Wesleyan University Press @ AWP2017 – Washington D.C.


Join us @ AWP2017, in Washington DC!

Booth #137


Come to our panel!

Working with Archives—Ethics, Strategies, and Methods

Saturday, February 11, 2017 – 1:30pm-2:45pm
Marquis Salon 1 & 2, Marriott Marquis, Meeting Level Two

Gerald Vizenor
Jena Osman
Harmony Holiday
Daniel Tiffany

Writers sometimes use archival records as sources of inspiration and information. Our panelists, including poets, a fiction writer and a historian, look at the use of public records as a source to gain better emotional understanding of their subject, and as evidence of sometimes grim historical events that have been overlooked or intentionally ignored. The panelist will discuss the methodologies and strategies of working with archival material, as well as the important ethical considerations of working with these often sensitive materials.

Meet the Authors
and have your books signed

Rae Armantrout, Friday 11-12

Peter Gizzi, Friday 1-2

Shane McCrae, Friday 2-3

Camille Dungy, Friday 4-5PM

Stop by booth 137 to see our new titles!

awp2017 new new books

 Trophic Cascade (Camille T. Dungy)

Because When God Is Too Busy (Gina Athena Ulysse)

In The Language of my Captor (Shane McCrae)

Planetary Noise: Selected Poetry of Erín Moure (Erín Moure)

awp2017 new books wip

Archeophonics (Peter Gizzi)

BAX 2016: Best American Experimental Writing (Seth Abramson)

The Work-Shy (Blunt Research Group)

Partly: New and Selection Poems, 2001-2015 (Rae Armantrout)

Hot off the press, in time for cool autumn afternoons

Gizzi-Archeophonics R-300-3

New & Forthcoming Poetry from Wesleyan University Press 

Armantrout_Partly R-300-3“You know when you look at a word until it means nothing and then, suddenly and at last, everything? The word is poetry. The poet is Rae Armantrout.”
—Daniel Handler, author of the national bestseller We Are Pirates


A collection of new and selected poetry from Pulitzer prize-winning author, Rae Armantrout. This generous volume charts the evolution of Armantrout’s mature, stylistically distinct work. In addition to 25 new poems, there are selections from her books, Up To Speed, Next Life, the Pulitzer Prize and National Book Critics Circle Award winning volume Versed, Money Shot, Just Saying, and Itself.








Gizzi-Archeophonics R-300-3Short-listed for the 2016 National Book Awards

“Gizzi (is) a poet whose interest lies in articulating his experience of the world in all its disorienting glory.”
American Poets

Defined as the archeology of lost sound, archeophonics, is one way of understanding the role and the task of poetry: to recover the buried sounds and shapes of languages in the tradition of the art, and the multitude of private connections that lie undisclosed in one’s emotional memory. It is a private book of public and civic concerns.








BRG_Work_R_150_3The Work-Shy documents moments in time that resonate with us still, as each breathes up through history like an iron shackle around the leg. A heartbreaking and necessary read.”
—Dawn Lundy Martin, author of Life in a Box Is a Pretty Life

These poems “translate” asylum texts—the writing of the incarcerated and misunderstood—into a wider field of social conflict and utopian fragments of not-yet-being. Activating what Susan Howe calls “the telepathy of the archive,” the poems of The Work-Shy become part of a “book of listening,” occupying identities rooted in the demimonde and in places of confinement.


BLUNT RESEARCH GROUP is a nameless constellation of poets, artists, and scholars from diverse backgrounds. Their work has appeared in museums across the country.

Gerald Vizenor at Birchbark Books!

Vizenor_Gerald 2015

Gerald Vizenor has been welcomed by Birchbark Books for a reading from his new book Treaty Shirts: October 2034—A Familiar Treatise on the White Earth Nation. The reading will be held at the Bockley Gallery (near Birchbark Books in Minneapolis) on Tuesday, August 9th at 7pm.

Vizenor-Treaty-R-72-3Birchbark Books is owned and operated by New York Times bestselling and National Book Award winning author, Louise Erdrich (Ojibwe). As a store that prides itself in their belief in “the power of good writing, the beauty of handmade art, [and] the strength of Native culture,” they are the perfect partner to Vizenor’s Treaty Shirts. In this masterful, candid, surreal, and satirical allegory set in an imagined future, seven natives are exiled from federal sectors that have replaced the federal reservation system. Banished because of their dedication to a democratic ethos, they declare a new, egalitarian nation on an island in Lake of the Woods—a lake bordering Ontario and Minnesota.

The Bockley Gallery has long been supportive of Minnesota artists, and indigenous artists—including George Morrison and Norval Morrisseau.

Gerald Vizenor is a prolific novelist, poet, literary critic, and citizen of the White Earth Nation of the Anishinaabeg in Minnesota. One reader described Treaty Shirts as feeling “utterly like Ojibwa poetry [or dream song] in prose form.” Vizenor as long been known for his uncanny ability to transfer the power, imagery, and natural motion of traditional storytelling to the written word. He will chat with guests and sign books following the reading.

Vizenor_Gerald 2015GERALD VIZENOR is Professor Emeritus of American Studies at the University of California, Berkeley. His novels Shrouds of White Earth and Griever: An American Monkey King in China both won the American Book Award; Griever also received the New York Fiction Collective Award. He is currently writing his sequel to Blue Ravens, an engrossing historical portrayal of Native American soldiers in World War I.

Vizenor’s novel Blue Ravens and Favor of Crows: New and Selected Haiku are available in paperback now!

Visit our Gerald Vizenor’s companion website.

Announcing Treaty Shirts from Gerald Vizenor


The imagined narratives of seven native exiles from the White Earth Nation

Gerald Vizenor creates masterful, truthful, surreal, and satirical fiction similar to the speculative fiction of Margaret Atwood and Neil Gaiman.  In this imagined future, seven natives are exiled from federal sectors that have replaced federal reservations; they pursue the liberty of an egalitarian government on an island in Lake of the Woods.  These seven narrators, known only by native nicknames, are related to characters in Vizenor’s other novels and stories.  Vizenor was the principal writer of the Constitution of the White Earth Nation, and this novel is a rich and critical commentary on the abrogation of the treaty that established the White Earth Reservation in 1867, and a vivid visualization of the futuristic continuation of the Constitution of the White Earth Nation in 2034.

An online reader’s companion is available at http://geraldvizenor.site.wesleyan.edu.

vizenor treatyshirts

Gerald Vizenor is a prolific novelist, poet, literary critic, and citizen of the White Earth Nation of the Anishinaabeg in Minnesota. He is Professor Emeritus of American Studies at the University of California, Berkeley. His novels Shrouds of White Earth and Griever: An American Monkey King in China were both honored with the American Book Award, and the latter also received the New York Fiction Collective Award. Vizenor and his wife, Laura, now live in Naples, Florida, making regular visits to both Minnesota and France.

“In writing that’s full of possibilities, Gerald Vizenor delivers to us the native world that should be.”
—Diane Glancy, author of Fort Marion Prisoners and the Trauma of Native Education

Treaty Shirts presents a masterful exhibition of the capacities of stories to create enduring images of natural reason, as it strides the shifty terrain of cultural survivance, treaty rights, and political sovereignty. Perhaps the most impressive is the way Vizenor achieves his goals, not through condemnation but through the humor of tease of stories that are the achievement of a literary artist at the height of his powers.”
—Billy Stratton, author of Buried in Shades of Night

May 10, 2016

148 pp., 6 x 9”

Jacketed Cloth, $24.95 x


eBook, $19.99 Y


Landfill Meditations

Read an excerpt from Landfill Meditations, for an introduction to Gerald Vizenor’s family.


Read an Excerpt from Treaty Shirts: October 2034—A Familiar Treatise on the White Earth Nation

NaPoMo16: Philip Whalen’s “Hymnus Ad Patrem Sinensis”


When asked about his favorite poem, Michael Rothenburg replied with “Hymnus Ad Patrem Sinensis” by Philip Whalen from The Collected Poems of Philip Whalen.

Hymnus Ad Patrem Sinensis

I praise those ancient Chinamen
Who left me a few words,
Usually a pointless joke or a silly question
A line of poetry drunkenly scrawled on the margin of a quick
splashed picture—bug, leaf,
caricature of Teacher
on paper held together now by little more than ink
& their own strength brushed momentarily over it

Their world & several others since
Gone to hell in a handbasket, they knew it—
Cheered as it whizzed by—
& conked out among the busted spring rain cherryblossom winejars
Happy to have saved us all.

“Hymnus Ad Patrem Sinensis” is often cited as one of Whalen’s greatest poems. It is certainly the most anthologized. It reminds us of impermanence and lineage, the debt we owe to the poets who preceded us and inspired us with their work, poets who showed us generosity in their teachings. It also suggests that we should not take ourselves too seriously.

Michael Rothenberg


Whalen Cover

Philip Whalen (1923–2002) was an influential Beat poet and the author of dozens of books of novels and poetry, including On Bear’s Head, The Diamond Noodle, and Overtime. Michael Rothenberg is one of the literary executors of Whalen’s estate, and the editor of www.bigbridge.org. Also the editor of major volumes of selected poetry by Joanne Kyger, David Meltzer, and Edward Dorn, he lives north of San Francisco.


Be sure to check out our new poetry!


Common Sense (Ted Greenwald)

Age of Reasons: Uncollected Poems 1969–1982 (Ted Greenwald)

Azure: Poems and Selections from the “Livre” (Stéphane Mallarmé)

Fauxhawk (Ben Doller)

Scarecrow (Robert Fernandez)

The Book of Landings (Mark McMorris)

A Sulfur Anthology (edited by Clayton Eshleman)

NaPoMo16: Sarah Blake & Monica Ong’s “Etymology of an Untranslated Cervix”

Blake_Sarah - R-300-4-HS

When asked about her favorite poem, Sarah Blake replied with “Etymology of an Untranslated Cervix” by Monica Ong from Silent Anatomies.



In Rufumbira, the local language here in Kisoro, there is no word for cervix,
and the word vagina is a shameful, dirt word, rarely uttered. -Erin Cox, MD

This space between two entries
I claim it.

When it (she) is blotted out with black marker
I say it, I name it.

But under these volcano peaks, I am locked out in English.

Cells rupture. Quietly.
A carcinoma colony creeping in her blank space. Spreads.

What if dysplasia simply meant
to displease?

The interpreter asks

Why do they want to go down there,
to that dirty, shameful place?

What is the point of wailing horns, of fighting
a fire with no address?

This dialect was not designed for her.

On the Western shore, I can spell it out, letter by letter
print a scan and map every tumor’s point of entry,

conduct daily surveillance on each tendril
until it is white with radioactive surge.

But what about her tongue?

Absent, unable to make real
her body, written in silence.

Danger: (   ) is waiting in red,
The monster’s shadow, taller and hungrier than the monster itself.

Ink spilled. Bleeding.

I chose “Etymology of an Untranslated Cervix” because I love the intersection of the body and language, multiple languages, the failure of language. Recently I’ve been focused on threats that bodies face, sometimes women’s bodies especially, and this struck me as a strange threat–not causing harm and yet fundamentally an attack on women’s bodies, even if in avoidance, in denial. I’m usually thinking about the faulty space between signifier and signified, but here, a situation where there is actually no signifier. What becomes of the signified then? This a part of my body I am supposed to reach up and touch once a month to check that my IUD strings are in place. I feel a sudden emptiness there without language. I love this poem that reclaims it so forcefully and beautifully.
Sarah Blake


Silent Anatomies
96 pp. 7.5 x 10″
$19.95 paper
Kore Press
February 2015


Sarah Blake is the founder of the online writing tool Submittrs, an editor at Saturnalia Books, and a recipient of an NEA Literature Fellowship. Her poetry has appeared in Boston Review, Drunken Boat, FIELD, and The Threepenny Review. She lives outside Philadelphia, Pennsylvania. She is the author of Mr. West, published in 2015 by Wesleyan University Press. You can visit her website here.

Be sure to check out our new poetry!


Common Sense (Ted Greenwald)

Age of Reasons: Uncollected Poems 1969–1982 (Ted Greenwald)

Azure: Poems and Selections from the “Livre” (Stéphane Mallarmé)

Fauxhawk (Ben Doller)

Scarecrow (Robert Fernandez)

The Book of Landings (Mark McMorris)

A Sulfur Anthology (edited by Clayton Eshleman)

NaPoMo16: Marianne Boruch on 2 poems & an email from Russell Edson

mboruch, photo #3

When we at Wesleyan University Press asked poet Marianne Boruch to select one of her favorite poems, she replied two poems by the late poet Russell Edson.


This being spring, specifically April, and heralded for a while now—for good and ill—under the name of Poetry (capital P), here’s part of an email I got in May 2006 from the late (infamous and beloved) Russell Edson. He wrote—

“Everything’s gotten kind of green. I suppose, since we didn’t create
the universe, we’ll just have to go on living our lives as if everything
was meant to happen.”

That’s not a poem, of course, and in fact Edson did create small riveting universe after universe in his prose poems, verse paragraphs, fables extraordinaire—whatever you want to call them. Here’s a favorite of mine….

        THE FALL

                        There was a man who found two leaves and came indoors holding them out
                saying to his parents that he was a tree.

                       To which they said then go into the yard and do not grow in the living-room
               as your roots may ruin the carpet.

                        He said I was fooling I am not a tree and he dropped his leaves.
                        But his parents said look it is fall.


What to say about such a moment?  What to say about a playfulness that is dead serious, poems that turn on us and suddenly there’s that huge void looming, in us and around us?

That’s poetry for you but but but…   Unlike prose which is “inherently tragic” since it moves “through time,” poetry is “joyous … no matter how gloomy its seeming content.” So Edson brilliantly argued in his essay “The Prose Poem in America.”  With its sense of “continuous life,” poetry “celebrates everything it touches” pretty much in spite of itself.  He said that too.

But there’s a certain humility required of poets, a crucial lightness of being. Note this wonderful piece of his:


                        There was once a hog theater where hogs performed as
                men, had men been hogs.

                        One hog said, I will be a hog in a field which has found a
                mouse which is being eaten by the same hog which is in the
                field and which has found the mouse, which I am performing
                as my contribution to the performer’s art.

                        Oh let’s just be hogs, cried an old hog.

                        And so the hogs streamed out of the theater crying, only
                hogs, only

                        hogs . . .


In that email from long ago, Edson wrote this before he signed off—

“Good news!  Poetry month has ended. Now we can return to reality.
Someone once said April is the cruelest month…”

–Marianne Boruch

mboruch, photo #3

Marianne Boruch is the author of numerous collections of poetry, including, the forthcoming Eventually One Dreams the Real Thing (2016); Cadaver, Speak (2014); The Book of Hours (2011), which won the Kingsley Tufts Poetry Award; Grace, Fallen from (Wesleyan, 2008); and Poems: New & Selected (Wesleyan, 2004). She has also published a memoir, The Glimpse Traveler (2011), as well as two collections of prose on poetry, In the Blue Pharmacy (2005) and Poetry’s Old Air (1995).

Be sure to check out our new poetry!


Common Sense (Ted Greenwald)

Age of Reasons: Uncollected Poems 1969–1982 (Ted Greenwald)

Azure: Poems and Selections from the “Livre” (Stéphane Mallarmé)

Fauxhawk (Ben Doller)

Scarecrow (Robert Fernandez)

The Book of Landings (Mark McMorris)

A Sulfur Anthology (edited by Clayton Eshleman)

NaPoMo16: Pierre Joris on Paul Celan’s “Line the wordcaves”


When asked about his favorite poems, Pierre Joris replied with Paul Celan’s “Line the wordcaves” from Fadensonnen / Threadsuns.


with panther skins,

widen them, hide-to and hide-fro,
sense-hither and sense-thither,

give them courtyards, chambers, drop doors
and wildnesses, parietal,

and listen for their second
and each time second and second

mit Pantherhäuten,

erweitere sie, fellhin und fellher,
sinnhin und sinnher,

gib ihnen Vorhöfe, Kammern, Klappen
und Wildnisse, parietal,

und lausch ihrem zweiten
und jeweils zweiten und zweiten

I have been reading & translating Paul Celan’s work for many years—close to fifty, in fact. His work is always complex & difficult, and theerfore I often turn to the poem above—“Line the wordcaves” from the volume Fadensonnen / Threadsuns—because, besides being a fascinating & well-made poem, it is also a programmatic meta-poem. It give us a handle on how to approach such poems by foregrounding how the poet envisaged the act of writing, & how he would have liked his work to be read and understood. Thinking/reading through this poem helps me rethink how Celan’s (and, indeed many other) complex poems need to be read.

Celan, especially in his late poetry, insists on the importance of the word. This poem thematically foregrounds this point, yielding insights not only into Celan’s writing process, but also into the reading process. The work of poetry is to be done on the word itself, the word that is presented here as hollow, as a cave — an image that suggests immediately a range of connections with similar topoi throughout the oeuvre, from prehistoric caves to etruscan tombs. The word is nothing solid, diorite or opaque, but a formation with its own internal complexities and crevasses — closer to a geode, to extend the petrological imagery so predominant in Celan. In the context of this first stanza, however, the “panther skins” seem to point more towards the image of a prehistoric cave, at least temporarily, for the later stanzas retroactively change this reading, giving it the multi-perspectivity so pervasive to the late work.

These words need to be worked, transformed, enriched, in order to become meaningful. In this case the poem commands the poet to “line” them with animal skins, suggesting that something usually considered as an external covering is brought inside and turned inside-out. The geometry of this inversion makes for an ambiguous space, like that of a Klein bottle where inside and outside become indeterminable or interchangeable. These skins, pelts or furs also seem to be situated between something, to constitute a border of some sort, for the next stanza asks for the caves to be enlarged in at least two, if not four directions, i.e. “pelt-to and pelt-fro, / sense-hither and sense-thither.” This condition of being between is indeed inscribed in the animal chosen by Celan, via a multilingual pun (though he wrote in German, Celan lived in a French-speaking environment while translating from half a dozen languages he mastered perfectly): “between” is “entre” in French, while the homophonic rhyme-word “antre” refers to a cave; this “antre” or cave is inscribed and can be heard in the animal name “Panther.” (One could of course pursue the panther-image in other directions, for example into Rilke’s poem — and Celan’s close involvement with Rilke’s work is well documented.) Unhappily the English verb “lined” is not able to render the further play on words rooted in the ambiguity of the German “auskleiden,” which means both to line, to drape, to dress with, and to undress.

These “Worthöhlen,” in a further echo of inversion, give to hear the expression “hohle Worte”—empty words (The general plural for “Wort” is “Wörter,” but in reference to specific words you use the plural “Worte.”) Words, and language as such, have been debased, emptied of meaning — a topos that can be found throughout Celan’s work — and in order to be made useful again the poet has to transform and rebuild them, creating in the process those multiperspectival layers that constitute the gradual, hesitating yet unrelenting mapping of Celan’s universe. The third stanza thus adds a further strata to the concept of “Worthöhlen” by introducing physiological terminology, linking the word-caves to the hollow organ that is the heart. These physiological topoi appear with great frequency in the late books and have been analyzed in some detail by James Lyon[1], who points out the transfer of anatomical concepts and terminology, and, specifically in this poem, how the heart’s atria become the poem’s courtyards, the ventricles, chambers and the valves, drop doors. The poem’s “you,” as behoves a programmatic text, is the poet exhorting himself to widen the possibilities of writing by adding attributes, by enriching the original word-caves. The poem’s command now widens the field by including a further space, namely “wildnesses,” a term that recalls and links back up with the wild animal skins of the first stanza. Celan does not want a linear transformation of the word from one singular meaning to the next, but the constant presence of multiple layers of meaning accreting in the process of the poem’s composition. The appearance in the third stanza of these wildnesses also helps to keep alive the tension between a known, ordered, constructed world and the unknown and unexplored, which is indeed the Celanian “Grenzgelände,” that marginal borderland into which, through which and from which language has to move for the poem to occur.

But it is not just a question of simply adding and enlarging, of a mere constructivist activism: the poet also has to listen. The last stanza gives this command, specifying that it is the second tone that he will hear that is important. The poem itself foregrounds this: “tone” is the last word of the poem, constituting a whole line by itself while simultaneously breaking the formal symmetry of the text which had so far been built up on stanzas of two lines each. Given the earlier heart-imagery, this listening to a double tone immediately evokes the systole/diastole movement. The systole corresponds to the contraction of the heart muscle when the blood is pumped through the heart and into the arteries, while the diastole represents the period between two contractions of the heart when the chambers widen and fill with blood. The triple repetition on the need to listen to the second tone thus insists that the sound produced by the diastole is what is of interest to the poet.

Systole/diastole, a double movement most basic to life, thus important to be aware of, and made visible here as “the heart” of the poem, & giving the reader in the process a how-to-read in a double movement of reading/writing or of writing/reading.

Pierre Joris


[1] Lyon, J. K. (1987b). “Die (Patho-)Physiologie des Ichs in der Lyrik Paul Celans.” Zeitschrift für Deutsche Philologie.106(4)


Breathturn to Timestead: The Collected Later Poems of Paul Celan, edited, translated and with commentaries by Pierre Joris. Farrar, Strauss & Giroux, 2014.

Pierre Joris is the author of more than 40 books of poetry, essays, and translations including Poasis: Selected Poems 1986–1999 (Wesleyan, 2001) and A Nomad Poetics: Essays (Wesleyan, 2003). He was co-editor of Poems for the Millennium: The University of California Book of Modern and Postmodern Poetry and has published English translations of Celan, Tzara, Rilke and Blanchot, among others. You can read his blog here.

Be sure to check out our new poetry!


Common Sense (Ted Greenwald)

Age of Reasons: Uncollected Poems 1969–1982 (Ted Greenwald)

Azure: Poems and Selections from the “Livre” (Stéphane Mallarmé)

Fauxhawk (Ben Doller)

Scarecrow (Robert Fernandez)

The Book of Landings (Mark McMorris)

A Sulfur Anthology (edited by Clayton Eshleman)

NaPoMo16: Rae Armantrout & Emily Dickinson’s “1259”

Courtesy of Rosanne Olson, 2010.

When asked about her favorite poems, Rae Armantrout replied with “1259” by Emily Dickinson. We’re sharing the poem today, to celebrate National Poetry Month and Rae Armantrout’s birthday!



A Wind that rose
Though not a Leaf
In any Forest stirred
But with itself did cold engage
Beyond the Realm of Bird—
A Wind that woke a lone Delight
Like Separation’s Swell
Restored in Arctic Confidence
To the Invisible—

Though not well known, this is one of my favorite Dickinson poems. It works through a complicated and unstable metaphor. As a literal wind kicks up a wave which travels awhile and then subsides into the sea, Dickinson’s more mysterious wind provokes a private mental event—an idea or feeling, maybe a poem, or even the birth of an individual consciousness itself—which is manifest for awhile before sliding back into invisibility.  We might expect there to be a pathos to this process, but, instead, there is a defiant and almost autoerotic “Delight.”  This poem seems like a kind of poetics statement.

No one combines seemingly dissonant words and concepts more surprisingly and to better effect than Dickinson. That’s what I love most about her  – and there are two great examples in this poem. You will almost certainly never find the words “cold” and “engage” sitting side by side anywhere else. “Coldly engage,” which would still be surprising, would be more correct, of course, but nowhere near as good. “Cold” in its noun form prepares us for the later appearance of Arctic. It suggests both cold water and dispassionate intellectual fascination. What’s more, it hints at an attraction to the cold. It’s also worth noting that the long “o” in cold travels like a wave throughout the poem appearing in “rose,” “woke,” and “lone” – all one syllable words. The second really surprising word combo in this poem is “Arctic” and “Confidence.” Surely these words have never been seated together before. They create an interesting ambiguity here. Confidence might mean self-assurance, an independence enjoyed by this wave, but it might just as easily mean something like the opposite – “confidence” as shared secret or confession. Both work! If we lean towards the latter, as I do, then we have to wonder what kind of “confidence” can be described as “arctic.” Perhaps the very poem we are reading is such a confidence, one shared with the theoretical audience who might (or might not) read her long after her death.

This poem isn’t one of Dickinson’s anthology pieces, so I feel a kind of “lone Delight” whenever I read it, but I am glad to share it here.
Rae Armantrout



Rae Armantrout is the author of twelve books of poetry, including Just Saying, Money Shot, and Versed, winner of the 2010 Pulitzer Prize for Poetry and the 2009 National Book Critics Circle Award. She is a professor of writing and literature at the University of California, San Diego. Her twelfth book, Itself, was published by the Wesleyan University Press in 2015. Partly: New and Selected Poems is forthcoming in August 2016.


Be sure to check out our new poetry!


Common Sense (Ted Greenwald)

Age of Reasons: Uncollected Poems 1969–1982 (Ted Greenwald)

Azure: Poems and Selections from the “Livre” (Stéphane Mallarmé)

Fauxhawk (Ben Doller)

Scarecrow (Robert Fernandez)

The Book of Landings (Mark McMorris)

A Sulfur Anthology (edited by Clayton Eshleman)

Announcing 2 books by TED GREENWALD


“Is it cynical or is it innocent? He has an almost machinic way. But is it utopian? The most progressive of Ted Greenwald’s poems are just that. No, they all are: forward thinking, Sagittarian, and wildly Americanly kind.”    –Eileen Myles


We are pleased to announce the release of two noteworthy books by prolific poet Ted Greenwald! Greenwald’s long career spans six decades and more than 30 books. Based in New York City, he has long been associated with St. Mark’s Poetry Project and founded Poetry Readings at Ear Inn with Charles Bernstein. His work has appeared in Paris ReviewPartisan ReviewCLinesBig SkyAngel HairL=A=N=G=U=A=G=EBombAdventures in PoetryThe WorldPoetry Project NewsletternY, and Shiney.

Common Sense

First published in 1978, Common Sense evinces a spare street-wise style rooted in the vernacular of the city. Now something of a cult classic, the book is recognized as an understated masterpiece, pushing at the edges of spoken word. This is the language of everyday, brought onto the page in such a way that we never lose the flow of speech and at the same time we become attuned to its many registers—musical, emotional, ironic. Ted Greenwald’s work has been associated with several major veins of American poetry, including the Language movement and the New York School, but it remains unclassifiable.

The Age of Reasons: Uncollected Poems, 1969–1982

A New York-based poet with close ties to the New York School and the Language poets, Ted Greenwald has written daily since the early 1960s. The Age of Reasons includes the best of Greenwald’s uncollected poetry. While some of these poems appeared in literary journals or magazines in the 1970s, none were included in any of his previously published books. These distinct works were written in advance of or alongside the extended explorations of a mutated triolet form that increasingly occupied him from the late 1970s on. Alongside Common Sense (1978), The Age of Reasons evinces Greenwald’s ability to think with his ear, to hear what’s said as it arrives as a fresh sound or shape in his head. This work is singular in its pattern-making, its music-making, and its ability to simultaneously follow multiple paths.

“No poet has taken the idea that poetry should be at least as good as overheard conversation as seriously as Ted Greenwald.”  –Publishers Weekly

“Ted Greenwald knows what real American talk sounds like, understands the rhythm and pulse of the language, and knows how to write poems that are built around that knowledge. He is one of America’s most ambitious and provocative poets.”  –Terence Winch, Jacket 19

“Ted Greenwald’s poems ‘give voice’ to a variety of New York idioms, and with that, a distinct attitude toward both language and experience. His ultimate strength as a poet is his basic humanity, something that can be claimed for very few.”  –Bill Berkson

“I have called Greenwald an ‘urban primitive’ because his work seems to spring from the base materiality of New York streets, the immediacy of enunciation, abrupt demand, tough neighborhoods, shifting milieus, grit and exhaust, flux and flurry. I see him as a genuine original whose method is a unique exploration of common language, utterly without academic pretense.”  –Curtis Faville, publisher, L Publications


The long and the short
Of it is
I have to keep pushing
I feel myself
Pushing against the
Lead-in to beauty
And take a hunch through
With me
Into the halls
Where the everyday
Seems like eternity
There’s no fooling around
About something
As serious
As it is beautiful
There’s no match
For the feeling
That gets there
When I get there
And absolutely no sense
Of duration
And no telling
How everything turns out



202 pp., 6 x 9 1/4”

Paper, $17.95 x


eBook, $14.99 Y