J Cage: Music is permanent; only listening is intermittent


Tuesday, December 16, 2014

FURTHER UPLANDS AND IN MORE WIDE-LYING PASTURES: NATHAN HAUKE'S IN THE MARBLE OF YOUR ANIMAL EYES, BY DEREK POLLARD

“If you are interested in poetry that both floats and stings, that teases at the felicities of language while insistently questioning its own authority, In the Marble of Your Animal Eyes will reward with each new reading. At their most compelling, the poems in the collection are, as John Ashbery has remarked of Brice Marden’s paintings, not ‘like so much of today’s art, allusions or comments, however oblique, on ideas that are elsewhere: they are themselves what is happening.’ And here, what is happening is well worth paying attention to.”

I am completely in awe of this incredibly generous and attentive review of In the Marble of Your Animal Eyes (Publication Studio, 2013) that Derek Pollard wrote for Drunken Boat. Its intelligence is as telescoped and wildly expansive as its company is immediate; it reminds me to company.
EVERY LIVING ONE is available for pre-order at Horse Less Press with a holiday discount/ giving thanks


I am very glad to say that all of the materials for my second book, Every Living One (horse less press, 2015), went out to designer Alban Fischer last week and want to take an opportunity to give thanks. Thanks to horse less, Alban, Poets in Need, and so many others who have helped this book along in one way or another: Kirsten Jorgenson, Brenda Sieczkowski (with her diamond-cutter’s eye), Mike Sikkema, Jen Tynes, Shira Dentz, and G.C. Waldrep, Donald Revell, Joseph Lease, Donna de la Perrière, Hank Lazer, Craig Dworkin, Paisley Rekdal, Karen Brennan, Pepper Luboff, Ely Shipley, Gina Myers, Hazel McClure, Caroline Klocksiem, Geoff Babbitt, Kathryn Cowles, Cami Nelson, Eryn Green, Christine Marshall, Stacy Kidd, Derek Henderson, Jen Denrow, and Erika Howsare. All you working doggers. All the fossils left in the dirt.
Paul Naylor has said, “In Every Living One, Nathan Hauke, like Ronald Johnson, works the compost heap left by the New England Transcendentalists—Emerson, Hawthorne, and Thoreau all leave traces throughout this careful, delicate, yet tough-minded book. Hauke’s world is—as it should be—a more broken, more littered world than his predecessors, a world composed of as much consumer debris as natural beauty. And it’s to our benefit that Hauke has the tenacity and integrity not to turn his back on either, allowing him to take us to the numinous edge of perception: ‘There is must be a higher origin of.’ Every Living One explores the isn’t as much as the is of that possible higher origin, all while facing directly the sorrows of death and poverty haunting everyday life; yet beneath that layer of sorrow we find at the book’s core a ‘Raw knot of gratitude.’ That gratitude comes through on each page of this compelling book.” 
You can preorder Every Living One as a stand alone stocking stuffer at the horse less press site.
OR, better yet, treat yourself as you support an amazing press and pick up Every Living One alongside the rest of the exciting 2015 horse less catalogue: Sara Peck and Jared Joseph’s here you are, Nikki Wallschlaeger’s HOUSES, and Anne Cecelia Holmes’ The Jitters.
Here’s a scan from “Bones or Branches,” a long poem at the center of the book that was published in TYPO 17. Thanks again to Adam Clay and Matthew Henriksen for having me!


*Let me know if you’re interested in writing a review and I’ll hook you up.

COUNTRY MUSIC: experimental rural/ suburban experiment

Grateful to have one of my new poems, "Another patternless pattern of excitement," included in COUNTRY MUSIC: experimental rural/ suburban experiment. Thanks to Scott Abels! Thanks Fanta! Thanks to Ted Berrigan for my title!

Monday, November 3, 2014

Coldfront Magazine Song of the Week feature on Aaron Martin's "Canopy"

Mightily glad for a chance to sing Aaron Martin's praises as a part of the Coconut Poetry residency at Coldfront Magazine's Song of the Week. Thanks to Jackie Clark for having me!
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Here’s a link to Martin’s stunning debut performance at Pageant: Soloveev Gallery in Philly that was featured as a part of the Fire Museum Presents series (April 2014). It opens with “Water Tongue,” one of my favorite tracks on Worried About the Fire (Experimedia 2010).






Wednesday, October 22, 2014

EVERY LIVING ONE is available for pre-order at horse less press

Thrilled that my second book, Every Living One (forthcoming in early Jan), is available for pre-order at horse less press with the rest of their stellar 2015 catalogue: Nikki Wallschlaeger's Houses, Anne Cecelia Holmes's The Jitters, Sara Peck and Jared Joseph's Here You Are. I'm also incredibly grateful for advance praise that's come in from Donald Revell, Norma Cole, Paul Naylor, and G.C. Waldrep.


EVERY LIVING ONE

The flower spike is ‘not square’   each blade contains       2-9 flowered spikelets

below spikelets not stiff  with              slender keel and ribs

Outside, grass is thicker  light   wet

fresh looking.  How to express differences     light’s persistence

mutable by foliage.  (“DEERFIELD”)

Composed through the accumulation and solve of discrete interwoven series, EVERY LIVING ONE attends to presence rent by attachment and loss—creation entrusted to itself, further bewildered by text(s) and belief. It picks through the razor briar of “born-again” religious rhetoric and junks the abstraction of transcendentalism to embrace visionary experience, cleaving to practice grounded in relinquishment and acts of salvage that accompany the transformative threshold of edges

Beads of condensation

Streak green grill hem

Meaning these traces

Won’t come into focus (“SEWN”)

__________________


"To show and to affirm the image of the world is a rash act anymore, as nowadays we read and write for colorless grammarians. Nathan Hauke, thank heaven, is a rash man, a poet who loves the precipice he finds in every image and in his mind's eye. He is the glad captive of a good world and of its graces. Every Living One tells the bright, bright story of that captivity."
—Donald Revell

“This book of poetry is an active remembering. ‘But who / can say the order of things,’ asks the poet, along with Michel Foucault. See the clear and precarious moments of sun and snow, the world of industry and nature, the poignancy of human nature. ‘Addicted to language,’ Hauke’s cutting edge tracks thought’s shining immediacy.”
                                —Norma Cole

“In Every Living One, Nathan Hauke, like Ronald Johnson, works the compost heap left by the New England Transcendentalists—Emerson, Hawthorne, and Thoreau all leave traces throughout this careful, delicate, yet tough-minded book. Hauke’s world is—as it should be—a more broken, more littered world than his predecessors, a world composed of as much consumer debris as natural beauty. And it’s to our benefit that Hauke has the tenacity and integrity not to turn his back on either, allowing him to take us to the numinous edge of perception: ‘There is    must be    a higher origin of.’ Every Living One explores the isn’t as much as the is of that possible higher origin, all while facing directly the sorrows of death and poverty haunting everyday life; yet beneath that layer of sorrow we find at the book’s core a ‘Raw knot of gratitude.’ That gratitude comes through on each page of this compelling book.”
—Paul Naylor

“What if the secret heart of rural America were a still waiting, an all-but-silent psalm?  These lyrics are delicate, involuted fossils of a trance-like attention that somehow does not exclude chronic underemployment, neighbors up on assault charges, and other vicissitudes of contemporary rural living.  In the tradition of C.D. Wright, besmilr brigham, and perhaps Lorine Niedecker above all, these are poems ‘learning the mirror and field guide,’ becoming ‘a process of mapping’—not just of place, but also of being-in-place, an angled consciousness that pares itself away even as the lines all but dissolve on the reader’s sympathetic eye-tongue.”
                              —G.C. Waldrep

Wednesday, October 15, 2014

Brenda Sieczkowki reviews IN THE MARBLE OF YOUR ANIMAL EYES (Publication Studio, 2013) at The Rumpus


“These poems remind me that the cost of productive instability, its necessary risk, is that such instability often occasions loss (and forgiveness).”
I am incredibly grateful for the keen insights of Brenda Sieczkowski's expansive review of In the Marble of Your Animal Eyes (Publication Studio, 2013), a companion text in the truest sense. Her discussion of tracking the pitch of “clue-threads” that mark the book’s “projective geometry,” shines so many of the framing overlays I tried to keep myself in the dark about in order to keep moving as it considers the attempt to preserve animality, the suspension between upheavals and “polish” (“coats of varnish”), memorial, decay, and the desire for healing, etc.




Friday, October 3, 2014

"After Lucretius" HICK feat. at LINES

"we are in debt, our every grand attention, in debt to the things we attend: what a potlatch, a thinker; what a potlatch, the world"

Thanks to Abe Smith for the shout-out at LINESMightily honored by it. Glad as a finch to be a part of the HICK POETICS project that he and Shelly Taylor are putting together for Lost Roads alongside so many others whose writing I admire.