Kendra Steiner Editions

June 26, 2013

Bill Shute, collected FLORIDA NOCTURNE POEMS coming in Fall 2013 from Word Mechanics

Excited to announce that a book-length collection of my four FLORIDA NOCTURNE POEMS chapbooks will be issued in Fall 2013 by Word Mechanics of Palm Springs, California, publishers of my previous book-length poetry works TWELVE GATES TO THE CITY (2006) and POINT LOMA PURPLE (2007).

I’m presently re-formatting the four chapbooks—-SHADES OF NIGHT DESCENDING, MONDO DAYTONA, PEACH COBBLER IN THE POKER ROOM, and JUPITER IN THE REARVIEW MIRROR—-and making some minor editorial changes to have the pieces better meet the needs and expectations of the book’s readers, who will be of a somewhat different nature than the readers of the original KSE chapbooks. I’m also changing two of the four epigraphs to better fit the new context of the works.

By the way, if you want the original versions of these four chapbooks, I still have a few dozen of each left (the originals were in handmade, hand-numbered editions running between 60 and 80 copies each, and most are now gone). They are $5 each in the US postpaid, $6 each postpaid outside the US:

KSE #248 (poetry chapbook), BILL SHUTE, “Jupiter In The Rearview Mirror: Florida Nocturne Poems, Book Four”

KSE #245 (poetry chapbook), BILL SHUTE, “Peach Cobbler In The Poker Room: Florida Nocturne Poems, Book Three”

KSE #241, BILL SHUTE, “Mondo Daytona: Florida Nocturne Poems, Book Two”

KSE #234 BILL  SHUTE, “Shades of Night Descending: Florida Nocturne  Poems, Book One”

payment via paypal to django5722(at)yahoo(dot)com     please include a note w/ your paypal order listing what items you want

This will be the final opportunity to get the FLORIDA NOCTURNE POEMS chapbooks in their original context. Act now…

That said, I’m very happy about presenting these pieces in a recontextualized format with a new artwork by MP Landis (not pictured below…he’s still working on it) on the front cover. It’s ironic that a poet so associated with Texas whose works are usually set in Texas is having a quartet of Florida-based pieces issued in book form (as opposed to the steady stream of DIY chapbooks I issue through KSE, which emerge under the radar to regular readers and friends of KSE), but the Florida pieces deserve to be considered as a unit and to get the wider consideration that a perfect-bound book will provide. There is considerable discrimination in the “alternative” marketplace, which gives the lie to it being an “alternative” marketplace in any way, against the homemade DIY chapbook, but as KSE is an outsider arts organization, we’re used to dealing with that…mostly by circumventing the restrictions and ignoring them.

I hope you will take a chance on this volume when it’s out. If you have thought about getting some KSE chapbooks but did not know which among the many would interest you most…or if you have enjoyed my spoken-word poetry CDR’s…or the poetry-and-music CDR’s I have done (SUBTRACTION with Anthony Guerra; ONLY THE IMPRINT OF AN ECHO REMAINS with Marcus Rubio; FASCINATION with Eva Kelly and Daniel Hipolito; and FOUR TEXAS STREAMS with Derek Rogers), then you should try the perfect-bound paperback edition of THE FLORIDA NOCTURNE POEMS, coming out from Word Mechanics this fall.

Each of the four stand-alone multi-section poems is an assemblage (a “junk sculpture from the new gilded age,” to steal the title of one of my spoken-word cdr’s) created from shards of Florida experience with the taste and texture of Florida life. Each piece features a different viewpoint character/narrative persona/controlling intelligence, as you’ll discover upon reading, though I do feel that they also hang together (as most of my dozens of various poetry chapbooks do) as a “serial poem” in the Jack Spicer sense, which is one reason why they are being published together here. The hand of the maker is evident in all four. Whatever their value as contemporary poetry,  THE FLORIDA NOCTURNE POEMS capture where this country’s head and heart are at circa 2012 (when the pieces were composed), and although it’s not a pretty picture, the beauty of individuals struggling and achieving and finding joy amid the scorched-earth policies of late-period capitalism and the barrage of corporate culture and the intrusive and abrasive screech of reactionary fundamentalism is always worth championing and documenting. “They endured.”

Also, as an “open field ” poet, I use the page as my canvas, my field of construction, and as the 6×9 page I’m working with in the paperback book format is different from the usual KSE format, I have had to re-harmonize each piece, re-cast each piece in poetic space, so the form on the page has been altered somewhat, the way musicians might alter the nature of a piece to accommodate the room or the audience.

As I have been fine-tuning my aesthetic and working method over the years/decades, the spirits of Paul Blackburn, Ted Berrigan, Larry Eigner, Frank Samperi, Gertrude Stein, and Herman Melville (not to mention Steve Lacy, Jandek, Cy Twombly, Andy Milligan, Paul Bley, Alfred 23 Harth, and countless others) have always been walking alongside of me…I have tried to take the baton they have given me and to run with it through the present and into tomorrow, taking core samples along the way, and creating my poetic junk sculptures…

Grab your copies of the original Florida chapbooks while you can…and then be sure to get the FLORIDA NOCTURNE POEMS paperback this fall from Word Mechanics. We’ll be selling them right here at the KSE blog, so stay tuned…and thank you for your support and encouragement over the years.

Oh, I’ll be filming a video of one of the Florida chapbooks while in Pittsburgh this summer, and that should be available online before the publication of the Word Mechanics book.

AND, finally, if you are within driving distance of Pittsburgh, please stop by my reading with Jim D. Deuchars at Amazing Books, 929 Liberty Avenue in Pittsburgh, at 2 pm, on Sunday 28 July 2013—-it will be my only reading/performance East of the Mississippi in 2013 (although I hope to get back East again in 2014…we’ll see…)

BILL SHUTE, THE FLORIDA NOCTURNE POEMS…coming in Fall 2013 from Word Mechanics, Palm Springs, California (publishers of  POINT LOMA PURPLE)

florida jupiter

florida one, shades of night (1)

mondo daytona

PEACH COBBLER cover

FLORIDA FOUR, jupiter

DSC01093

POINT LOMA PURPLE, cover

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June 18, 2013

THE EXPATS—-Harth/Stone/Bennett/Uchihashi (KSE #233) reviewed at Touching Extremes

Filed under: Uncategorized — kendrasteinereditions @ 4:40 pm

Thanks to Italy’s Massimo Ricci (of Touching Extremes) for his insightful review of KSE #233, THE EXPATS: ALFRED 23 HARTH, CARL STONE, SAMM BENNETT, and KAZUHISA UCHIHASHI. We still have some copies available, though they are going fast.

You should be a regular reader of Touching Extremes. You can access it here: http://touchingextremes.wordpress.com/

$8 US postpaid/$11 elsewhere postpaid, payment via paypal to django5722(at)yahoo(dot)com

(include a note w/ your paypal order explaining what item you are ordering)

THE EXPATS is a special and unique album. Not only does it bring together four incredible talents in the free-music world, not only were they totally ON the night of this performance, but each brings to the performance the unseen yet felt 98% of the iceberg that kicks the performance into the transcendent sphere: ALFRED 23 HARTH, a man who has blazed his own trail since the late 1960’s, who has absorbed many musical traditions worldwide while totally re-inventing himself with each release (so many of his contemporaries have mastered a certain routine and simply repeat the same shtick with different players and in different contexts), for me the most interesting and most essential player in the international free-improv, post-free-jazz world; CARL STONE, pioneer in electronic composition and sampling, and one of the few out there who is a great composer AND a great improviser, and one whose “improvisations” use as their raw material the spontaneous creations of his fellow players; SAMM BENNETT, not just a heavy-hitter in the free-improv field, but an instrument maker and someone who has totally redefined the concept of the “song”; and KAZUHISA UCHIHASHI, totally original guitarist and daxophonist, a man with a great sensitivity in his playing who always pulls in the listeners. It was an honor to release this album…and we’ll let Mr. Ricci take it from there:

expats front

……..

SAMM BENNETT / ALFRED 23 HARTH / CARL STONE /

KAZUHISA UCHIHASHI – The Expats

BY MASSIMO RICCI JUNE 9, 2013

Kendra Steiner

Alfred 23 Harth: reeds, kaoss pad, dojirak, samples, voice; Carl Stone: computer, Max/MSP, voice, samples; Kazuhisa Uchihashi: electric guitar, daxophone; Samm Bennett: diddley bow, mouth bow, voice, gadgets

The highest value of this live set from 2010 in Tokyo derives from the feel of collective connection that it transmits. Purposeful sonic motility born from different experiences and backgrounds, materially explicated by each artist’s insightful levelheadedness. A 160-copy limited edition is the tangible evidence of a special night lighted up by a supergroup of sorts.

“Unboxing” starts with a rather imperturbable mood spotted by undecomposable shapes – petite noises, clean-cut guitar and sax notes, well-distributed percussive touches – leading the listener step by step towards a perception-deceiving sphere where the aggregation of antithetical dynamics and tensions flourishes into a beautifully morphing varicolored lattice, a general awareness of inherent fluidity defining the whole track even when sourer samples attempt to prevail in the mix. We could call this a somewhat melodic expansion of collateral fluxes of consciousness.

“Eschew Obfuscation, Espouse Elucidation” comprises several degrees of incandescent noise-making; the utilization of more complex deformations of the original sources encompasses clearly visible bodily aspects. There is less room for relief in this potential chaos, but what ultimately wins – here like everywhere else – is a sense of organization holding all the components nicely pasted together, including the seemingly illogical ones. In that regard, the positioning of uncrystallized vocalizations, burbling entities, groaning impressions and scratchy rhythms in parallel with the episodic “aligned” phrase or semi-twisted arpeggio works wonders in generating psychedelic scents of the finest brand.

“It’s Also The Things We Choose Not To Put In” is initiated by an implausible “gamelan-in-a-music-box-meets-Jon Hassell” mishmash, from the insides of which additional shots of perspicuous lunacy come forth to uproot the audience. The “acoustic soul” seems to dominate at one point, yet there is enough content of electronic instability; a timbral malleability characterized by aesthetic permeableness (now and then with pseudo-minimalist condiments) is the core of the matter in this circumstance. Actually, the main trait of this quartet corresponds to their ability of rendering unlikely ideas “interiorly toothsome”, stimulating our private focus and adapting capabilities without the need of overwhelming (although a section starting around the eight minute, defined by what sounds as a cross of misshapen ringing alarms and oriental martial art ceremonials would surely be sufficient for many people to get brain-sick).

“Alien” – a word this writer is growingly becoming fond of these days, for various reasons – coincides with the occult (in a way) side of the foursome’s action. Deprived of any sign of over-indulgence, this piece’s textural essence transports a willing participant inside the realm of genuine sensual disengagement, not necessarily warranting a quietening welcome to heavenly composure. On the contrary, some of the frequencies can enhance a given state of mind – say, dejection or worrisomeness – up to points of displacement that hyper-sensitive individuals may find hard to be at, if caught in a “down” moment. As always with musicians at this level, being pushed right in front of what the self understands as unendurable is the method for receiving otherwise unachievable explanations.               (by Massimo Ricci, 2013)

………

 

THE EXPATS (KSE #233) is still available, though copies are going fast…$8 ppd. in the US, $11 postpaid elsewhere…payable via paypal, to django5722(at)yahoo(dot)com

why not pick up some of our other CDR albums of contemporary, forward-thinking music, all in small handmade numbered editions…each is $8, if included in the same order as THE EXPATS…otherwise, the first cdr sent outside the US is $11, after that, $8 each…any quantity in the US is $8 each…

KSE #243 (CDR), VENISON WHIRLED (aka Lisa Cameron), “The Many Moods of Venison Whirled”

KSE #254 (cdr), DJIN AQUARIAN (of Ya Ho Wha 13)/SIR PLASTIC CRIMEWAVE & THE EVERAFTER, Live in San Francisco 10/2011

KSE #222, (CDR) MASSIMO MAGEE, “Sopranino Solo” cover art by MP Landis

KSE #239, (CDR) FOSSILS, “Bells and Gulls”

KSE #251, (CDR) FORBES GRAHAM, “Return: The Journey”

KSE #247 (CDR), MARCUS RUBIO & BILL SHUTE, “Only The Imprint Of An Echo Remains”

KSE #237 (CDR),  MICHAEL BARRETT  (Belltonesuicide) & MIKE GRIFFIN (Parashi), “Birtual Seme-Alabak”

KSE #235 (CDR), BOOK OF SHADOWS, “Chimaera”

KSE #228 (CDR), UNMOOR, “Night Driver”

KSE #207 (CDR), ALFRED 23 HARTH & CARL STONE, “Gift Fig”

KSE #206  (CDR), ERNESTO DIAZ-INFANTE, “Emilio “

KSE #238 (CDR), DANIEL HIPOLITO/EVA KELLY/BILL SHUTE, “Fascination”

KSE #222 (CDR), MASSIMO MAGEE, “Sopranino Solo, “ cover art by MP Landis.

KSE #220 (CDR),  MATT KREFTING, “Sweet Days of Discipline”

KSE #226 (CDR), DEREK ROGERS, “Born Into Systems”

—————————————————————————————————————————————–

and pre-release versions of these three forthcoming albums can be purchased NOW for immediate delivery:

KSE #240 (CDR)   SPRILLS OF ORE (Eva Kelly), “Time Mirrors”

KSE #260 (CDR) TOM CREAN, “Wired Love” (solo guitar and banjo explorations)

KSE #255 (cdr) ERNESTO DIAZ-INFANTE/LISA CAMERON/LEE DOCKERY, “Live At the KSE 6th ANNIVERSARY CONCERT”

KSE #257 (CDR),  ALFRED 23 HARTH, “Micro-Saxo-Phone, Edition  IV.”

KSE #262 (CDR), BELLTONESUICIDE, ” NON-CONFORMIST SESSIONS” (this is an extended reissue of the 3″ mini-cdr KSE #185, with the full contents of the recording sessions)

Thanks for your support of independent non-aligned DIY arts organizations that circumvent the established “underground” hierarchy and connect person-to-person…

June 12, 2013

Massimo Magee’s “SOPRANINO SOLO” (KSE #222) reviewed at Touching Extremes

Filed under: Uncategorized — kendrasteinereditions @ 11:29 am

With THE WIRE becoming weaker and more New Music-celebrity driven with each issue (both in terms of what it covers and who is covering it),  and the new ARTHUR being a massive letdown on almost every level and bordering on self-parody, thankfully there are  STILL some independent, unpurchased, free-thinking New Music writers out there who pay attention to THE WORK and engage in a deep investigation of that work, not worrying about what clique it grew out of or how much money was spent on packaging…who have not forgotten the DIY/outsider roots of the music and who realize that when New Music becomes the established norm, then it’s become part of the problem, not part of the solution…and one of those rare few who, fortunately for us, continues to write regularly and explore new and little-discussed work is Italy’s Massimo Ricci, at his Touching Extreme blog, which you should bookmark immediately:

http://touchingextremes.wordpress.com/

KSE is honored that he discussed our latest Massimo Magee release, SOPRANINO SOLO (KSE #222), in a recent entry. Here is that review:

MASSIMO MAGEE – Sopranino Solo

BY MASSIMO RICCI JUNE 1, 2013

Kendra Steiner

Massimo Magee: sopranino saxophone (either regular or with pickled reed, tabletop-style, electronics, radio or on a VCR tape)

Only 123 copies of this, one of the finest albums enjoyed in a good while. And, aside from a typically shallow writeup elsewhere, not a line found to praise the contents of such an intense record. But who am I to talk, after all? Before yesterday, this writer had read Magee’s name dozens of times, never attempting to venture beyond the “namesake empathy” level. More fool me. The guy is a serious, serious artist – just look at what he writes to explain his views on free music, then resume reading this review.

See what I mean? Immediate affection over here. Then again, you may hit upon Magee’s photo from 2007, playing the sopranino while bent on a rock somewhere in the open country, the wind blowing through long black hair under the blue sky. The image of an individual interiorly, and consciously, allied to the cosmos as everybody should ideally be. No time or place, no mundane bullshit to take care of. The “now”, the sound and the reaction to it, stillness in between – the real silence, not that enforced by the necessities of fashionable vainness. (Hell, I’ll even forgive the painted nails spotted in a much noisier context on Vimeo).

A similar sense of connectedness is elicited by these four tracks, all of them communicating severe urgency, raw beauty and utter intelligence at once. Not a note wasted in the “regular” solos (“Instant” and “Pickled”): off-center melodies and multiphonic adventurousness cutting our watchful approach to shreds, the caustic chirping of über-evolved birds meshed with the strained cries of a tormented soul. Then a mini-treatise on how rendering Xenakis-like scrambled massiveness as the most logical of proposals (“Confusion”), and – to end the whole with additional acridness – “Post-Instrumentalism”, namely a VCR tape containing the corrupted relics of another solo, a distressed griminess characterizing the purest intents.

Make no mistake, Magee might blow your socks off if he chose to. However, this is not mere skronk-and-scream rubbish; Sopranino Solo truly can stand, and proudly, with the milestones of current improvisation. And if you are smart as I have become in the last 24 hours, do yourselves a favor and download – gratis! – this 26-disc set . Don’t forget to get a copy of this CDR first, though. Trust the antipodean Massimos.

sopranino solo

SOPRANINO SOLO (KSE #222) is still available, though we are down to our last few dozen copies…$8 ppd. in the US, $11 postpaid elsewhere…payable via paypal, to django5722(at)yahoo(dot)com

why not pick up some of our other CDR albums of contemporary, forward-thinking music, all in small handmade numbered editions…each is $8, if included in the same order as SOPRANINO SOLO…otherwise, the first cdr sent outside the US is $11, after that, $8 each…any quantity in the US is $8 each…

KSE #243 (CDR), VENISON WHIRLED (aka Lisa Cameron), “The Many Moods of Venison Whirled”

KSE #254 (cdr), DJIN AQUARIAN (of Ya Ho Wha 13)/SIR PLASTIC CRIMEWAVE & THE EVERAFTER, Live in San Francisco 10/2011

KSE #233 (CDR), ALFRED 23  HARTH / CARL STONE / SAMM BENNETT / KAZUHISA UCHIHASHI, “The Expats “

KSE #239, (CDR) FOSSILS, “Bells and Gulls”

KSE #251, (CDR) FORBES GRAHAM, “Return: The Journey”

KSE #247 (CDR), MARCUS RUBIO & BILL SHUTE, “Only The Imprint Of An Echo Remains”

KSE #237 (CDR),  MICHAEL BARRETT  (Belltonesuicide) & MIKE GRIFFIN (Parashi), “Birtual Seme-Alabak”

KSE #235 (CDR), BOOK OF SHADOWS, “Chimaera”

KSE #228 (CDR), UNMOOR, “Night Driver”

KSE #207 (CDR), ALFRED 23 HARTH & CARL STONE, “Gift Fig”

KSE #206  (CDR), ERNESTO DIAZ-INFANTE, “Emilio “

KSE #238 (CDR), DANIEL HIPOLITO/EVA KELLY/BILL SHUTE, “Fascination”

KSE #222 (CDR), MASSIMO MAGEE, “Sopranino Solo, “ cover art by MP Landis.

KSE #220 (CDR),  MATT KREFTING, “Sweet Days of Discipline”

KSE #226 (CDR), DEREK ROGERS, “Born Into Systems”

—————————————————————————————————————————————–

and pre-release versions of these three forthcoming albums can be purchased NOW for immediate delivery:

KSE #260 (CDR) TOM CREAN, “Wired Love” (solo guitar and banjo explorations)

KSE #255 (cdr) ERNESTO DIAZ-INFANTE/LISA CAMERON/LEE DOCKERY, “Live At the KSE 6th ANNIVERSARY CONCERT”

KSE #257 (CDR),  ALFRED 23 HARTH, “Micro-Saxo-Phone, Edition  IV.”

Thanks for your support of independent non-aligned DIY arts organizations that circumvent the established “underground” hierarchy and connect person-to-person…

June 11, 2013

BILL SHUTE & JIM D. DEUCHARS, poetry reading, Sunday 28 July, 2 pm, Amazing Books, Pittsburgh, PA

Filed under: Uncategorized — kendrasteinereditions @ 7:45 pm

save the date…

SUNDAY 28 JULY 2013

2 p.m. (note the time change…it was originally scheduled at 3 p.m.)

AMAZING BOOKS

929 Liberty Ave.

PITTSBURGH, PA

B I L L   S H U T E    &    J I M  D.  D E U C H A R S

joint poetry reading

KENDRA STEINER EDITIONS INVADES PITTSBURGH!!!

we’ll be reading from old and new favorites at an exciting new bookstore

pittsburgh flyer

….

pittsburgh, brad bill jim (2)

L-R   Brad Kohler, Bill Shute, Jim D. Deuchars (Pittsburgh, May 2011)

June 5, 2013

Meditations On A One-Way Trail (KSE #261), new art-and-poetry chapbook from Daniel Hipolito and Bill Shute

Filed under: Uncategorized — kendrasteinereditions @ 5:46 pm

MEDITATIONS  ON  A  ONE-WAY  TRAIL

KSE #261, chapbook

art by Daniel Hipolito, poetry by Bill Shute

$6.00 ppd. in the US ($7.00 ppd. outside the US)

payment via paypal to    django5722(at)yahoo(dot)com

MEDITATIONS...

Daniel Hipolito is well-known in the forward-thinking arts world in Austin (where he lives and works) and on the West Coast (where he used to live and still performs each year) for his visionary music work as Smokey Emery (utilizing and manipulating tapes, both found and new creations, in a manner not unlike Matt Krefting, but with very different results) and as a member of the group Lumens and in many other one-off experimental music groups. However, Daniel has also worked in the visual arts for over a decade and has had a number of publications and exhibitions of his artwork.

MEDITATIONS ON A ONE-WAY TRAIL (KSE #261) is a chapbook that combines a series of drawings by Daniel with a series of poems by Bill Shute.  A 2009 article on Daniel’s visual art at the “Bees And Trees” blog states that “Hipolito’s work is photo-based realism that can be abstract and obscure, creating  an area between representation and abstraction, transparency and conspiracy….Hipolito’s work implies enigmatic narratives, as it resembles frames of a graphic novel, or a page of photojournalism, forms of media that often depict crime and terror in achromatic panels. Similar to the effect of crime scene photography, the mundane is transformed into mystery and menace….Hipolito combines images in a way that elicits new associations and confounds conclusion.” That’s as good an explanation as any of what Daniel is doing in this suite of images–and I created short poems (six one-half page poems, one full-page poem) to walk alongside those images. Think of two friends, one of them a visual artist and one of them a poet, walking together along a dusty West Texas trail conversing, each in his natural medium. That’s how I view this unique chapbook.

There is a strong Western and existential thread to both the images and the poems—-the progression in the chapbook runs from fatalism to spiritual yearning, and the poetic form mirrors that progression (in some of the later poems in the collection, I am influenced by the much under-rated Frank Samperi, a spiritually tinged poet who was both a classicist and a minimalist). However, Daniel and I both exist in this painful and absurd (and yes, joyous too) Texas of 2013, and thus the poems are anchored by the refrain “Worried Men and Wooden Soldiers,” since we seem to be surrounded by lots of both.

MEDITATIONS ON A ONE-WAY TRAIL (KSE #261), a new art-and-poetry chapbook…in an edition of 99 hand-numbered, imperfectly hand-assembled copies…

$6.00 ppd. in the US ($7.00 ppd. outside the US)

payment via paypal to    django5722(at)yahoo(dot)com

And while you are at it, why not pick up a few of our other recent poetry chapbooks:

KSE #250 (poetry chapbook) DOUG DRAIME, “Dusk With Carol”

KSE #236 (poetry chapbook)  JIM  D.  DEUCHARS, “Thelonious Fakebook”  (Sound Library Series, Volume 71)

KSE #249 (poetry chapbook) A.J. KAUFMANN, “Hosannah Honeypots” (Sound Library Series, Volume 72)

KSE #256 (poetry chapbook), BILL SHUTE, “Led Along”

KSE #244 (poetry chapbook), MICHAEL LAYNE HEATH, “Unbroadcast Reruns”

KSE #253 (poetry chapbook), BILL SHUTE, “Dream Static”

KSE #216 (poetry chapbook), JOHN SWEET, “Brave Retreat”

KSE #252 (poetry chapbook), BILL SHUTE, “Throwaway B-Side”

(Each of these other chapbooks is $5 postpaid US  if you’re ordering MEDITATIONS ON A ONE-WAY TRAIL)

also, as a musician, Daniel (along with Eva Kelly, of Unmoor and Sprills of Ore) worked with me in April 2012 in a music-and-poetry performance in Austin, at the Church of the Friendly Ghost, and a recording of that performance is available on CDR from Kendra Steiner Editions, FASCINATION (KSE #238), which you can add to your order of MEDITATIONS for just $8 extra, postpaid.

fascination cdr

A broad sampling of Daniel’s music as “Smokey Emery” can be found at  https://soundcloud.com/smokeyemery

Listen and enjoy…as we say down here in Texas, “get it all over you…”

Once again, thank you for your support of Kendra Steiner Editions (now in our 8th year and with over 250 releases in that time) and all independent arts organizations who do not bow down to the hierarchy in the “alternative arts” (meet the new boss, same as the old boss) world and who connect honestly, person to person, with creative souls the world over. Best wishes from our homebase in San Antonio…

June 3, 2013

new Sun Ra-inspired poetry chapbook from Poland’s A.J. KAUFMANN, “Hosannah Honeypots” (KSE #249), available now!

Filed under: Uncategorized — kendrasteinereditions @ 7:34 pm

A. J.  KAUFMANN

“HOSANNAH  HONEYPOTS” (Sound Library Series, Volume 72)        KSE #249

inspired by the Sun Ra album “Calling Planet Earth” (Black Lion Records)

$6.00 ppd. in the US ($7.00 ppd. outside the US)

payment via paypal to    django5722(at)yahoo(dot)com

HOSANNAH, cover

..

HOSANNAH HONEYPOTS is the 15th KSE chapbook (the 11th solo KSE chapbook) from Poznan, Poland-based poet and musician A.J. KAUFMANN. I’ve not only had the privilege of working with him in editing all those chapbooks, but we co-wrote THREE chapbooks, which may be reissued together in book form by Word Mechanics in 2014 (keep your fingers crossed).

With so much poetry out there falling into one of three categories—-bad imitations of Charles Bukowski; tiresome conceptual faux-avantgarde swill coming from MFA programs and the creative writing industry; and performance-oriented poetry slam antics that can often be entertaining live but are not conceived of in terms of the page—-it’s not surprising that poetry fails to find much of an audience in its printed form. More poets need to wake up and wipe the slate clean and realize that the possibilities of poetry are infinite. They just need to stop trying to curry favor with whomever they are trying to suck up to in the poetry hierarchy, create their own system of poetics from the ground up, and build on that foundation…and stay with it and ask no one for acceptance. The poets KSE publishes all do that in their own inimitable ways, and nobody exemplifies the KSE aesthetic better than A.J. Kaufmann: he is rooted in Beat poetry and psychedelia, he knows the important avant-garde traditions of the last 150 years, he reflects the particulars of his culture/region (and also such important areas for him such as Berlin and Paris), and he takes those elements and creates 100% original work from them, work that apes no one else’s work and that has a form and a feel all his own. Yes, his work can be surreal; it can have the post-Rimbaud rock’n’roll decadence of a Leonard Cohen or a Syd Barrett or a Jim Morrison; it can have a psychedelic spiritual exuberance in the tradition of Roky Erickson/Tommy Hall or of Sky Sunlight Saxon. But it’s always 100 % A. J. Kaufmann.  Having worked with the man on three collaborative chapbooks, and a fourth chapbook that was a joint work but one where we both worked from similar prompts,  I can testify to his amazing imagination, his devotion to craft, and his dedicated work ethic, even while living a lifestyle that would kill or sideline a lesser man.

AJK, Calling_Planet_Earth

A.J. and I had originally planned to do a fourth collaborative chapbook, this one inspired by the music of Sun Ra. We each listened to many albums and finally agreed on the Black Lion/Freedom album CALLING PLANET EARTH (most easily available as part of a 3-cd box set). I suggested that we each get some themes and images down, work on some core lines, and trade notes in a few months, and then we could start on the collab. However, about a month after that, AJ delivered a sizable chunk of finished work, and I then decided to step aside and make this a solo work of A.J.’s. There was nothing I could add to what he’d begun…

In the manuscript he sent me, A.J. had created a unique form that was as jagged and blurred yet as sharp and as deeply rooted and as cosmic as a ten-minute Sun Ra clavioline solo, a sputtering, leering, push-and-pull flow that is, truly, a collection of energized language clusters on the printed page that come alive when read as if one’s finger is  stuck into an electrical outlet. Regarding HOSANNAH HONEYPOTS, A.J. Kaufmann had the following to say, and once more, there’s little I can add to the author’s comments:

“Hosannah Honeypots” is meant to illustrate the music of Sun Ra – nothing more, nothing less – put into the context of hip-hop culture and all things cosmic that evolved from it / are still evolving, and the text is a free-flow of thoughts, like a free flow of synth lines, dropping over a jazz or hip-hop rhythm, filtered through accidentally found graffittis and riffs directly from Poznan’s gutters – new words are “invented” when necessary, when the rhythm and cadence needs them. However, the rhythm itself (the primal rhythm) is not found in the chapbook – variations are… It’s also quite a humorous text, as it puts me back into the shoes of the 2008 rebel that wrote “Siva in Rags”, but with the perspective I gained in the last 5 years, so it’s not so damn serious like “Siva”, and the romantic element, at least in my opinion, is completely gone. Here we have observations from the rooftop of a typical Polish tenement house, stripped to the core, not over-thought, and basically written in one take, with no re-writes or corrections, writing to the pounding tribal rhythm of my city, observations occasionally reaching out into deep space, then turning back to the people crowding streets below the author, in a millisecond. I guess it’s also an anti-war and anti-violence collection, though not really a protest-poem, more on the subconscious level – a way to break out of the daily prison and cutting wrist watch chains, if you can find the subliminal message. There are also several Maya influences in the text, though not directly copied from mythology, rather re-invented and re-told for the purpose of the poem, in the context of Sun Ra’s music and the hip-hop culture – this idea occurred to me when I saw lots of Maya-inspired graffiti covering certain walls at the Kottbusser Tor area in Berlin back in 2008.

The titles of Hosannah’s sections were inspired by Philip K. Dick’s “Dr Futurity”, but not lifted from it directly.  The “Rhino” “Hippo” and “Bee” sections translate into three tribes, each member of the tribe (three variations of the author) gets to “tell his tale”. “Nebula” and “Lava” are extraterrestrials arriving on Planet Earth, assimilating with the human culture, I guess you can say they’re “interstellar outcasts”, two additional extensions of the author’s consciousness.

Each one of AJK’s previous KSE chapbooks has been a unique creation where form and content work together in new and unexpected ways. He is one of the most essential and original poets writing today, from his home base in Poznan, Poland, where he also works as a musician and singer-songwriter. HOSANNAH HONEYPOTS takes off into the stratosphere but retains the taste and the funk  and the textures of home, which is just what I’d guess Sun Ra would want it to do…

A. J.  KAUFMANN

“HOSANNAH  HONEYPOTS” (Sound Library Series, Volume 72)        KSE #249

inspired by the Sun Ra album “Calling Planet Earth” (Black Lion Records)

$6.00 ppd. in the US ($7.00 ppd. outside the US)

payment via paypal to    django5722(at)yahoo(dot)com

hand-numbered, hand-assembled edition of 88 copies

And while you are at it, why not pick up a few of our other recent poetry chapbooks:

KSE #250 (poetry chapbook) DOUG DRAIME, “Dusk With Carol”

KSE #236 (poetry chapbook)  JIM  D.  DEUCHARS, “Thelonious Fakebook”  (Sound Library Series, Volume 71)

KSE #261 (art-and-poetry chapbook), DANIEL HIPOLITO & BILL SHUTE, “Meditations on a One-Way Trail”

KSE #256 (poetry chapbook), BILL SHUTE, “Led Along”

KSE #244 (poetry chapbook), MICHAEL LAYNE HEATH, “Unbroadcast Reruns”

KSE #253 (poetry chapbook), BILL SHUTE, “Dream Static”

KSE #216 (poetry chapbook), JOHN SWEET, “Brave Retreat”

(Each of these other chapbooks is $5 postpaid US  if you’re ordering HOSANNAH HONEYPOTS)

..

AJK album

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PREVIOUS  KSE  CHAPBOOKS  BY  A.  J.  KAUFMANN

SOLO  AJK  CHAPBOOKS:

KSE #102,  A. J. Kaufmann, “Siva In Rags.”

KSE #106,  A. J. Kaufmann, “East-West Train.” Sound Library Series, Volume 36.

KSE #111,  A. J. Kaufmann, “Poznan City Gospel.”

KSE #119, A. J. Kaufmann, “Satori in Berlin (X-Berg Songs).”

KSE #139, A. J. Kaufmann, “Antiquewhite Rain.” Sound Library Series, Volume 45.

KSE #143, A. J. Kaufmann, “Symbolisme Psychédélique.” Sound Library Series, Volume 47. In memory of Sky Sunlight Saxon.

KSE #149,  A. J. Kaufmann, “Via Alighieri.” Cinema Poetry Series, Volume 3.

KSE #154,  A.J. Kaufmann, “Vagabond Vacancy.”

KSE #166, A.J. Kaufmann, “Amazon, The Fame of God.” Cinema Poetry Series, Volume 4.

KSE #197, A.J. Kaufmann, “Love Lions of Paris”

SHARED AJK CHAPBOOKS:

KSE #159, A.J. Kaufmann & Bill Shute, “78 Horizons.” Sound Library Series, Volume 52. (note: this is a joint publication, like the Next Exit volumes, but NOT a Kaufmann-Shute “collaboration”. )

AJK/BILL SHUTE COLLABORATIVE WORKS:

KSE #113,  A. J. Kaufmann & Bill Shute, “Beyond the Blue Rocks: Meditations on the Tibetan Book of the Dead.”

KSE #145,  A. J. Kaufmann & Bill Shute, “Blues for Duffy Power.”

KSE #151,  A.J. Kaufmann & Bill Shute, “Twombly’s Siracusa.”

blues for duffy power

symbolisme

love lions

twombly

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