arthur dies”, vol. 3, by olchar e. lindsann

ARTHUR DIES, VOL. 3, by Olchar E. Lindsann
This is an epic poem of that eldritch troubling time, issuing from a vast swarming archaeology as it might have been. Discover a land in which history, legend, death, language, and the world itself are otherwise than even if we think it, where magic infuses, confuses the words that describe it, as if – where discontinuity even infects the grammar of another, a bleary consciousness of another, reality – drift-read upon the current scene of bloodshed, deceit, and the insistent gnarled hope and striven mourning for a better world: ARTHUR symbolized the dream to come, where meaning flows as music overpast; a dank vanished temporal slaughter swale (that of Albion, womb of Blake) where the spells of words became cemented never – where rhythmic abstraction and storytelling tangle in mutabilitous dance: shamanic trance-speech, a fantasy uttered from within: for such is Arthur’s dream – Jack A. Withers Smote
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Vols. 1 & 2 also available at

“les échiquiers effrontés”, by mark young

LES ÉCHIQUIERS EFFRONTÉS
by MARK YOUNG
 
“Duchamp’s Nude came eddying down the staircase carrying a chessboard & some sort of dictionary. ‘Your move,’ she said. I started with ‘angular.’ She won in less than ten moves. Kept on winning. Even when I painted the board red she beat me. It wasn’t until I started opening with Smurfs or the sigils of YouTube & Facebook, things she’d never seen before, that I began to be competitive. I finally won when I brought Nelson Mandela forward. That’s when Daddy stepped in. I never won again. ‘A readymade Mark,’ he called me,” Mark Young – Conceptual and surrealist visual poetry constructed on chessboard grids by the Australia-based poet and editor of the international journal, Otoliths. 

“underscore” by k. s. ernst & sheila e. murphy

UNDERSCORE – by K. S. Ernst & Sheila E. Murphy

This is a long-form collaborative visual poem which includes a dialogue
between at least 2 voices and one or more crows, on themes of
consciousness, time, place, and friendship. As the authors say in their
introduction: “The combination psyche of KSEM [Ernst & Murphy] arrows our
way in varying geometric / geo-mantric modes that we prepare to depict upon
a score what we decidedly hear, alongside emblematic crows that sound
themselves and show themselves across the work. They are our center as they
anchor narrative and feeling, spanning multisensory tree-staged colorific
definitions.”

LUNA BISONTE PRODS

See and buy it at
http://www.lulu.com/shop/sheila-e-murphy-and-ks-ernst/underscore/paperback/product-23706977.html

jim leftwich’s transmutations of vallejo

Jim Leftwich’s transmutations (not translations) of the poetry of César Vallejo are nothing short of brilliant. They feel more Vallejo in English than any previous translations ever have. Vallejo is certainly, bar none, among the greatest poets of the 20th century. Human, more than immediately human, tortured, both baroque and surreal, and lyrical beyond compare, his poetry defies translation, so difficult does it appear at times. This is especially the case with his early work Trilce (Tres tresss trisss treesss tril trilssss, Leftwich’s title has it). Claimed by the surrealists as a master in that genre, Vallejo is that and more than that, opaque as Góngora or bittersweetly acerbic as Lorca, the complexity of his language and imagery find few parallels. Leftwich has created a Vallejo more Vallejo than Vallejo at times. These transmutations have all the speed, energy and enigmatic beauty of the originals on which they are based. – Ivan Argüelles

http://www.lulu.com/shop/jim-leftwich/tres-tresss-trisss-trieesss-tril-trilssss-transmutations-of-c%C3%A9sar-vallejo/paperback/product-23492687.html