You are browsing the archive for Authors.
“If Georges Bataille were a queer living in San Francisco in 2012, this could be xem, building and dismantling gender, that is, building and dismantling form itself. j/j hastain is writing a no-holds-barred break-neck love song that conflates the meaty and the sacramental. Here is love’s avid desire for detail, and love’s sacred, impossible overflow.” —Robert Gluck
“Whether it’s he or xe…of the yet to be pronounced pronouns, there’s one thing I’m sure of: while the pronouns might not yet be, what is certainly, forcefully here already is a sense of the atomic forces that lie buried within our wider programming. Of gender; of social form, of virility caught in its code. Hastain breaks these apart, not as categories, but as strings of language itself, as pure image. I see this as a bit more than a book–kind of a larger action whereby Hastain releases charged, energies into the frame, turning their blurry fury as gently in the hand as a baby bird’s feather. And damn the science. Companionable but aching, explosive and tenderly hilarious, this is a catastrophic, new bravery.” —Brandon Downing
Remember, all e-editions are available as free downloads, BUT if you purchase a copy, the proceeds will go to a different small press each year (for 2011-2012, it’s Chax Press).
LRL e-editions is thrilled to bring Beverly Dahlen’s first three books back to print in a single volume: Out of the Third (Momo’s Press, 1974), A Letter at Easter: To George Stanley (Effie’s Press, 1976), and The Egyptian Poems (Hipparchia Press, 1983). Also included are Robert Duncan’s afterword to the Hipparchia edition, as well as a new interview with Dahlen about her early work. With these long out-of-print publications newly accessible, readers can mine the formative explorations that open onto Dahlen’s life work, A Reading. According to Duncan in his afterword: “The creative field addressed, worked, and kept at work in Out of the Third, A Letter at Easter, and the present set of Egyptian poems sets into motion resonant elements in my own poetic consciousness so that I hear new harmonics. She has deepened my apprehension of the oracular voice in Poetry…”
LRL e-editions is pleased to announce the publication of Hugo García Manríquez’s Painting Is Finite and Sarah Mangold’s I Meant To Be Transparent – two books which, in taking their cues from other mediums, turn the language of the portrait inside out:
In Painting Is Finite, Hugo García Manríquez traces the edge of elemental life via elemental form. First published in Spanish under the title, Los Materiales (Mexico City: Fonda Editorial Tierra Adentro, 2008), this volume presents Manríquez’s first English-language collection. In these poems, memory is a verb: it “behaves in both directions / the result that it casts / the present, that is, mobility” so that “nothing that preceded you / has prepared you for the experience / ‘the return of painting.’” In such a return, we confront the incommensurable as a material surface, likened here to the written: “history is the only matter excreted by / that which dies,” and thus “Newspapers seek volunteers for the shadow on the front page.” This poetry inhabits the edges as a vocation, urging us into relation with the materials.
“It was more like an impressionist portrait than an identification photo” writes Sarah Mangold in I Meant To Be Transparent, a book woven through the writing of early 20th century literary innovator Dorthy Richardson and the contours of contemporary poetics. Taking her title from a line in Robert Duncan’s Ground Work, Mangold’s attempted transparency slips original language between filmic jump cuts that mirror Richardson’s own prose and a near pre-raphaelite interleaving of fore and backgound — bringing the silenced, the skirted, the sidelined into view. By troubling the implications of linguistic transparency, Mangold challenges the literary portrait in a world in which “men and women are taught from the beginning to speak “his”” and likewise suspending the space before “feeling fades into thought –” In this hovering between, Mangold brings into focus the woman at the edge of the party with “Lots of big big revolution behind my eyes” and the ways in which the failure to be see-through becomes it’s own revelation.