Kendra Steiner Editions (Bill Shute)

December 31, 2009

Volumes 4 and 5 of the Cinema Poetry Series, coming in 2010

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The first three volumes of our Cinema Poetry Series—-ROCKET ATTACK USA,   NOBODY KNOWS, NOBODY SEES,  and VIA ALIGHIERI—-have done well and gotten great response, so A.J. Kaufmann and I have taken on two new films for Cinema Poetry chapbooks, and they should be appearing in April and May of 2010. Coincidentally, both films star Klaus Kinski!

We don’t have titles for the chaps yet, but Volume 4 will be A.J. taking on Werner Herzog’s classic AGUIRRE: THE WRATH OF GOD, starring Klaus Kinski. That should be out in April 2010.


Volume 5 is scheduled for May of 2010 and will have me taking on Aristide Massaccesi’s mind-blowing DEATH SMILES ON THE MURDERER, starring Kinski and Ewa Aulin. Be sure to score a copy of the Legend House DVD of DEATH SMILES…which also features TORTURE CHAMBER OF DR. SADISM as the 2nd feature (which stars Lex Barker and Christopher Lee) and includes fascinating commentaries on both films by Chris D. and Wyatt Doyle.

 Get the 2nd and 3rd Cinema Poetry chapbooks while they are still available:

#147, BILL SHUTE, “nobody knows, nobody sees” (cinema poetry series, volume 2), inspired by the film VANISHING POINT (US, 1971)


#149, A. J. KAUFMANN, “via alighieri” (cinema poetry series, volume 3) , inspired by Antonioni’s film IL DESERTO ROSSO/RED DESERT (Italy, 1964).

2010 New Year’s Resolution

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My resolution for 2010 is to dig even deeper into the late-period work of Tennessee Williams and the late-period work of Chet Baker until I get closer to encountering whatever it was that they were chasing, because I have a feeling I’m after the same thing…


December 28, 2009

R.I.P. Paul Naschy/Jacinto Molina (1934-2009)

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JACINTO MOLINA (aka “Paul Naschy”)


Sorry to hear about the passing last month of one of my longtime heroes, Spain’s king of horror cinema, actor-writer-director Jacinto Molina, aka Paul Naschy. His character Waldemar Daninsky is a horror icon and will live forever. Thank you for so many decades of great work, Sr. Molina!

Fortunately, many of Paul Naschy’s classics have been issued on DVD in the USA, and over the last few years Best Buy has featured some 2-DVD bundles of his 1970’s output in editions worthy of a Criterion or a Kino. Just a few months ago, Troma (of all people!) issued a beautiful version of THE HANGING WOMAN with loads of extras, and even threw in the super-obscure B&W Sid Pink made-in-Spain feature SWEET SOUND OF DEATH, which I’d never even heard of (with a transfer so good, it looks as though it was shot yesterday). Although Naschy is not the main star of THE HANGING WOMAN, his delicious role as Igor, the necrophiliac gravedigger (he’s just misunderstood, don’t you see?), is ample evidence of what a powerful screen presence he is, how he can take a horror-based character and make him sympathetic, and especially how he truly digs into a role and has a lot of fun with it. He grew up watching Karloff, Lugosi, and Chaney Jr., and though he may resemble Lon the most of the three, he has taken the best elements from each gentleman’s work, and brought his unique Spanish cultural background and Gothic vision to each character…and his background as a weight-lifter and athlete gave him a physicality that made him unique among horror icons…and let’s not forget that Naschy wrote many of his films, and he was a masterful writer of gothic horror, the equal of anyone who worked at Universal in the 30s or 40s. As star and auteur, Jacinto Molina/Paul Naschy will always remain one of the greats of world horror. I first discovered his work in the early 70s at drive-ins and on late night UHF television, and upon getting a dozen or more of his films on DVD in recent years I was pleasantly surprised at how they held up and how much of an artist the man was/is. Truly, a master!

Why not learn more about Sr. Molina’s life and work by going to the essential “Mark of Naschy” website at

Tonight would be a great time for me to dig out the film that made him an international horror sensation, FRANKENSTEIN’S BLOODY TERROR…pardon me while I head out to the garage and find it…

December 27, 2009

EMERGENCY (KSE #157) available now…very limited!

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EMERGENCY (KSE #157) is a limited, 25-copy edition that will be given as a New Year’s gift to friends and supporters of Kendra Steiner Editions. A small number will also be offered for sale. Each copy will be signed and gift copies will also be inscribed. This was written during a break from the composition of THE MOSQUITOES OF LA MARQUE, and it uses some of the same imagery, but in a very different style. It’s essentially an abstract portrait of a flood on the Gulf Coast…and to be completely honest, after it was finished, I realized that some of the images from the film BAD LIEUTENANT: PORT OF CALL NEW ORLEANS found their way into it too. If that’s not enough, KSE’s own A. J. Kaufmann appears as a character in it…the way I worked Brad Kohler and Luis Cuauhtemoc Berriozabal into the recent NOBODY KNOWS, NOBODY SEES. It’s volume 51 in the Sound Library Series, inspired by the composition “Delicieuse Catastrophe” by Robert Cohen-Solal, the soundtrack from the short 1970 animated film of the same name by Polish film-maker Piotr Kamler. I hope you all enjoy this small chapbook, and I offer it in thanks to all who have read our books and supported our cause during 2009….

December 25, 2009

Brad Kohler & Bill Shute, Warhol Museum, 1/2/08

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Brad Kohler and I visited the Warhol Museum in Pittsburgh on 2 January 2008. The weather is freezing here in San Antonio tonight, and it reminded me of Pittsburgh weather! Read my chapbook SLASH & BURN to get a sense of how below-freezing Pittsburgh can be poetically re-imagined. I hope to get back there in the next 12-18 months.

December 24, 2009

KSE/Bill Shute featured in THE WIRE (UK) #311

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What a nice surprise to find that we are discussed in the new “2009 Rewind” issue of the much-respected UK free-jazz/experimental-music magazine THE WIRE (#311, January 2010). Included in the same two-page spread as Jad Fair and Drumbo (that’s an honor in itself!), there is a piece called “Chapbook Renaissance,” written by longtime friend of KSE David Keenan that puts KSE and my own work into perspective and truly “gets” where we are coming from. Thank you very much, Mr. Keenan! This piece is not available online, so I’m transcribing it below. However, please order a copy of the magazine itself (available from Dusty Groove and from bookstores in major cities) as they meet their expenses by magazine sales.



Underground poetry and radical rock criticism have long had a reciprocal relationship, but no one has connected the two as powerfully as Bill Shute with his Kendra Steiner Editions. Published in hand-numbered runs of less than 100 copies, each chapbook is designed and printed by Shute himself, inspired by the explosion in samizdat publishing that came up in the wake of the poetry renaissance of the 1960s and the defiantly individual aesthetic of fellow Texan Jandek‘s Corwood Industries imprint. Shute has been writing about music since the late 70s, publishing his own Inner Mystique zine while running a record label of the same name and contributing a series of highly influential columns to “America’s last high-energy fanzine,” BLACK TO COMM.

With Kendra Steiner Editions, his interest in pushing language closer to the actual experience of music itself has resulted in more than 150 titles, many of them experimental poetic ruminations on specific recordings or artists, from work inspired by free jazz drummer Sven-Ake Johansson’s Barcelona Series and British electronic composer Dennis Smalley’s The Pulses of Time through soul jazz organist Bill Doggett and Jandek himself. Along the way he has attracted a cabal of under-the-radar writers and musicians to his cause, publishing experimental poetry by Scottish musician and poet Stuart Crutchfield (including a collaborative book based around US drone artist Axolotl’s Telesma album) as well as rock journalists Brad Kohler, Michael Layne Heath and Byron Coley.

Coley and frequent collaborator Thurston Moore have been involved in a similar project, pushing rock prose all the way into free-associative verse by publishing chapbooks and editions of the Ecstatic Peace Poetry Journal featuring musicians and critics like Mike Watt, Christina Carter, Dylan Nyoukis, Loren Connors, Richard Hell and Richard Meltzer. Indeed, Meltzer was the first rock critic to explode the form in favour of mirroring the arc of the sonics, with reviews that were more stream of consciousness riffs on junk culture ephemera or subversive goof-offs as opposed to cultural reportage or simple lyrical analysis. Meltzer eventually metamorphosed into a poet and novelist with a spectacular reach, an evolution that, seen through the prism of Shute’s Kendra Steiner Editions, seems inevitable. Meanwhile, Shute continues to push the envelope. This month sees the publication of a poetic meditation on Richard C. Serafian’s 1971 film Vanishing Point entitled Nobody Knows, Nobody Sees, as well as a new long-form work by Michael Layne Heath inspired by Kim Fowley’s 1978 Sunset Boulevard LP. Truly, you never read such sounds.

David Keenan (THE WIRE #311, January 2010, page 11)

December 12, 2009

Jandek meets Thurston Moore, 4/29/10

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JANDEK w/ Thurston Moore

Thursday 29 April 2010.

7 pm. Hollywood Theatre, Portland, Oregon.
Sponsored by Jackpot Records. $20. All ages.

A historic duo performance from these two great artistic pioneers (and friends of Kendra Steiner Editions!). We’ll ALL be waiting for the Corwood Industries live CD of this one!

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