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J Cage: Music is permanent; only listening is intermittent

Tuesday, December 16, 2014


“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!