Posts Tagged ‘Redactions: Poetry


Natasha Sajé’s Bend (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 appearing in the journal. This review first appeared in issue 4/5, which was published circa early 2005.


Natasha Sajé's – BendA certain poet lamenting about his newest collection of poems – it not having enough good poems – shared his uncertainty about the book with Ezra Pound. Pound, trying to put the new collection of poems & the poet into perspective, commented something like, “If you are lucky enough to have one or two good poems in a book, then you have a good book.” Sajé’s book has more than a couple of good poems, & one great poem – thus a great book, if we extend Pound’s line of thinking.

“I See” is a poem I keep returning to. It is an intelligent poem that “bends” Gertrude Stein’s “A rose is a rose is a rose.” But the poem itself is not heavy-intellectual, like Stein can be; it’s the reverberations that create this intelligent poem – & so far the reverberations have sustained themselves for over a year with the reader. This poem, among others, shows how the lens of language can “bend” perception, can bend what isn’t into what is, so as to realize “then what can’t be mistaken / for something that it’s not?” This poem also succeeds because the poem makes us experience what the speaker experienced & in the same manner, & I suspect in the same amount of time. The experience traveled to the page & all the way over to this reader, which is what a great poem does. I’d love to quote more of the poem, but the experience needs to be had in full.

Nonetheless, Natasha Sajé’s Bend (Tupelo Press, 2004) is filled with more intriguing stories/experiences that bend unexpectedly, more lyrics that twist freshness from the mundane or anticipated, & more dialogues between language & perception, but all the while the poems stay clear & inviting. The language is always fresh, always moving, & always bending.//




Sajé, Natasha. Bend. Dorset, VT: Tupelo Press, 2004.//


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 2,550 other followers

May 2020


The Line Break Tweets

%d bloggers like this: