JIM
LEFTWICH Engages
IN COMPANY: AN ANTHOLOGY OF NEW MEXICO POETS AFTER1960 edited by Lee Bartlett, V.B. Price and Dianne
Edenfield Edwards
(University of New Mexico Press, Albuquerque, 2004)
After a
few practice sessions of nomadic reading I have decided upon a strategy for
writing about this hoard and horde of poetical facets, faceted facades,
crenelated lineations iterated as crimes against Plato's Republic, with each
other through the through-stems, to each other in flight and fight. I read an
earlier review and marked it on my mind's map as a territory to be studiously
avoided. Thus, having given up on the elephants, which rhyme with the sea, I
have decided to begin on page 107, with Larry Goodell's poem entitled
"Human Non-Sequitur".
Since
the line-break device (that exact sequence of decisions) insists that we focus
if only for a moment on the last word of each line, I will extract those words
from "Human Non-Sequitur" and use them as a guide to a reading as a
writing of IN COMPANY: AN ANTHOLOGY OF
NEW MEXICO POETS AFTER 1960, edited by Lee Bartlett, V. B. Price and Dianne
Edenfield Edwards (University of New Mexico Press, 2004).
"Human
Non-Sequitur" is a sonnet in form, but most of its verse lines are longer
than a single printed line. In this particular lexeography I will be using all
of the words at the ends of lines on the printed page, even when a single verse
line extends to more than one printed line. My choice of how to use the printed
page gives me 24 words to work with, rather than 14. This isn't arbitrary. It's
simply a way of giving myself permission to include more than 14 poets in this
irreview.
Line
one of "Human Non-Sequitur" ends with the word "other". I
turn to the table of contents, begin with the last page in that table, and read
upwards until I find a poet whose name begins with the letter 'o'.
Deanna
Ortiz, page 510.
From
"Ladders"
"One
October night the clear green eyes came to me."
From
"Again"
"But
wild or wrong arrived in the shotglass everytime,
your
green eyes alive as the sea,
a body,
and seven hundred miles of waste."
Line
two of "Human Non-Sequitur" ends with the word "the". I
turn to the table of contents, begin with the last page in that table, and read
upwards until I find a poet whose name begins with the letter 't'.
Jennifer
Timoner, page 498.
From
"The Eye Occupation"
"Can
you name ten corpses that begin with the letter O"
From
the Abstract for Romanticizing Bataille: Subject-Object Relations and the
"Extreme Limit" of Knowledge in Blake, Coleridge, and Shelley, by
Jennifer Alla Timoner
Dissertation,
The University of New Mexico (2001).
This
work begins with the premise that the English romantic poets believed in and
valued the subject's unsatisfiable desire to know the objective world, rather
than a static knowledge of the object. I show further that the work of Georges
Bataille provides a valuable perspective from which to analyze romantic
epistemology. Looking at texts that have a long history of epistemological
criticism---William Blake's Book of Thel and Visions of the Daughters of
Albion, Samuel Taylor Coleridge's The Rime of the Ancient Mariner, and Percy
Bysshe Shelley's Alastor---I propose radically different interpretations of the
poems based on Bataille's ideas concerning the violent annihilation of subject
and object, as well as the sacrifice of meaning represented by poetic language.
In part, then, this study contributes to an understanding of romantic poetry as
the heterogeneous communication of the anguished, isolate subject.
Line
three of "Human Non-Sequitur" ends with the word "stems". I
turn to the table of contents, begin with the last page in that table, and read
upwards until I find a poet whose name begins with the letter 's'.
James
(Jim) Stewart, page 480.
From
"On Speed, Or How We Murdered Nostalgia"
"crystal
meth is a machine, a tool"
[...]
"I
could hear Cassady's voice, and understood how little
his
motor-spell-chant-talk really had to do with some magic door"
Line
four of "Human Non-Sequitur" ends with the word "&". I
turn to the table of contents, begin with the last page in that table, and read
upwards until I find a poet whose name begins with the letter 'a'.
Elizabeth
Abbott, page 305.
From
"Awakening"
"There
were no magic words.
'Love
is built,' they told her.
Line
five of "Human Non-Sequitur" ends with the word
"discharge". I turn to the table of contents, begin with the last
page in that table, and read upwards until I find a poet whose name begins with
the letter 'd'.
Mary
Dougherty, page 312
From
"Only Death"
"I
am pushed to sea
the
boat is in flames."
From
"Spring In Placitas"
"I'm
electric tonight, everything
I touch
begins to spark."
From
"The Burning of Margaret Moone"
"Flowers
of fire grow in my legs.
I lean
to the faggots
and
flame redeems me."
Line
six of "Human Non-Sequitur" ends with the word "fight". I
turn to the table of contents, begin with the last page in that table, and read
upwards until I find a poet whose name begins with the letter 'f'.
Phillip
Foss, page 453.
From
"Anascesis and Wreckage"
"these
divisions are only for the purpose of knowing: they have no meaning"
[...]
"the
chosen poverty rekneading the body into another dirt * perhaps
mircaceous
or igneous * fog
you
must pass out of these
structures
into a
kind of sound in which you cannot recognize your self"
[...]
"what
light does sound make?"
Reading,
nomadically again, among the results of a google search on the word
"anascesis", I come upon The
Literary Essays of Thomas Merton, directed specifically to his paper on
Pasternak, in which I find the following:
It is
therefore instructive to study the scattered allusions in these letters which,
added together, provide us with a strikingly coherent formula, a kind of
ascesis for survival under totalism. In this, Pasternak falls into a long
traditional line of sapiential thought which goes all the way back to the court
literature of ancient Egypt, is reflected in such books of the Old Testament as Proverbs and
Ecclesiastes, and echoes other wisdoms in India and China.
It is
an ascesis of honesty, of work, of loyalty to one's friends, to one's task, and
to oneself. It is above all an ascesis of fidelity to life itself and to the
human measure. Therefore an ascesis not of rigor and restraint but of openness
and response: not of solipsism but of self-forgetfulness, celebration, and
love.
Line
seven of "Human Non-Sequitur" ends with the word "take". I
turn to the table of contents, begin with the last page in that table, and read
upwards until I find the second poet whose name begins with the letter 't'.
John
Tritica, page 448.
From
"Approaching The Equinox"
"To
warrant semantic excess
but to
define or extend
beyond
the bleachers."
[...]
"If
you want a poem
find a
blank page."
[...]
"To
read poetry is to write the world."
coreopsisˌ
noun: a plant of the daisy family, cultivated for its rayed, typically yellow,
flowers.
Origin
modern
Latin, from Greek koris ‘bug’ + opsis ‘appearance’ (because of the shape of the
seed).
penstemon,
noun, another term for beardtongue.
Origin
modern
Latin, formed irregularly from penta- ‘five’ + Greek stēmōn ‘warp,’ used to
mean ‘stamen.’
beardtongue,
noun, a North American plant of the figwort family with showy, five-lobed
flowers. Each blossom has a tuft of hair on one of its stamens.
Line
eight of "Human Non-Sequitur" ends with the word
"initiative". I turn to the table of contents, begin with the last
page in that table, and read upwards until I find a poet whose name begins with
the 'i'.
Mark
Ivey, page 513.
From
"Golden, New Mexico"
"Gravestones,
cut from soft rock, tilt,
their
letters become dark mumbles."
Line
nine of "Human Non-Sequitur" ends with the word "of". I
turn to the table of contents, begin with the last page in that table, and read
upwards until I find the second poet whose name begins with the letter 'o'.
Simon
Ortiz, page 113.
From
"My Mother and My Sisters"
"My
oldest sister wears thick glasses
because
she can't see very well.
She
makes beautifully formed pottery.
That's
the thing about making dhyuuni;
it has
more to do with a sense of touching
than
with seeing because fingers
have to
know the texture of clay
and how
the pottery is formed from lines
of
shale strata and earth movements.
The
pottery she makes is thinwalled
and has
a fragile but definite balance.
In
other words, her pottery has a true ring
when it
is tapped with a finger knuckle.
Here,
you try it;
you'll
know what I mean."
From "The State's claim that it seeks in no
way to deprive Indians of their rightful share of water, but only to define
that share, falls on deaf ears."
The
cosmos is measured by American-made satellites, the land is being razed by
Kennecott Copper and Anaconda Corporation monstrosities, and our land has been
defined by the RIGHT OF WAY secured by American RAILROADS, ELECTRIC LINES, GAS
LINES, HIGHWAYS, PHONE COMPANIES, CABLE TV.
Line
ten of "Human Non-Sequitur" ends with the word
"communicate". I turn to the table of contents, begin with the last
page in that table, and read upwards until I find a poet whose name begins with
the letter 'c'.
Denise
Clegg, page 508.
From
"Five Senses"
"between
cotton
and skin
I am
young and old
and
wholly present"
Line
eleven of "Human Non-Sequitur" ends with the word "to". I
turn to the table of contents, begin with the last page in that table, and read
upwards until I find the third poet whose name begins with the letter 't'.
Victoria
Tester, page 422.
From
"First Horses, 1519"
"They
breathed into our nostrils until our spirits mingled,
and we
gave them our speed and flesh
in
exchange for their language
of
wind."
From
"Broken Glass"
"I
wonder of she went to California, on
one of
those wagonloads of the insane."
Line
twelve of "Human Non-Sequitur" ends with the word "other".
I turn to the table of contents, begin with the last page in that table, and
read upwards until I find the third poet whose name begins with the letter 'o'.
I find that there is no third poet whose name begins with the letter 'o', so I
move on to the next line in Larry Goodell's poem.
Line
thirteen of "Human Non-Sequitur" ends with the word
"they're". I turn to the table of contents, begin with the last page
in that table, and read upwards until I find the fourth poet whose name begins
with the letter 't'.
Toadhouse,
page 298.
Allan
Graham [aka Toadhouse] in Conversation with John Yau
Brooklyn
Rail December 14, 2007
"Well,
when we finished this studio, this house, and were moving back in, it had been
almost three years since I had done anything. Before that, I had done the
collage pieces as well as monochrome shaped-pieces at the same time. So there
were works with words and works that were purely visual, and they would be in
the studio at the same time—I’d be working on both, and somehow it made sense
to me. But when I started back in here and I walked into this brand-new studio
in the mountains, I thought, “You know, what I want to deal with is the
Toadhouse thing,” which was a joke I shared with a poet friend. Toadhouse was
the name I gave an underground kiva because Spadefoot toads used to jump in it,
and that’s where I started writing these notes to myself. The room was twelve
feet across and ten feet underground. And I liked that state of mind; there was
some kind of a connection with simple words that seemed to take on greater
meaning than I could ever imagine. But if I’d say them to you, they’d end up
having a singular meaning or sound like a corny joke. I wanted to stay in that
state of mind and didn’t know what I was going to do with it. I took red rosin
paper we’d been using in the construction of the house, and, because we had an
outhouse out here, I started writing “dung” over and over, and made a
combination of Chinese landscapes, soft mountains, and a sitting figure. I just
went from there to where a word cluster looked slightly like a UFO, and I
thought, “I can’t do this, not living in New Mexico.” (laughs) “This is sure
death.” That lasted about three or four minutes and then I thought, “Oh well,
whatever you do, you do it. Nobody has to see it.” So I started doing drawings
that had a cluster of one word that looked like a UFO moving through a field of
other words. That’s the first real breakthrough to where I started working with
words and my own words in that sense, and they were small, and they were very
time-consuming."
kiva,
noun: a chamber, built wholly or partly underground, used by male Pueblo
Indians for religious rites.
Line
fourteen of "Human Non-Sequitur" ends with the word "half".
I turn to the table of contents, begin with the last page in that table, and
read upwards until I find a poet whose name begins with the letter 'h'.
Douglas
Kent Hall, page 428.
From
"New Mexico"
"The
same old Anglo crooks
Who
once advanced cash for crops
Then in
bad years took the farms
Now wait
in the wings
To buy
up the mortgages
Of
tribal casino losers."
Line
fifteen of "Human Non-Sequitur" ends with the word
"discovery". I turn to the table of contents, begin with the last
page in that table, and read upwards until I find the second poet whose name
begins with the letter 'd'. I find that
there is no second poet whose name begins with the letter 'd', so I move on to
the next line in Larry Goodell's poem.
Line
sixteen of "Human Non-Sequitur" ends with the word "equal".
I turn to the table of contents, begin with the last page in that table, and
read upwards until I find a poet whose name begins with the letter 'e'.
Dianne
Edenfield Edwards, page 266.
From
"Not Having"
"Killing
is having.
You
have, I have not.
Are we
in war or
are we
in town?
Not
having is
not the
end
or the
beginning
of
greed."
Line
seventeen Non-Sequitur" ends with the word "men I turn to the table
of contents, begin with the last page in that table, and read upwards until I
find a poet whose name begins with the letter 'm'.
Robert
Masterson, page 518.
From
"The Chinese Stripper"
"and
the best part is that she isn't Chinese at all, really;
it's a
trick they do with make-up and wigs, with gesture and music.
and
it's a really great trick. really."
Line
eighteen of "Human Non-Sequitur" ends with the word "talk".
I turn to the table of contents, begin with the last page in that table, and
read upwards until I find the fifth poet whose name begins with the letter 't'.
Luci
Tapahonso, page 249.
From
"The Warp Is Even: Taut Vertical Loops Between Our Father And The
Earth"
""The
soft tamping of her batten comb echoed in the small house."
From
"Old Salt Woman"
"Old
Salt Woman held the baby, then put a bit of ashi-ih / Into her mouth"
[...]
"Then
the baby offered ashi-i-h, / A box of Cracker Jacks and some fruit."
[...]
"Thus
we learned that we cannot live without ahshii."
Navajo
Rug Weaver
How to
Weave a Rug: The Loom
5. The
loom is prepared and the vertically-oriented warp (the fine-spun yarn that is
the foundation of the textile) is tightly wound.
6.
Weaving is done by threading the wefts (less finely spun yarn, usually colored)
horizontally over and under the warp yarns.
Using
different colored wefts allows the weaver to create various designs and
patterns. A long stick called a "batten" is used to hold open the
warp temporarily while wefts are put into place. A weaving comb is used to
tightly pack the wefts after they have been placed.
From
NAVAJO CEREMONIAL SONGS BASED ON THE CREATION MYTH, which I discovered while
searching for information on "ahshii":
SONG OF
THE LADDER
The
ladder, the ladder, the ladder, the ladder
The
ladder, the ladder, the ladder, the ladder.
From
down in the Emergence Pit—the ladder, the ladder
The
Talking God moves with me up the black ladder—the ladder, the ladder
He
moves with the rainbow—the ladder, the ladder
To the
edge of the Emergence Pit—the ladder, the ladder;
Blue-bird
is humming before me—the ladder, the ladder
Corn-beetle
is humming behind me—the ladder, the ladder
I, I am
Sahanahray Bekayhozhon—the ladder, the ladder
Before
me all is beautiful—the ladder, the ladder
Behind
me all is beautiful—the ladder, the ladder.
The
ladder, the ladder, the ladder, the ladder.
From
down in the Emergence Pit—the ladder, the ladder
The
House God moves with me up the blue ladder—the ladder, the ladder
He
moves with the lightning—the ladder, the ladder
To the
edge of the Emergence Pit—the ladder, the ladder;
Corn-beetle
is humming behind me—the ladder, the ladder
Blue-bird
is humming before me—the ladder, the ladder
I, I am
Sahanahray Bekayhozhon—the ladder, the ladder
Behind
me all is beautiful—the ladder, the ladder
Before
me all is beautiful—the ladder, the ladder.
The
ladder, the ladder, the ladder, the ladder
The
ladder, the ladder, the ladder, the ladder.
Line
nineteen of "Human Non-Sequitur" ends with the word "the".
I turn to the table of contents, begin with the last page in that table, and
read upwards until I find the sixth poet whose name begins with the letter 't'.
Phyllis
Hoge Thompson, page 216.
celadon,
noun, a willow-green color.
a
gray-green glaze used on pottery, especially that from China.
pottery
made with celadon glaze.
Origin
mid
18th century: from French céladon, a color named after the hero in d'Urfé's
pastoral romance L'Astrée (1607–27).
vetch,
noun: a widely distributed scrambling herbaceous plant of the pea family that
is cultivated as a silage or fodder crop.
Origin
Middle
English: from Anglo-Norman French veche, from Latin vicia .
spirea,
noun: a shrub of the rose family, with clusters of small white or pink flowers.
Found throughout the northern hemisphere, it is widely cultivated as a garden
ornamental.
Origin
modern
Latin, from Greek speiraia, from speira ‘a coil.’
Line
twenty of "Human Non-Sequitur" ends with the word "talk". I
turn to the table of contents, begin with the last page in that table, and read
upwards until I find the seventh poet whose name begins with the letter 't'.
Nathaniel
Tarn, page 96.
From
"Before The Snake"
"marvelous
to be so alone, the two of us, in this
garden
desert. Forgotten, but remembering
ourselves
as no one will ever remember us."
From
"The Great Odor of Summer"
"When
we sit down to talk of values
and start where most men end
neglecting
the simple beginnings
we make an end of the Academy
I am
interested in those who begin at the beginning
philosophers
in caves playing with light and shadow
taking
the explanations of others who sit in caves
and welding them together into
one answer
Look do you know
that
99% of mankind is syncretistic
that isms are a luxury of the
rich
and
that we
with our eyes of ice
our eyes of petal and flame
our eyelids like the wings of
summer flies
in the great light of total
opposition
are
poor and rightly poor and rightly rightly
poor?"
Line
twenty-one of "Human Non-Sequitur" ends with the word
"talking". I turn to the table of contents, begin with the last page
in that table, and read upwards until I find the eighth poet whose name begins
with the letter 't'.
Charles
Tomlinson, page 50.
From
"The Matachines"
"whatever
we
do we
mean
as
praise"
From
Sylvia Rodriguez, The Matachines Dance, Ritual Symbolism and Interethnic
Relations in the Upper Río Grande Valley, Chapter 4. Published by The
University of New Mexico Press, 1996.
Although
the general sequence of choreographic units seems fairly stable, there is
nevertheless marked variation in some aspects of the musical sequence. For
example, I observed and recorded three distinct end patterns during three
different performances on Christmas Day in 1987. In one performance there were
fourteen tune changes in the sequence ABACACACABDCEF. In another, the sequence
ended with CBF, and tune E, similar but not identical to B, was not used. Yet
despite this musical variation the choreography was the same in both cases. In
the final dance, culminating with the Maypole, the sequence was ABACACACACAG.2
The fourteen tune changes in the first performance were tape-recorded as
follows.
I. Tune
A (slow). The dancers face forward (toward the musicians) and perform
alternating kick steps while Monarca, Malinche, and the Abuela move abreast, up
and down between the two lines.
2. Tune
B (fast). The dancers stamp up and down, twirling and whirling around in place,
facing forward and then to the right and left, swinging their palmas and
rattles in front. The Abuela accompanies Malinche, who is led by Monarca up and
down between the rows. As they retreat, each set (or cross-pair) of dancers
kneels (genuflect position).
3. Tune
A. All dancers kneel while Malinche, led by the Abuela, moves between the rows
with her right arm extended toward Monarca, who sits at the far end, extending
his palma in his right hand. The Abuela, on the Malinche's left, mimics this
motion with her chicote (whip).
4. Tune
C.(fast) Malinche and Abuela rotate in one direction and then the other and
curtsy after Malinche takes Monarca's rattle in her right hand. The two then
weave along one side (his right) of the dancers, toward the musicians. They
face the musicians, rotate, and curtsy.
5. Tune
A. Accompanied by the Abuela, the Malinche again proceeds toward Monarca, this
time with her left hand extended while she holds the rattle close to her waist.
Monarca extends his palma with his left hand, by an outer prong, handle toward
Malinche. Their left arms rotate around each other, twice clockwise and twice
counterclockwise. She takes the palma and then curtsies, with the Abuela, who
is now on her right.
6. Tune
C. Malinche, between the Abuelos and holding the palma by the handle, weaves along
Monarca's lefthand side of the genuflecting dancers, advancing toward the
musicians' end, where she stops and again spins and curtsies.
7. Tune
A. Malinche and the Abuelos then move back toward Monarca, she extending the
rattle with her right hand, he taking it in his right hand.
8. Tune
C. Malinche and Abuelos spin around, curtsy, and then proceed to weave around
each dancer, this time between the two rows.
9. Tune
A. At the end of the dance area where the musicians sit, the Abuelos and
Malinche spin around, curtsy, and then return toward Monarca, Malinche
extending the palma in her left hand, by a prong. Their arms again rotate
around each other. (One bar of tune C: Monarca takes the palma, Malinche spins
and curtsies, and Monarca stands.)
10.
Tune B. The two rows of kneeling dancers face inward, their palmas extended
downward, touching the ground. Monarca dances between the rows, pirouetting
over the palmas. As he passes each pair, the dancers move away from the center
and face toward the front. On his return, as he passes each pair of dancers and
spins, they rise, spin, and exchange positions across the lines, going from
kneeling to standing position. They then take three steps in place and stop.
Malinche follows behind Monarca, with the Abuelos.
11.
Tune D (fast). Monarca is seated; Malinche takes the rattle and palma. The two
columns of dancers spin around in place. Then, as Malinche and the Abuelos move
between the rows toward the far end, the dancers cross back to their original
places, one in front of the trio, the other behind. The party of three then
proceeds back toward Monarca, palma and rattle extended. Malinche hands them
back and he stands and moves to dance between the rows while she retreats to
the sidelines. Looping around each dancer, Monarca then initiates diagonal
crossovers between the two columns, leading the front left dancer to the right
rear position and vice versa, down the line.
12.
Tune C. Malinche and the Toro face each other from opposite ends of the dance
lines and then move toward each other. The Abuela trails Malinche, and the
Abuelo follows the Toro. Malinche dances a semi-circle around the Toro and
waves her paflo at him as they pass. She goes to the sidelines. Next the
Monarca dances around the Toro in similar fashion, touching his left hand with
palma to the Toro's left shoulder as they pass. He is followed in turn by the
dancers, who in meeting the bull all cross over, diagonally from front to back,
reversing the crossovers made in the last movement, each returning to his
original place. The Abuelos then dance the Toro to the sidelines.
13.
Tune F fast). The dancers, joined by Monarca, Malinche, and Abuelos, form
moving perpendicular columns which go from an L shape to the shape of a cross.
14.
Tune F fast). Monarca, Malinche, and the Abuela dance abreast between the two
rows, advancing and then retreating, much as in the first dance. The dancers
stamp lightly and do a kick step.
Line
twenty-two of "Human Non-Sequitur" ends with the word
"air". I turn to the table of contents, begin with the last page in
that table, and read upwards until I find the the second poet whose name begins
with the letter 'a'.
Ward
Abbott, page 301.
From
"Aspen Meadows"
"The
potatoes are in their skins,
mounded
in sour cream.
We are
in our skins,
stung
by cold air."
Line
twenty-three of "Human Non-Sequitur" ends with the word
"while". I turn to the table of contents, begin with the last page in
that table, and read upwards until I find the a poet whose name begins with the
letter 'w'.
Jay
Wright, page 169.
From
"Boleros #31"
"I
recall my cuandero's virtue,
and the
way he arranges his materia medica --
herb-laden,
with creosote and Mormon tea,
lavender-starred
white horse nettle, the sego lily bulb --
before our eyes,
a cloud
of flowers, from which the lily bursts,
and the
echo of a blessing welcomes one
who has
been embraced by Remedios."
From
"Boleros #21"
"We
had escaped from the pagan nets
set low
in the two rivers,
had
struggled, and landed on the high ground
of
Pueblo faith,
and
there set down, where those
with
drier hearts had abandoned the sun."
Line
twenty-four of "Human Non-Sequitur" ends with the word
"on". I turn to the table of contents, begin with the last page in
that table, and read upwards until I find the fourth poet whose name begins
with the letter 'o'.I find that there is no fourth poet whose name begins with
the letter 'o', so I move on to the next line in Larry Goodell's poem. But
there is no next line in this poem.
Left to
my own devices (by which I probably mean my memories and my tastes), I would
begin reading this anthology by opening it to Robert Creeley, followed by
Judson Crews and Margaret Randall, then to Larry Goodell and Gus Blaisdell, on
to Nathaniel Tarn and Mei-Mei Berssenbrugge, finishing a first passing through
with Joy Harjo and Mary Rising Higgins. That would be an enjoyable reading
session, but I would feel a little guilty for relegating Arthur Sze, John
Brandi, John Tritica, Rebecca Seiferle, N. Scott Momaday, Gene Frumkin, Charles
Tomlinson and Witter Bynner to a second session. And I would have still
neglected Phillip Foss and Simon Ortiz.
Larry
Goodell says: "Poetry for me is making things, at least making things
happen, so that a 3 dimensional poetry is possible and the ancient voices of
ceremony are given voice . . . and in a time of cold-shouldering big publishers
I advocate the Poet as Publisher. . ." Approach this anthology with all
of that in mind. Move through the book in many directions. Follow the poems as
they guide you towards the many worlds from which they emerge. The ceremony of
your reading will be a celebration of the writing.
september 2018
*****
Jim Leftwich is a poet
who lives in Roanoke, Virginia. Recent publications include Volumes 1 , 2
& 3 of Rascible & Kempt (Luna
Bisonte 2016, 2017, edited by John M. and C. Mehrl Bennett), Tres
tresss trisss trieesss tril trilssss: Transmutations of César Vallejo (Luna
Bisonte, 2018) and Sound Rituals, collaborative poems by jim
leftwich & billy bob beamer (mOnocle-Lash, 2018, edited by Olchar
Lindsann).
