[box]He was advancing into featherhood. At first a little eiderdown in the middle of his chest. Then some good-sized feathers coming out of his elbows. He wondered if there had ever been a bird in the family; some untalked-about ancestor. Perhaps
Ripe For Pleasure on Mysterious Mountain - TRAILER from Eliza Swann on Vimeo. In the 1960's, Brion Gysin and William Burroughs developed a method which allowed them to free themselves, together, from the strictures of either of their minds, alone. 'The
We are excited to announce the publication of Exit Strata: Print! Vol. 2, coming soon to a bookstore near you. Our second print issue of Exit Strata includes an incredible collection of poetry, fiction, play excerpts, prose, and conceptual work from
Pushing off the dock in Kodiak with a solid three weeks of work behind us, the small cannery we called (temporary) home, Alitak, lies behind a hundred miles of fog and snowcovered peaks. We set off on a thirty hour run north, to an equally small town, Kenai, for the salmon season on the Cook Inlet. I'd like to tell you about jigging for cod over this time, on a small boat in high wind and waves, but I find myself interested in showers, and their locations, scarcity.
Interview with the Self by Jacob Perkins & Matt Nelson Q: In what way has Paul Legault improved your sex life? A: It’s a tough question. We’d like to point out that we didn’t get into sir Legault on our own. Like any good relationship it takes, at the very least, two. Our friend read from his book in the subway and all she had to say was, “This guy will turn you inside out,” which he of course didn’t. No one can do that to you and if they try, you should call the proper MTA authorities. But he did turn us outside in, as in what the ufkc? His poems trick you into thinking you’re reading multiple voices shouting in a space where shouts can echo, colliding with each other and creating new sounds. But the intellectual gift is that all the voices are thrown. There is only one Wizard in this Oz. Legault takes control of your equilibrium and maintains a kind of trustless navigation that is impossible to follow on first read. Q: What method of Paul Legault’s language turns you on and why? A: Well, if you are one of those who can pick out patterns, Mr. Legault, at least in The Other Poems, which, by the way is titled on the sub-title tacked to most collections of poetry, sticks pretty close to what we would describe as a format. In our own work the format relies on a series of folds (literal) which we attack as a unit, one space at a time, passing our work back and forth without verbal cooperation. This results in a timing based on mutual challenge and uncomfortability. It is unpredictable but refreshing, the rhythm. Paul (can we call him Paul?) discomforts the supposition that what you read before was what was you read before. Every line, every word is a question game. When did the adjective turn into a noun? How can time be turned into space with just the tiniest turn of a preposition? These are the types of strange knife twists Paul manipulates causing a poetry hemorrhage, showing you the insides of words.