Kendra Steiner Editions (Bill Shute)

December 29, 2018

new book-length poem, AMONG THE NEWLY FALLEN, now available in paperback

Filed under: Uncategorized — kendrasteinereditions @ 9:30 pm



book-length poem

perfect-bound paperback, 54 pages, KSE #413

available internationally from your local Amazon outlet (just do a search for it), $9.95

in the US, order from this link:

among the newly fallen, cover

Very proud to announce the book publication of the results of my “writing vacation” earlier this year in the Oklahoma City area, AMONG THE NEWLY FALLEN, a 46-page open-field poem that is a refreshing (for me, at least) development/movement into longer-form works utilizing the page as my Projective Verse canvas. My 2006 book-length poem POINT LOMA PURPLE (published by Word Mechanics) was 3300+ lines long, and thus “longer” than AMONG THE NEWLY FALLEN, but  POINT LOMA PURPLE was a narrative poem in 18 sections/chapters. My previous pieces in the open-field form tended to be works in the 5-8 page range, necessitated by the limitations of the KSE home-printed chapbook. We retired that format with John Sweet’s early 2018 chapbook HEATHEN TONGUE (KSE #392), and with the throwing off of those shackles, instead of producing six or seven six-page pieces, I was able to compose on a larger group of canvases, taking the organizational patterns (the repeated refrains, the placement of motifs/clusters, etc.), the poetic super-structure, to a new plane.

Those who know me know that I am very much moved and humbled and fascinated by the multi-part studies and series works of painters such as Warhol, Monet, and Hockney—-one art experience that will always stay with me was when I spent 6 hours in a room with the nearly-100 painting SHADOWS sequence of Andy Warhol at the Dia-Beacon on the Hudson in New York state (while in that neck of the woods, I did readings in Hudson and Albany, as well as a reading and a radio interview in the Amherst, MA, area) in 2011. I have also always been an admirer of the structure of the later Dickens (from Bleak House on) novels and how they influenced the grammar of motion pictures as they advanced from shorts to feature films in the 1910’s. At the same time, such modern cinematic works as Godard’s KING LEAR (a huge influence on my first book-length poem, TWELVE GATES TO THE CITY: THE LABOURS OF HERCULES IN THE LONE STAR STATE, published in 2005 by Word Mechanics), Antonioni’s ZABRISKIE POINT, and Dennis Hopper’s THE LAST MOVIE were very much influences on my composition and arrangement and structure in the long-form poem, and this can be observed in AMONG THE NEWLY FALLEN, although more than anything else, it’s simply an extension of my own shorter forms. Think of someone who’d previously only recorded singles who ups the game by recording an album. Most recently, when I saw the reconstruction of Orson Welles’s THE OTHER SIDE OF THE WIND (which, thank the Lord, played theatrically for a few days here in San Antonio), I found it very much on the same wavelength in terms of super-structure as what I am doing in AMONG THE NEWLY FALLEN, and the Welles film really clicked with me in terms of its multi-layered, large-canvas structure. Please don’t take offense at my dropping names such as Welles and Godard and Hopper and Dickens and Antonioni here—-I’m not fit to loosen their sandal straps—-I am to those great artists what some teenage garage band from San Antonio or Wichita Falls in 1966 recording a 45 in the local radio station after hours was to The Yardbirds or The Rolling Stones. I’m well aware of my place in the order of things, but I’m swinging for the fences….listen to a Texas 60’s garage band 45 such as “1523 Blair” by The Outcasts and tell me that it does not step forward to the plate and take the strongest possible “swing” imaginable. That’s really all we can do.

I should also credit my friend and KSE recording artist MORE EAZE (aka Marcus Rubio), as the overall compositional structure and interlocking repetitions-with-variations form of his STARING AT A STATUE OF PAINT album was a big influence on me as I designed the form of and then composed AMONG THE NEWLY FALLEN. I’m presently working on another long-form poem in the 45-60 page range, one which I’ll finish in the Summer of 2019 when I take a two-week writing vacation in Tulsa, and am creating a poetic super-structure rooted in the musical fugue form, but adapted to my needs and textual form. We’ll see how that turns out.

I am hoping to create one new long-form work a year for the next few years, now that the responsibility of issuing a dozen or more KSE music albums each year is now in the past.

Until then, I invite you to take a chance on AMONG THE NEWLY FALLEN. I feel as though the richness and depth of the work has grown exponentially from the earlier six-page pieces. In the words of the late great Rick Nelson, “you can’t please everyone, so you’ve got to please yourself.”

Thanks to all of you who have taken the time to read these many pieces of mine, both poetry and prose, over the years/decades….and to listen to the 150+ music releases issued by KSE in the last nine years. As they say on Southwest Airlines each time you’re about to land, “Thank you for choosing to fly with Southwest. WE KNOW YOU HAVE A CHOICE.”

Please stay with me as I move into new territory in the coming months and years—-that new phase begins with AMONG THE NEWLY FALLEN. It’s easy to order–get your copy now!

p.s., the book’s title, of course, echoes Edward Dorn’s THE NEWLY FALLEN (Totem Press, 1961), and an epigraph from that work is included on the front page, along with the epigraph I’ve used in my last three or four books from composer Morton Feldman

among the newly fallen, cover

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