Prose. "CUNT-UPS is an explosion of textual sexuality that resists principles of formal ordering, is polyvalent in its voice and range, and as perverse in its sentence construction as its content. Its 'setting' is the mediated exchange itself, the fractured articulation of 'a female body who has sex writing about sex.' While the title might imply a gendered site of production, it also suggests a sexual/textual violence that is more than a mere 'disorganization of the senses' but a dismemberment of the gendered body as well. The text becomes a (feminist) desiring machine, its writing a prosthetic device mediating the traces of physicality, imagination, abjection, and pleasure."Throw on the switch, plug into the mediating machine, the flesh-object writes back, becomes subject, suspect, the gaze cut-up and fed back into vibrating loops of unobtainable desire."--David Buuck

    It is yet another virtuosic showcase for Charles Wright's acclaimed descriptive powers, and also an inquiry into the nature of description itself, both seductive and dangerous: "a virtual world/ Unfit for the virtuous." Like his previous books, Sestets is seeded with the lyrics of old love songs and spirituals, and "there is always room to connect his highly polished poems to the world where most of us lead mundane lives" (Miami Herald). Soaring and earthy, lyrical and direct, Charles Wright is an American treasure, and his search for a truth that transcends change and death settles finally on the beauties of nature and language: "Time is a graceless enemy, but purls as it comes and goes."

    As much as one wants to give Acker the benefit of a fair reading, it's hard not to be bored by the lengthy repetitions, the obscure plotlines, the complete disregard (deliberate, of course) for conventional notions of time. In The Childlike Life of the Black Tarantula, the fictional ``I'' decides to become various murderesses from history, as well as Yeats and Sade. Speaking in a cacophony of voices, she ``can't handle her own horniness,'' though ``sexual ecstasies become mystic communion.'' I Dreamt I Was a Nymphomaniac, another historical hallucination, further emphasizes Acker's sense of the self in disintegration--the reason one assumes the roles of so many other characters from history and literature. Here, a story of sexual obsession somehow transforms into a bland litany of case histories of prisoners whose rights have been abused. This political dimension to Acker's porno-anarcho prose becomes most explicit in The Adult Life of Toulouse-Lautrec, which begins by imagining the artist as a sex-starved, deformed woman. A murder plot sort of develops, to be solved by Hercule Poirot; van Gogh's daughter is actually Janis Joplin, who becomes the lover of James Dean. A profile of Henry Kissinger illustrates how society is corrupted, and individuals like Toulouse-Lautrec/Joplin/Dean suffer. A long political speech, full of half-digested left-wing notions, demonstrates America's decline into ``friendly fascism.'' All of which leads to the facile equation, dramatized in the last section, that the CIA and the Mob are like-minded institutions of repression. The sexual details of Henry Miller, the numbing prose cutups of William Burroughs, the relentless assault on the senses of thrash music--to point out the excess of Acker's entire enterprise only serves her sense of striking out against the bourgeoisie. But it is possible to understand exactly what she's trying to do, and still find it a worthless exercise. -- Copyright ©1992, Kirkus Associates, LP. All rights reserved. --This text refers to an out of print or unavailable edition of this title.

    He grew up in Buffalo, New York and lives in St. Paul, Minnesota, where he is active in the labor movement.

    But Bibi's in her seventies. She's led a full life, including marriage to the domineering and difficult Callum, now deceased, and raised six children.She's not sure what to make of James and suspects - rightly - a troubling secret in his past. When Bibi sets out to re-visit the past for the final time via a tour of Britain in her rather unexpected Volvo sports car, James decides to go with her. It's a journey full of surprises and revelations which will change them both - and, in Isla Dewar's inimitable way, entertain and enlighten every reader.

    Lyrically complex and startling—yet forthright and unflinching— these poems address rape, abortion, sex work, and other subjects frequently omitted from male-dominated literary traditions, without forsaking the pleasures of being embodied, or the value of personal freedom, of moonlight, and of hope. Throughout, the topography and mythology of California, as well as the uses and failures of language itself, are players in what it means to be a woman, a sexual being, and a trauma survivor in contemporary America.

    If real power begins where secrecy begins, then, as we frantically search for dick pics of Justin Bieber or our next door neighbor who we’re convinced posted the faceless Craigslist ad seeking an Asian bottom, we’re seduced into a beautiful distraction in which we are convinced, by virtue of our victorious toppling of the lives of others, that we indeed have nothing to hide.

    Among the poems he left behind are a particularly unsettling four that feature the mysterious Robinson: both a prototypical member of the smart set—masking his desperation with urbane savoir-faire—and an alter ego for the troubled Kees himself.In ROBINSON ALONE, Kathleen Rooney performs a bold act of literary mediumship, conjuring Kees through his borrowed character to sketch his restless journey across locales and milieus—New York, San Francisco, the highways between—and to evoke his ambitions, his frustrations, and his skewed humor. The product of a decade-long engagement with Kees and his work, this novel in poems is not only a portrait of an under-appreciated genius and his era, but also a beam flashed into haunted boiler-rooms that still fire the American spirit, rooms where energy and optimism are burnt down to ash.

    Burroughs on crack!" - Thomas F. Monteleone, New York Times bestselling authorThe bacon storm is rolling in. We hear the grease and sugar beat against the roof and windows. The doughnut people are attacking. We press close together, forgetting for a moment that we hate each other. In Die You Doughnut Bastards, amputees, lonely young people, and talking animals struggle for survival against the freakish whims of nature. A typewriter made of fetuses is the source of woe for an expecting couple. A girl with a glass jaw hides an otherworldly secret. A demonic loner goes to a birthday party in Hell. You'll encounter a killer in a marsupial mask, a prison for anorexics, haunted pancakes, and a songwriter with a cult following.Surreal prose poems give way to personal accounts of alienation and modern love. Vegetarian narwhals are sold at the supermarket. And in a city that might be your own, zombie doughnuts are rising up. Kill yourself before they kill you. Or just kill yourself.Featuring original illustrations in the style of Daniel Johnston, Die You Doughnut Bastards is the latest way to drown, brought to you by Wonderland Book Award-winning author Cameron Pierce.

    As always, she is a poet of dark hilarity and telling social comment. Shifting between poetic and vulgar registers, the surreal imagery of her early work is re-deployed to venture into the badlands of the human psyche. Her poems hold their subjects in an unflinching grip, addressing faces behind the veneer, asking what it is that keeps us alive. These days of prohibition are days of intoxication and inebriation, rehab in a desert and adultery for atheists, until finally Bird edges us out of danger, ‘revving on a wish’.

    Beauty/Beauty is a book with tenderness running through its veins, exploring salvation, reparation, and the fullness of being alive; the difficulty of defining what love is, the heartbreak, the faraway friends, the overwhelming abundance of things in museums. It is alive with memories, with old loves hanging around in the corners of dark rooms, ghost mouths hidden inside the mouth you are kissing, and eulogies to dearly departed pets. Each poem creates its own tiny world to be lived in and explored; a stegosaurus is adored, a million silver spiders play dead, a list of flowers is not really a list of flowers, adorable dogs want to be friends, the flightless grow wings, and the stars turn green.

    In turns surreal and concrete, playful and serious, urgent and whimsical, Adult Head rewards readers with a unique prosody and deep wisdom. Culled from the same mind responsible for some of the best lyrics and music made in the past decade, this volume displays Tweedy's prodigious talent for poetry on the page. Jeff Tweedy has devoted the last twenty years of his life to songwriting and music making. As a member of the band Wilco and formerly of the band Uncle Tupelo, Tweedy and his band mates have garnered respect and praise from Rolling Stone, Spin, the New Yorker, the New York Times, and the Chicago Tribune. Tweedy lives in Chicago with his wife and two sons.

    Brandon Scott Gorrell's debut full-length poetry book captures the feelings of small, alienated, and highly self-conscious humans who exist in an array of situations, from a very odd Halloween party to a full-scale planetary war involving humans, androids, robots, and aliens. Focusing on severe feelings of low self-worth, meaninglessness, and yearning for something unknown, Brandon Scott Gorrell--who has generated a large internet following of disenchanted youths--uses predominantly science fiction imagery in direct, deadpan prose to describe humans in need of meaning that they feel hopeless to attain. "I like these poems. I really do. They made me laugh"--Matthew Rohrer. Brandon Scott Gorrell was born in 1984 and lives in Seattle. His blog is at brandon.alien.fine.blogspot.com.

    The Little Book of Forest Bathing is all about finding strength, peace, and beauty in your surroundings. Drawing on recent research, Forest Bathing maps out the mental, physical, and spiritual benefits of immersing yourself in natural surroundings. It then goes on to provide a how-to guide to forest bathing, with methods ranging from hiking to traditional meditation to literal tree hugging. Interspersed in these informational tidbits are brilliant photos, lush illustrations, sensual typography, poem excerpts, and forest-related quotes. Forest Bathing is perfect for anyone aspiring to slow down, be more mindful, and connect with something greater.

    The poems follow an unlikely character named Miss Peach, an unpredictable, cartoonish shapeshifter, who emerges onto the page dragging the myth of the individual, various gender scripts, and the grand tradition of the poetic persona along with her. She becomes an outsider, a hero, an intruder, a rock star. The town around her, Gold River, is also always in flux—part center and part mirage. The Stranger Manual celebrates the fractious nature of self and society in poems that are fabulist, speculative, and alluring.