Posts Tagged ‘& Prose


Redactions: Poetry, Poetics, & Prose 2013 Pushcart Nominations

Redactions: Poetry, Poetics, & Prose has made its nominations for the 2013 Pushcart Prize. The nominees in the order of appearance in issues 16 and 17 are:

  1. Nicholas Wong’s “Meteorology.” (Poem). Issue 16. Page 26.
  2. Allan Peterson’s “Say the Causes.” (Poem). Issue 16. Page 43.
  3. James Claffey’s “Ordinary Time.” (Fiction). Issue 16. Page 58.
  4. Donald Illich’s “Surgery.” (Poem). Issue 17. Page 33.
  5. Ben Berman’s “Droppings.” (Poem). Issue 17. Page 35.
  6. Angela Woodward’s “She.” (Fiction). Issue 17. Pages 54-55.

To read these poems, stories, and more, order a copy of issue 17 from here:

You can also read the Pushcart Prize nominated poems here:



Algernon Charles Swinburne’s Major Poems and Selected Prose (2004)

Over the next few weeks or months, I will post all my reviews (“Tom’s Celebrations”) that appeared in Redactions: Poetry, Poetics, & Prose (formerly Redactions: Poetry & Poetics) up to and including issue 12. After that, my reviews appeared here (The Line Break) before in the journal. This review first appeared in issue 4/5, which was published circa early 2005.


Algernon Charles Swinburne – Major Poems and Selected ProsePraise be given to McGann & Sligh for at last providing a good selection from one of my all-time favorite poets, Algernon Charles Swinburne. This is easily the best selected Swinburne in a long time. It even has the complete Atalanta in Calydon (a rarity) & thus contains my favorite poem, a chorus containing many of Swinburne’s theme’s & that begins:

   Before the beginning of the years
      There came to the making of man
   Time, with a gift of tears; 
      Grief, with a glass that ran;
   Pleasure, with pain for leaven;
      Summer, with flowers that fell;
   Remembrance fallen from heaven,
      And madness risen from hell;
   Strength without hands to smite;
      Love that endures for a breath:
   Night, the shadow of light,
      And life, the shadow of death.

That poem has stuck with me for years, in part because of the strong, heavy meter. Yes, if you want to learn just about everything there is to know about meter, then read Swinburne. The most important aspects he will teach you is how to negotiate rhythm, syntax, & the imagination to create sheer music. Yes, Swinburne is one of the great musical poets in the English language – he can stand side-by-side with Milton. If one can’t find the meaning of one of Swinburne’s poems from the language, then you only need listen & you will hear the meaning arise from the music. (“It don’t mean a thing / if it ain’t got that swing” aptly applies to Swinburne.)

Swinburne can also translate from other languages, including Anglicizing foreign meters, such as Sapphics. Swinburne is a poetic descendent of Sappho (sometimes I think he has direct connection to her) & a descendent of William Blake, though less religious.

But this book is well put together. It starts with a hell of an introduction by Jerome McGann. He informs us of Swinburne’s influence on the moderns. (Ezra Pound loved Swinburne –his poetry & “theory and practice of poetic translation.”) The introduction also has a close study of Swinburne’s life, poetry, & poetics –there’s a lot to be learned from this introduction. Oh, & most important for many of us, there is a fine notes section at the back. It not only provides footnotes to certain allusions & the such, but it also provides little histories about the poems, like whether the story is a real translation or something Swinburne made up that seems like it came from Greek mythology, or elsewhere.

This Major Poems and Selected Prose also contains important prose – Swinburne was as good a reader/critic as Samuel Taylor Coleridge & Pound – & he wrote on Baudelaire, Byron, Arnold, Blake, the music of poetry, & more.

Swinburne is one of the great musical pagans, & much thanks to McCann & Sligh for bringing him back to our times & in such a good way.//




Swinburne, Algernon Charles. Major Poems and Selected Prose. Eds. Jerome McGann and Charles L. Sligh. New Haven, CT: Yale University Press, 2004.//


Redactions: Poetry, Poetics, & Prose 2012 Pushcart Prize Nominations

Redactions: Poetry, Poetics, & Prose has made its nominations for the 2012 Pushcart Prize, and this year for the first time we have nominated a fiction piece and a creative non-fiction piece. The nominees in the order of appearance in issue 15 are:

  1. Nathan E. White, “Assignment” (poem), pages 6-7.
  2. Derek Annis, “This Time of Year” (poem), page 11.
  3. Thom Caraway, “Language Acquisition” (poem), page 19.
  4. Elise Gregory, “Benevolent Me” (poem), page 19.
  5. Sarah Cedeño, “Fledgling” (fiction), pages 61-66.
  6. Silas Hansen, “The Masculinity Test” (creative non-fiction), pages 67-68.

To read these poems, stories, and more, order a copy of issue 15 from here:

You can also read the Pushcart Prize nominated poems here:



Abraxas Press

ABRAXAS Crow smallWe at Redactions: Poetry, Poetics, & Prose just began a subscription swap with ABRAXAS. For whatever reason the swap didn’t happen at an earlier time because of miscommunications and whatever. And, oh, I wish those miscommunications had never happened because ABRAXAS is devoted to poetry and in a beautiful way.

When I received my package, it blossomed open with these 2″ high x 1.75″ wide poetry books. Some had paper covers, some matte, and some gloss. Inside each was a poem from poets such as Ted Jonas, D. R. Wacker, Julia de Burgos, d. a. levy, Ingrid Swanberg, Jack Spicer, and Vladimir Mayakofsky. The micro books were released by, which I first assumed was an imprint of ABRAXAS Press. Poems-for-all has this to say about their tiny, portable poems:

They’re scattered around town – on buses, trains, cabs, in restrooms, bars, left along with the tip; stuffed into a stranger’s back pocket. Whatever. Wherever. Small poems in small booklets half the size of a business card to be taken by the handful and scattered like seeds by those who want to see poetry grow in a barren cultural landscape.

There are 1071 of these little poems floating around the world giving people surprises and tiny bursts of joy. I wonder what the print run for each micro book was, especially when you consider that they must have been put together with a monk’s like meditative attention to detail.

Also included are some well-made, numbered, limited edition broadsides from Costmary Press. Is this another imprint? Anyway, the broadsides vary in size and in paper stock, but they are all consistently well made and, if I’m not mistaken, they are the result of letterpress printing, which means love, care, dedication, and quality.

Then there is the grass/grasshopper green eight-page pamphlet anthology titled Suzuki Grass. When you look at the color of the cover and text pages, you just know there’s going to be this Zen quality about the poems. The saddle stitched pamphlet is about 8.25″ high x 4.25″ wide.  This was released from Black Rabbit Press. Is this another imprint? I’m starting to doubt these are all imprints, but there must be a connection other than the love and beautiful presentation of poetry.

And they also included a few back copies of ABRAXAS.


ABRAXAS publishes contemporary poetry, with a special emphasis on the lyric mode. We also publish poetry in translation, as well as essays, criticism and reviews of small press poetry books.

Abraxas was the name applied by ancient gnostic sects to the Supreme Being, who was, collectively, all the spirits of the earth. The magical “abracadabra” was derived from ABRAXAS.

How about that?! A journal with emphasis on the lyric mode in a narrative-driven-poetry America. Ah, it’s love. Based on my previous experiences with this journal and just thumbing through the back copies, ABRAXAS has an eclectic taste and likes the poetry that explores language. All this poetry is contained in 6.25″ wide x 9.25″ high journal. Some covers are gloss and some are matte-like. I kinda like the matte more, but the gloss brings out the color cover images better. One issue even has standard paper for the poems and some gloss paper for the color photographs. Now, there’s an editor (Ingrid Swanberg) who understands the printing world. Oh, and on top of it all, issues are only $4. I have no idea how they can charge so little. I want to know who there printer is. (Ha, they probably print it onsite.) And subscriptions are only $16. It’s a deal. You can order here: I suggest you do. They are luscious.

To learn more about them, visit their About Us page.//


The Poetry Integral

I made the following a month-and-a-half or two months ago for Redactions: Poetry, Poetics, & Prose, but what a shame to just keep it confined to those pages. So I’m sharing it here along with the note that appears in Redactions.

Poetry Integral

The poetry integral on page 5 [above] is something editor Tom Holmes created. It is based on the following lines from “A12” in Louis Zukofsky’s A:

I’ll tell you
About my poetics –

An integral
Lower limit speech
Upper limit music

– Louis Zukofsky from A (“A12”, p 138)

I had to add the “Poetry” else what is it an integral of? I can’t remember my calculus well enough, but it should probably be f(poetry) dpoetry, but that doesn’t look as good.//

The Cave (Winner of The Bitter Oleander Press Library of Poetry Book Award for 2013.)

The Cave

Poems for an Empty Church

Poems for an Empty Church

The Oldest Stone in the World

The Oldest Stone in the Wolrd

Henri, Sophie, & The Hieratic Head of Ezra Pound: Poems Blasted from the Vortex

Henri, Sophie, & The Hieratic Head of Ezra Pound: Poems Blasted from the Vortex

Pre-Dew Poems

Pre-Dew Poems

Negative Time

Negative Time

After Malagueña

After Malagueña

Enter your email address to subscribe to The Line Break and receive email notifications of new posts.

Join 2,875 other followers

December 2021


The Line Break Tweets

%d bloggers like this: