah Schultz, John Milton, Nina Puro and Natalie Imbruglia.

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I’m with Stupid.

What surprises me most is being
coincidental. If we really believe
it’s the end, it doesn’t matter
how much this evangelism costs.

The economy’s shaking. His trolley holds
twenty kilos of rice, ten litres of water.
Everyone thought I was strange in Christchurch
then we got The Big One. Good luck, I said,
you’re going to need more water.

Such imperfection. It eats
what was recently purchased,
the high of salvation thin as old sheets.
Get the song between your teeth;
sound moves inside us then we move to let it.
Do it professional: put yourself to one side.
In hard times, sociopaths rise.

While you were crying you got snot in your eyes.
Her life story is her story, not her life.
The fierce stones of Greece
have gifted us democracy, so we argue
which never convinced anyone,
just made good television.

200ks per hour
gales take roofs. New all-you-can-fly ticket.
Government money for a sanctuary.
civil libertarians
my powers of apprehension
Each response to the challenge
of Self-Management falls on a continuum:
Productive to Absent.
One day, always having to be right
will be counted among the disabilities.

th end s in sight.
Thank god. The hard bit’s been knowing
I won’t be around to see how this turns out.
As one of the minor characters
(let’s face it) in this genre
I’m sure to be killed off
by a giant wave, one of those deaths
deep enough for a close-up
a snatch of fading breath, some tears.
If it’s not happening
we don’t have to do anything
and if it’s fucked we can’t do anything
we flip between these extremes.

nature vs. narrative
A tale carries the idea
to the mind through the soft body.
Talk in miracles, smoke in the car,
a tangle of weeds at the throat.
There’s no charming the oppressor.
Give up the myth of reversible power.
The lord gives and he takes.
Find other ways to be safe.

Black tattoos on a white, white face.
How beautiful the deliberate lie
they had time to work on it. Letters
stich and drop. Kiss me like a bad garden,
the lazy mural that lasts for years.
I don’t need any evidence.

At the end of the earth we learn to dance.
Your arms get tangled in your legs.
I’ve suffered a lot but then who hasn’t, he said.
Though I’ve watched since it was a dark mess
the lifting light shows a shift
when I look
look back
I can feel the click.

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