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In Spiking the Sucker Punch, Robbie Q. Telfer's first published collection, the author profiles the modern comedian from the inside out - starting with the innards and moving toward a damaged laughter. His work blends surrealism and narrative, bending grammar and expectations along the way. These pieces interrogate identity, place, and lead the reader to a much higher understanding of bears. This gloriously bellowed lyrical and linguistic chaos, this ‘mess of crossed wires and mixed seagulls,’ will make your status quo ache, your perceptions implode, your horizons widen and shatter. -Patricia Smith, “Blood Dazzler” Robbie Q, our dazzling shooting star sparking the gritty Chicago heavens, crackling with the surprising and contradictory rhythms of life on the run and in the heat. Keep on, Brother Q, dance the dialectic, your wild inspired unruly convergence and conspiracy. -Bill Ayers, activist/educator/author In Spiking the Sucker Punch, Robbie Q. Telfer rocks out a bestiary of antic poetics all his own. In his open and generous hands, speech acts zoom in and out of our collective desire to live and love. You will feel alive again reading it. -Daniel Nester, “How to Be Inappropriate”
Familiar and resonant, Cline's collection takes readers into a private landscape of science fiction, pop culture, and pornography. Ernest Cline is a geek, novelist, poet, and screenwriter based in Austin, Texas. In addition to winning poetry slams, Cline is known for screenwriting "Fanboys," released in 2009. He also recently sold the film rights to his latest book, "Armada."
C.R. Avery's audaciously charismatic second book, 38 Bar Blues, is a tome of poetry loaded with bar stool musicality and brass knuckle poetry. Welcome to a clear glimpse into a motel 50 miles outside of town, a window into the life of a modern troubadour and the courage of a young father trying to keep the highway of diamonds shining while singing the song of innocence. C.R. Avery's writing flows like a Tennessee Williams stage play, from haiku-size poems to longer erotic tales that sink the reader deeper into backstage smoke of Avery’s worlds. 38 Bar Blues is like a Bob Dylan setlist; a play constructed like a Charlie Chaplain silent film; a book built to make the reader laugh and cry. It all comes out as true music. 38 Bar Blues is the perfectly crafted journal of a living legend. Enter the back-room of an old Italian cafe, where dirty dirty politics, outlaw love, and outrageous beauty are all in the cards.
After losing her sister to heart failure, Karen Finneyfrock was unable to write poems for three years. Her voice came back, whispering at first, then screaming. Ceremony for the Choking Ghost contains the sound of that voice returning, bringing poems about grief and its effect on the body, the body politic, memory and, of course, poems about love. From the intensely personal, “How My Family Grieved,” to the political, “What Lot’s Wife Would Have Said (If She Wasn’t a Pillar of Salt),” Finneyfrock engages the reader with the chiseled images of a precise storyteller. Finneyfrock writes poetry with muscular verve and narrative push. The depth and breadth suggested in just a few polished images placed next to each other will make you reconsider what poetry can do. -Paul Constant, editor The Stranger If you've never enjoyed poetry once in your whole life-if even the word "poetry" makes you want to fall asleep, or die-you should read Karen Finneyfrock's new book of poetry, Ceremony for the Choking Ghost. -Paul Constant, editor The Stranger ...Finneyfrock's poems, then, are Shields's perfect novels: a shelf full of long, elaborate, heartfelt books that have been whittled down to their bare, sharp skeletons. -Paul Constant, editor “The Stranger”
Bill Moran's collection, Oh God Get Out Get Out, goes through us like ugly medicine. It wades through his anxietywater— the grief, trauma, mental illness, money, addiction, deceased friends, and long EMS shifts— all pooled inside the depressed deathmetal kid, his thirsty mouth held open and up to heaven, wanting to die. It walks him and his audience through the haunted house that we are, the one we hate living in. It doesn't look away from the dark. It kindly refuses an early exit. It keeps the death off by leaning into it. Hems it in like a band shirt, animal coat, tv show, or god we can wear when our own bodies are worn out. It eats its way out of Moran and his audience, the same way he will leave this world: wet with its Ugly, wearing the Ugly like a deathmetal shirt, carrying armfuls of Ugly out with him. You'll hate the taste, but he swears you can drink this like medicine. When you want to disappear, it is light you can douse yourself in. When you want to get the hell out, it will clean house. It really hopes you'll stay.
With the perfect blend of wit, eloquence, and honesty, Taylor Mali's poems delight, haunt, and illuminate with equal measure every subject they celebrate. Bouquet of Red Flags is laced with more than the typical LSD (love, sex, divorce) of modern poetry. Here lie poems that elevate the overlooked daily miracles of coincidence ("The Luck I Crave") as well as the blessings of loss and longing ("Love as a Form of Diving"). Whether employing form or rhyme or merely crafting the artful prose he is known for, Taylor Mali delivers entertaining epiphanies spiced with the "Deepest Condiments."
Hello teachers! We know you work hard. Besides ninjas, you have the hardest job in the world. Between the teaching, the testing, the grading, and the nurturing it’s difficult to seek out new materials for your classroom. We are here to help. As poets and teachers, we know the power of the spoken word in the classroom. All you have to do is attend a youth slam or find a clip of one online and you will see the positive impact modern poetry has on our young people. It is able to engage students from any background in a way that classical poetry simply cannot touch. A complaint we’ve heard from many teachers is that they would love to use spoken word in their classrooms but they are afraid of getting in trouble with rough language and themes. So behold! We asked some of the best contemporary spoken word and slam poets to give us poems that would be appropriate for the classroom. This means you will not have to sift through this book with a highlighter to try and find the F’s and the S’s and the B’s and the Z’s. We’ve provided poems from national slam champs, world slam champs, fellow teachers, and poets we feel are the best of what’s around. We’ve also included some amazing lessons in its companion book for the teacher, sold separately.
Laura Yes Yes' sultry, wry first book, How to Seduce a White Boy in Ten Easy Steps, dazzles us with its bold exploration into the politics and metaphysics of identity. From fierce and funny sexual fantasias to cutting observations of interracial dynamics, her work asks us to fully consider what it is to be human in an age of fragmentation and double meanings. There are no easy answers here: the voice of the liberated woman rings clearly as a man-eater in one moment, and shudders under the weight of lost love in the next. Laura skillfully navigates the trauma of being Other while acknowledging the absurdity of our perceptions of race. With precise craft and breathtaking imagery, How to Seduce a White Boy blooms as a ferocious celebration of life.
Open Your Mouth Like A Bell is ultimately a book of love poems to poetry itself, or rather, to the gift of language and its powerful mercury. "Sincerity is the only currency I bring," writes Mindy Nettifee in her haunting poem "Election Eve," a piece composed in a state of not-knowing, just days before the 2016 U.S. election that delivered the presidency to Donald Trump. In this third full-length collection of poetry, Nettifee's powers are on the wax. The book follows a course of descent, tapping wells and constructing thresholds to underworlds. She's plumbing the dark unknown, in search of wild memory and buried trauma and the stories of the dead. She is seeking the roots of the personal, familial and cultural madness blossoming aboveground. Her studies of the unconscious mind, archetypal psychology and western mysticism are in conversation with punk chaos, feminist politics, and the evolution of kissing. The lineage of poems as spells is humming and cracking beneath the surface, asking questions about what it takes to imagine, create and enact change. Nettifee won't banish the mystery, but does not leave us in the dark. By the end of the book we are led up and full circle, reinitiated into the bright, light-filled, mundane world. Only everything has changed. Here, in the surreal real and the strange and sacred ordinary, we must use our own voices to emotionally echolocate, to sense new landscapes both inside and out. We must tell the stories it is impossible to tell. We must speak until we feel the ring of truth.
Brown is our modern-day Neruda, hailed as the king of the fast gut punch and champion of the unforgettable line. Here is a brilliant imagination working at its highest level of creative force and naked, cinematic intimacy. Winner of the 2013 Texas Book of The Year for Poetry and owner of Write Bloody Publishing, Derrick C. Brown, author of UH-OH (“...a rekindling of faith in the weird, hilarious, shocking, beautiful power of words.” Joel Lovell, The New York Times) and Born in The Year of the Butterfly Knife, elevates his newest collection of writing in Hello. It Doesn’t Matter. with short burst of dazzling light, dark humor and longer bouts of sorrow and rise. This road-traveling bard fearlessly delivers on laughter and unashamed romance.