P is for

Pettit, Guy

Pettit, Emily


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O is for

Olstein, Lisa | Otting, Jacob

to be handwritten in the Minutes

Octopus Books | Octopus Magazine

Ott, Public Domain (Poets & Potes, 1989) One of the greats. 20th anniversary + Mel Ott centennial = original cover price ($8.50), while supplies last. The first poem:

In darkn

When your eyes / to gain’s distracting / blur the fearful / pull of your mate past ease

strain on the road hope / that place your mind only / accomodates hemorrhage

sweet to the edge or ignorance / potent dulce / grips the wheel, to yourself / reddening

may ask the cause / of your trouble

within the germ / a tear, strange to you and past / your thin / nerve driven.

Olson, Proprioception = Writing 6 (Four Seasons Foundation, 1965) $10

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N is for

Not Neither Nadelberg, Amanda

Nor By Press | Not Not Not Nostrums

North, Lineup Poems ([Paula North]: 1972) $75

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M is for

Mirra, Helen, indexer of The Robber:

links, handy for grasping, 97

Names & Poems $35

Meier, Tyler:

“Do you know Meier?”

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L is for

Landman, Seth | May he be handwritten in the Minutes

Early Arrival

Every palm-held patient feels little in the hand and much in the badge. I chart tides in books, poems about, of, no guile, no guide, not a single feeling on the ferry. Let’s suppose, we play. We play at practical, cook the books, make repairs. The plan is made. Besides having to see Paris, there are times there is God, grafted and famous in home-colors. The lightning swift, the forms selective. Great rivers of procedural curve. Like a pop song breaking on the grain, these are the long hydraulics of the caterwaul. I’m going to teach you how to listen to the science of the laws of any similar sound, to draw pictures of pasture. To roll the pedal over. Love’s a snowstorm, statewide, a synopsis of ice. Usually I miss it, so official and desked in, speaking a new language in the middle of the night. A sign is the end of hints. Publicity as true concern for the path of the mouth. I wonder at hat and gloves of advanced good. Piles of wild. Anthem after anthem on flower parts so like us though safe on the river. Here is the gift of fibers and adding up. Popular parts of songs orbiting the lawn. Walking by a warm house on a cold night, I hear clinking glasses and smell the light. For the radio deals. Why we love what there is in addendum and dodge like human beings. Adapt, and company comes. All around, souvenirs, face to face, hidden years. Continue reading

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K is for

Koestenbaum, Wayne

from Six Reasons for Loving Robert Walser

1.  I love Walser for embracing nobody status, transvaluing the state of dwelling on the bottom.

2.  I love Walser for his quick changes of tone, instantly shifting the scales of self-image (and of objective reality) from grandiose enlargement to abject diminutiveness (like Emily Dickinson’s oscillations of scale).

3.  I love Walser for his delicacy of temperament, his vulnerability (his aura of being always already bruised), mixed with a hardy self-reliance and emotional equipoise, unto hypomania.

4.  I love Walser for being socially maladroit.

Kasper, M.

to be handdrawn in the Minutes

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J is for

Jackson Mac Low

Johnson, Ronald

First Editions of all the cookbooks + RADI OS


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