Kendra Steiner Editions

December 20, 2019

now available…”new” poetry book, NO BRICKS, NO TEMPLES, from Bill Shute

Filed under: Uncategorized — kendrasteinereditions @ 5:36 pm

NO BRICKS COVER

Since August, I’ve been working on a new book-length poem (TOMORROW WON’T BRING THE RAIN), which I hope to finish this coming June during my 2020 writing vacation in Louisiana. It is a  long-term project (as RIVERSIDE FUGUE was), which I work on every week, stanza by stanza, fitting each piece into its proper place within the 45-page mosaic.

In the non-poetry arena, I still have 6 to 8 reviews in every issue of UGLY THINGS (working on the reviews for #53 now, due in mid-Feb), the other-weekly column at BLOG TO COMM (which I need to get caught up on…I like to keep 3-4 months ahead of schedule there), and I’m doing the introductory essay for a volume of non-fiction magazine articles by the great Edward D. Wood, Jr., a kind of sequel to the BLOOD SPATTERS QUICKLY and ANGORA FEVER collections of fiction. That piece is due with the book’s editor the first of February. And let’s not forget the half-finished pieces on jazz and film and literature and art I have in the draft box here at the KSE blog, which I’d like to finish sometime this year!

Regarding the “new” poetry book mentioned in the title of this post, over the last two months, I’ve been slowly reading and savoring (and making notes in) the book LIKE ANDY WARHOL by Jonathan Flatley (University of Chicago Press, 2017), one of the most satisfying critical books about the arts I’ve read in the last few years. Although the book has a thousand worthwhile insights and makes many valuable connections, one minor section which got its hooks into me touched upon Warhol’s 1980’s re-appropriation of his own appropriated 1960’s images, which I read the same day that read about the restoration of JOHN THE DRUNKARD, Bud Pollard’s 1940’s re-editing of his early 30’s horror film THE HORROR into a temperance film, with some new framing footage shot that re-contextualizes the earlier footage as alcohol-inspired hallucinations. As a long-time admirer of the “patchwork” genre among exploitation films, I started to think about film-makers who’d cannibalized their own product to create new product, as Al Adamson took THE FAKERS and turned it into HELL’S BLOODY DEVILS….or took PSYCHO A-GO-GO and turned it into FIEND WITH THE ELECTRONIC BRAIN and then transformed it again into BLOOD OF GHASTLY HORROR.

Inspired by Warhol and Al Adamson (not to mention Godfrey Ho and Jerry Warren), I took sections and lines from some lesser-known chapbooks of mine (from 2008-2014), ones most of you reading this would not have encountered (such as ENVY and JAYWALKERS), and ones that have not been reprinted since and aren’t in my Selected Poems volume coming out (I hope!) from Moloko Print in Germany next year. It was interesting to revisit these earlier pieces, as they are not the kind of thing I’d write today, both in form (I was doing syllable counting in some of them, based on a mis-reading of mid-60’s Creeley), and in content (some images are clearly out of Theosophical readings)—-and in the case of what became the final two pages of Section Seven (of Eight) of NO BRICKS, NO TEMPLES, I clearly remember being on the main drag in Lawrence, Kansas, when the key image pattern came to me  (in 2014, so this would be the latest material in the book). However, those older stanzas and lines have been re-purposed (see the last stanza of last year’s RIVERSIDE FUGUE if you’re a fan of that word) with the structural and compositional approach I’ve been using for the last 2-3 years, which creates an interesting tension….

With a mix of older and newer on a number of levels, and a wide variety of verse forms and imagery, NO BRICKS, NO TEMPLES should be an interesting and worthwhile way to kill an hour or two, if you’re so inclined.

Since it was assembled from pre-existing materials, I’ve priced it a dollar lower than other recent book-length poems of mine…. so if someone gave you an Amazon gift card for the holidays, why not spend $8.95 of it on NO BRICKS, NO TEMPLES.

Here is the link for ordering: https://www.amazon.com/gp/product/1676404597

This is also available as a local purchase at the various European and Asian Amazon outlets, so search for it on your local platform, and it will be printed and mailed to you locally, wherever you are at!

NO BRICKS COVER

NO BRICKS, NO TEMPLES

a poem in eight parts by BILL SHUTE

KSE #415

43 pages, perfect-bound paperback

$8.95

ISBN:  978-1676404590

published 16 December 2019

 

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December 7, 2019

Help MODE RECORDS to carry on!

Filed under: Uncategorized — kendrasteinereditions @ 3:40 pm

Running a record label featuring physical releases of forward-thinking music is more difficult now than ever. I had to close my own label, KSE, which supported the work of contemporary composers, one year ago today because I couldn’t afford to keep it afloat. Mode has been doing amazing work for decades in support of important and original composers–please don’t let them go under. Even 5 or 10 dollars can help. Would YOU want to live in a world without Mode’s 50 (!!!!) John Cage releases? I wouldn’t!

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Bringing the world high quality releases of contemporary classical, jazz and other musical genres for over 35 years, Mode Records now needs your support to modernize its promotion, informational, and sales platforms.

Internationally recognized record label Mode Records’ recordings of impeccable performances, captured with the best quality sound, have earned it great critical acclaim and a loyal following.

A small independent company, Mode’s catalog of over 300 releases includes music of the great composers of the latter 20th century and today’s aspiring contemporary New Music artists. Beginning with its first release in 1984, created in collaboration with composer John Cage, Mode has presented uniquely curated releases with a personal vision of producing fine recordings which are not necessarily a part of current mainstream music fashion, but which need to be heard.

You can make a difference in support of music that matters by making a contribution of any amount toward Mode’s modernization. I would never ask people to contribute to something I myself would not give my own hard-earned money to, and you can see my own contribution on the Mode Go Fund Me page. And why not stop over there now to make YOUR contribution….even $5 or $10 can help. YOU and I can insure that people can easily hear the works of John Cage (who was involved in the founding of the label!) and many other important composers on beautiful and thoughtfully-curated CD’s. I have dozens of Mode releases and play them often….not just play them, but live with them, and live in the worlds they create.

Here is the link…thank you for your support of Mode and of modern composers….

https://www.gofundme.com/f/help-mode-records-to-carry-on

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