Kendra Steiner Editions

March 24, 2014

now available, POLYMORPHOUS URBAN: POEMS FOR LOU REED (KSE #272)

“There was violence in Lou Reed’s music that made the tender moments ring true, just as there was tenderness that made the violence all the more stunning.” — Matt Krefting

“Lou Reed was simultaneously way too smart for rock n’ roll and dumb enough to believe in its redemptive power.”–Brad Kohler

$7 postpaid in US / $8 postpaid elsewhere………..payment via paypal to   DJANGO5722(at)YAHOO(dot)COM

lou

now available…KSE #272 (poetry chapbook)…POLYMORPHOUS URBAN: POEMS FOR LOU REED.

LUIS CUAUHTEMOC BERRIOZABAL…JIM D. DEUCHARS….MICHAEL LAYNE HEATH….                                                                                                                                                    A.J. KAUFMANN….MATT KREFTING

Lou Reed. He was still alienating people in the last months of his life. People were walking out on his (brilliant) Metal Machine Trio shows because there were no “songs.” And do we even need to mention the polarizing LULU album or his head-scratching praise of Kanye West’s YEEZUS. In the local newspaper here, on the event of his passing, the musicians who’d opened for him or fans who’d tried to talk with him described with pride his telling them to “f*ck off,” with the same doe-eyed love in their tone as if they were a elderly lady who’d once been given a scarf by Elvis at a 1972 concert in Murfreesboro.

Reed’s work was life-changing for many listeners, no matter when they got onboard the train. I was too young to have heard or heard of the Velvets during their active years. I picked up 1969 LIVE while in high school and immediately had the sense that THIS IS HOW ROCK N ROLL OUGHT TO BE PLAYED. I then went back and found WHITE LIGHT WHITE HEAT, and as I’d already heard Anthony Braxton and Albert Ayler, when I heard Lou’s guitar solo on “I Heard Her Call My Name,” it all came together…and at the same time it all came apart. And I’ve never been the same…

I’m  old enough to remember reading Lester Bangs’s articles on Lou back while they were being published in CREEM, and like many teenagers, I got caught up in that long-running feud–whatever the reality behind it, it helped Lester’s visibility, it helped Lou’s visibility, and it sold copies of CREEM. I stayed with Lou over the years, and to his credit, he continued taking chances until the end. Lou Reed albums were not run past a focus group before release. They were not test-marketed. I think that one thing we all admired about him even when we did not like or enjoy particular albums was that he truly did not care at all what anyone thought of his work. All of us who labor in obscurity doing work that’s outside the norm, and also outside the alternative norm, can point to Lou as a man who never did what was expected and who liberated us from the model of allowing gatekeepers (or “underground” gatekeepers) to affect our work.

Reed opened doors…not out of politeness toward those following him, but because the door was in the way so he kicked it down without a thought. He needed room to breathe…down came the wall, in came the light…

As KSE is a press-label with a commitment to both cutting-edge contemporary poetry and contemporary music, the core of us here starting talking about what to do to celebrate Lou Reed’s life and work before the sun set on the day he died. Jim Deuchars suggested a poetry chapbook, and within a day I’d invited A. J. Kaufmann and Matt Krefting and Michael Layne Heath (all both musicians and poets…hmmm, do I sense a pattern here?) to come up with work that somehow was inspired by Lou Reed. The next day, my friend and longtime KSE poet Luis Cuauhtemoc Berriozabal sent me a poem he’d written about Lou in the past and thought I’d appreciate in the time of Lou’s passing. I knew that beautiful poem had to open any KSE collection….I asked Fossils co-conspirator David Payne, whose watercolor artwork I’ve long admired, to create new Reed-inspired work to grace the cover.

We’ve assembled our KSE poetry A-Team for this one…brand-new, white-hot poems inspired by Lou Reed from

LUIS  CUAUHTEMOC BERRIZOBAL (Los Angeles)

JIM D. DEUCHARS  (Pittsburgh)

MICHAEL LAYNE HEATH (San Francisco)

A. J. KAUFMANN (Poznan, Poland)

and MATT KREFTING (Western Massachusetts).

With cover art by DAVID PAYNE (Hamilton, Ontario). Edited and compiled by yours truly, Bill Shute

 

As with Lou Reed’s work, the experimental and the lyrical are intertwined here in these poems, the abrasive and the tender…

Limited hand-assembled edition of 125 copies, and more than half are already gone SO ACT NOW…

LOU REED COVER

now available…KSE #272 (poetry chapbook)…POLYMORPHOUS URBAN: POEMS FOR LOU REED.

LUIS CUAUHTEMOC BERRIOZABAL…JIM D. DEUCHARS….MICHAEL LAYNE HEATH….                                                                                                                                                                          A.J. KAUFMANN….MATT KREFTING

$7 postpaid in US / $8 postpaid elsewhere………..payment via paypal to   DJANGO5722(at)YAHOO(dot)COM

 

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January 3, 2014

last call for KSE 2013 releases…very few remaining on most…

KSE has a strong release schedule of both music and poetry lined up for 2014 beginning in February with our EGG, EGGS album, but until then, we still have some great 2013 items available in limited quantity–no wholesale on any of these. About a dozen other 2013 releases are sold out and/or have been deleted from the catalog in the last week (Forbes Graham, Unmoor, Bill Shute & Marcus Rubio, Venison Whirled, etc.). Here’s what you can still get if you act fast:

————————————————————————————

CHAPBOOKS/CDR’s  NOW AVAILABLE: 

full-sized CDR’s ($8.00 each, ppd. in US—outside US $11 )

ALL ARE AVAILABLE FOR IMMEDIATE DELIVERY

tom creandjin pcw everafter r6fossilsA23H  4ERNESTO LIVE ALBUM .    .

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

SPRILLS OF ORE

 

 

 

 

 

 

 

 

 

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 #254 (cdr), DJIN AQUARIAN/SIR PLASTIC CRIMEWAVE & THE EVERAFTER, Live in San Francisco 10/2011

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

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

SPECIAL EDITION POETRY CHAPBOOKS from Lambkin and Krefting ($7 each US postpaid…or $8 each postpaid outside US)—VERY LIMITED STOCK ON THESE TWO

KSE #258, GRAHAM LAMBKIN, “SLIMERS VERB”

graham cover

KSE #259, MATT KREFTING, “THE PRINCESS OF KNIGHT AVENUE”

dusk with carol

OTHER poetry chapbooks ($6 each, ppd. in the US, $7 elsewhere…):

KSE #265 (art-and-poetry chapbook), BILL SHUTE, ‘The Language of Construction”

KSE #263 (poetry chapbook), BILL SHUTE, “Worried Men and Wooden Soldiers”

KSE #250 (poetry chapbook), DOUG DRAIME, “Dusk With Carol” (cover art by Wyatt Doyle)

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

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

HOSANNAH, cover

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

Thelonious

MEDITATIONS...

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

led along

Questions? Write to  django5722 (at) yahoo (dot) com   . Thanks for your support!

November 22, 2009

Kaufmann & Shute, “Twombly’s Siracusa” (KSE #151)

A.J. KAUFMANN   &   BILL SHUTE

“TWOMBLY’S  SIRACUSA”   (KSE #151)

The third Kaufmann-Shute collaboration, Twombly’s Siracusa is our attempt to capture in verse the essence of the work of the visionary, revolutionary American painter Cy Twombly. Twombly is someone who simultaneously brought painting back to its origins on cave walls and on animal hides while extending painting beyond the action painters and abstract expressionists into an artistic world like no one else’s. He is truly a genre unto himself, as might also be said about Tapies, O’Keeffe, or Warhol. There is also a classical base to much of Twombly’s work, a core—-often submerged, and often halfway erased visibly on the canvas—-rooted in Roman history-mythology or classical literature. And often Twombly’s work integrates the process of creation INTO the work itself. There’s no one remotely like him, and his work is endlessly fascinating and inspirational.

A.J. and I, being both fascinated and inspired by his work, decided to take on this ambitious project in the Spring of 2009, and we spent six months coming up with the concept, structure, stanza form, pattern of images, historical base, etc. and then doing the actual composing of the stanzas, with countless e-mails and attachments and Instant Messaging between Poznan, Poland, and San Antonio, Texas. Our classical base for this piece is the Siege of Syracuse from 214-212 BC, where the Sicilian city of Siracusa was overrun and conquered by the Romans, and the Sicilians used in the defense of the city a number of odd armaments created by the great inventor-scientist-mathematician Archimedes, who is a strong presence in our piece. But Twombly’s Siracusa also resonates beyond that period in Sicily, all the way up through the present, and as in Twombly’s work, the creation of this piece is integrated into the piece itself.

Twombly’s Siracusa is our most ambitious collaboration so far (and it’s not without humor—-after all, who can use the phrase “cunning stunts” with a straight face!), and it is constructed with as much mirroring and symmetry and balance as a Persian carpet.  After all, as Hart Crane once wrote, “Poetry is an architectural art.” We feel that it will reward multiple readings and that it will remain fresh whenever one turns to it. Try it for yourself and see!

And when visiting Houston, Texas, please stop by the Twombly Gallery at 1501 Branard, near the Menil Collection and the Rothko Chapel. I visit it two or three times a year when travelling through Houston, and it was a visit in early May 2009 that convinced me that A.J. and I just had to do this project now.  And we did!

A.J. and I are presently developing a fourth collaborative chapbook, although that one will be more of a “joint exhibition” than a true collab as the first three were. More on that in early 2010.

TWOMBLY’S SIRACUSA (KSE #151) is now available. 

In the US, books are $4 each postpaid, or you can get any three KSE chaps for $10 postpaid.  Send a check (or well-concealed cash) made payable to Bill Shute, 14080 Nacogdoches Rd. #350, San Antonio, Texas, 78247.  Outside the US, you can get any book for $5 postpaid, payable via paypal. Just write to django5722 (at) yahoo (dot) com and request a paypal invoice. For your 3-for-$10 deal, along with TWOMBLY’S SIRACUSA, you can choose from any of these other in-print chapbooks:

#150, MICHAEL LAYNE HEATH, “Loons of a Dogman” (sound library series, volume 48) ;

#149, A. J. KAUFMANN, “via alighieri” (cinema poetry series, volume 3) ;

#148, MISTI RAINWATER-LITES, “vegas the hard way” ;

#147, BILL SHUTE, “nobody knows, nobody sees” (cinema poetry series, volume 2) ;

#146, MK CHAVEZ & MIRA HORVICH, “pinnacle” ;

#145, A. J. KAUFMANN & BILL SHUTE, “blues for duffy power” ;

#144, ZACHARY C. BUSH, “spin” ;

#143, A. J. KAUFMANN, “symbolisme psychédélique” (sound library series, volume 47). In memory of Sky Sunlight Saxon, issued simultaneously with KSE #142 ;

#142, BILL SHUTE, “plink, plonk & scratch” (sound library series, volume 46). In memory of Sky Sunlight Saxon, issued simultaneously with KSE #143.

#141, LUIS CUAUHTEMOC BERRIOZABAL & CYNTHIA ETHERIDGE, overcome ;

#140, BILL SHUTE, subtraction ;

#139, A. J. KAUFMANN, antiquewhite rain (sound library series, volume 45) ;

#138, BILL SHUTE, the stumble (sound library series, volume 44) ;

#134, RONALD BAATZ, headlights from the otherside of the world ;

#132,  DOUG DRAIME, knox county (photographs by Lena Ozuna) ;

#130,  MISTI RAINWATER-LITES, odd years .

 

August 16, 2009

Kaufmann and Shute meet Twombly

Filed under: Uncategorized — kendrasteinereditions @ 9:24 am
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CY  TWOMBLY  GALLERY             Houston, Texas

cy twombly

Although we are still finishing up our BLUES FOR DUFFY POWER collaboration, A. J. Kaufmann and I have been putting together another collaborative work we hope to have done by the end of 2009: a long-form poem that is both inspired by the work of American painter/sculptor  CY TWOMBLY and that attempts to transpose the techniques and themes and aesthetic of his work to the poetic page. Yes, that’s a tall order, but we have a tendency to set ambitious goals for ourselves….otherwise, why bother?

I mention this because I’ll be passing through Houston next weekend on the way to Galveston, and I’m going to take the opportunity to once again visit the CY TWOMBLY GALLERY while there. It’s an amazing place in that it is certainly one of the few galleries dedicated solely to a living artist, and each room is “themed” featuring related works and often multi-part works, so each room is an “environment” where one can truly feel Twombly’s work and experience his vision. Talk about someone who has created his own unique aesthetic!!! A. J. and I are excited about this venture, and I look forward to spending some time taking in the vision of the master next weekend in Houston…

-cy-twombly-on-returning-from-tonnicoda_0

 CY TWOMBLY, On Returning from Tonnicoda (1973)

August 13, 2009

KSE #142, PLINK, PLONK & SCRATCH, now available!

             KSE #142,     BILL  SHUTE,     PLINK ,  PLONK  &  SCRATCH         

      (Sound Library Series, Volume 46)

plink

One of two paired chapbooks for August 2009, both dedicated to the late SKY SUNLIGHT SAXON. This six-page, six-section poem began as a Sound Library volume inspired by the pointillistic free-improv of the Spontaneous Music Ensemble and was going to be my poetic attempt to echo that technique in words. It still is to some extent, at least sections 2-5.  However, as Sky Sunlight Saxon became a presence in Austin, Texas, in the spring of 2009, he somehow entered my consciousness and found his way into my thoughts for this piece. Then when Sky passed away suddenly in June 2009, I felt that I needed to dedicate this work to his memory AND to make him a physical presence in it, which I did in the sixth section. So what you have is a work framed with the specifics of Texas life circa 2009—-the gaybashing incident at Chico’s in El Paso, Dylan’s Never Ending Tour’s recent stops in Lubbock and Corpus Christi, Governor Rick Perry’s strange comments about Texas seceding from the United States, the ignorant comments of so many Texans on the subject of health care reform, the hunger among Texans for college football to start again in the Fall—-and building up to Sky Sunlight Saxon’s appearance in Austin in the Spring of 2009 and how that affected those of us who noticed it (and those who did not notice it) and how it fit into the overall picture. In between is a series of closely observed, pointillistic studies, animated by Sky’s spirit, that grow out of the hundred-degree-plus summer heat. The epigraph this time is from Keith Waldrop:

I begin now to write down all the places I have not been—-

 starting with the most distant.                              

I build houses that I will not inhabit.

                                                           (from “Poet”, 1997)

Another word about the unique free-improv aesthetic of the Spontaneous Music Ensemble, the aesthetic that animates this work. SME founder-mainman John Stevens always emphasized a LISTENING-based improvisational model. At the time of FACE TO FACE, the SME had been pared down to a duo, John Stevens on percussion (and occasional cornet, used in a coloristic manner), and Trevor Watts on soprano saxophone, an incredibly terse and elliptical soprano saxophone. In his liner notes to the album, John Stevens  wrote:  Face to Face means exactly that. When Trevor and I perform it, we are seated to enable the drums and the saxophone to be approximately on the same level. We face each other and play at each other, allowing the music to take place somewhere in the middle. This is very much an outward process. We are trying to be a total ear to the other player, allowing our own playing to be of secondary importance, apart from something that enables the other player to follow the same process—-the main priority being to hear the other player totally. I feel that as a poet, particularly in THIS piece, I am engaged in a similar process, although my partners are both my immediate environment and the blank open-field poetic page, the three of us comprising a SPONTANEOUS POETRY TRIO.  Or not…

I owned a copy of the original Emanem Records vinyl LP back in the 70s, when I was in highschool, and played the grooves off it. Emanem has reissued the album now on CD, with extra material from the same period. You can purchase one at  http://www.emanemdisc.com/E4003.html  .

In the US, you can get any three KSE chaps for $10 postpaid. Might I suggest this one, accompanied by its partner chapbook, A. J. Kaufmann’s SYMBOLISME PSYCHEDELIQUE, and Zachary C. Bush’s new and awesome SPIN. Send a check (or well-concealed cash) made payable to Bill Shute, 14080 Nacogdoches Rd. #350, San Antonio, Texas, 78247.  Outside the US, you can get any book for $5 postpaid, payable via paypal. Just write to django5722 (at) yahoo (dot) com and request a paypal invoice.

We have a number of other chaps still available, although about half of these are down to the last few copies so I’ll be deleting a number of them in a few weeks…act now!

#139, A. J. KAUFMANN, antiquewhite rain (sound library series, volume 45) ;

#140, BILL SHUTE, subtraction ;

#137, ALEATHIA DREHMER, circles ;

#134, RONALD BAATZ, headlights from the otherside of the world ;

#138, BILL SHUTE, the stumble (sound library series, volume 44) ;

#132, DOUG DRAIME, knox county (photographs by Lena Ozuna) ;

#135,  BILL SHUTE, stereo action (sound library series, volume 42) ;

#130,  MISTI RAINWATER-LITES, odd years ;

#126,  MICHAEL LAYNE HEATH, grey rage (dyed) ;

#127,  BRAD KOHLER, dog nights, dog days ;

#129,  MIRA HORVICH / BILL  SHUTE, suspension ;

#119,  A. J. KAUFMANN, satori in berlin (x-berg songs) ;

#133,  BILL SHUTE, this day without (sound library series, volume 41) ;

#131,  BILL SHUTE, acres (sound library series, volume 40) ;

#122,  LUIS CUAUHTEMOC BERRIOZABAL, still human ;

#116,  MISTI RAINWATER-LITES, next exit: ten .

As always, thanks for your support of contemporary poetry, small presses, and KSE, now in our FOURTH calendar year of operation, having issued 144 chapbooks in that time by nearly FORTY poets. Stay tuned for write-ups on the other two August releases, A. J. Kaufmann’s SYMBOLISME PSYCHEDELIQUE and Zachary C. Bush’s SPIN.

August 6, 2009

August 2009 reflections

 

daniel

Gustave Dore, “Daniel in the Lion’s Den”

Back now from my third and final trip of the last 4 months, this time to Denton and Galveston to help my son Eric move. I picked up some kind of bug at the tail end of the trip (perhaps from the polluted brown Gulf of Mexico water I swam in?), and after returning to San Antonio on Monday to a tedious eleven-hour day of jury duty, I’m now resting at home and nursing this cough/cold, which is giving me a much-needed break from my job, my writing and KSE editing/publishing, etc.

Just yesterday Zachary C. Bush sent me the final edit of his new SPIN chapbook, which is actually part one of a two-book sequence. ZCB read me these poems aloud when I visited him and Krista in Jersey City in May, and I was blown away by them. I don’t feel that articulate today, so I won’t attempt to describe them…wait for the blurb when the book is released in a week or two. All I can say is that these poems represent a new level in Zachary’s writing which is, paradoxically, both more complex and more accessible than some of his earlier work. It’s deeply rooted in his Southern background, which he seems to have adequate distance from (now that he’s in NY/NJ) to write about in a detached yet rich manner. I love these poems, and I will be proud to share them—-and the second volume, which will follow in a few months—-with the KSE readers.

Working with A. J. Kaufmann is always a joy, and I have three things to discuss about that. First, A. J. and I have just issued our two chapbooks dedicated to the late Sky Sunlight Saxon: A. J.’s SYMBOLISME PSYCHEDELIQUE (KSE #143), and my own PLINK, PLONK & SCRATCH (KSE #142). I’ll have a post about each one soon. Here they are:

plinksymbolisme

Second, I’m in the middle of our collaboration BLUES FOR DUFFY POWER, which you can expect in September, I hope.

blues for duffy power

One of the images I’m using throughout is that of bluesman as prophet, as the shaman-Jeremiah in the wilderness truth-telling to a people who aren’t listening. With that in mind, I’ve been re-visiting a number of Old Testament prophets, starting with the 12 “minor” prophets (I got an excellent book on that subject while in Ruidoso, NM), and also Ezekiel, Jeremiah, and Daniel, which I’ve been working my way through recently (thus the Dore artwork above). Page five of DUFFY POWER, the mid-point or “pivot” in the piece,  will echo the dreams/visions found in Daniel. Like yours truly, A. J. Kaufmann is interested in the formalistic aspects of poetry, and I must say we have devised a unique structure for this chapbook, which will probably be a nine-page work. I won’t give the structure away at this point.

Thirdly, A. J. and I have another long-term collaborative project that we’ve begun work on, a chapbook inspired by the painting of CY TWOMBLY, and which attempts to mirror in poetic form the structural and thematic aspects of Twombly’s artwork. When I visited the Cy Twombly Gallery in Houston earlier this year, I just knew I had to attempt something like this, as Twombly’s work—-collected in a beautiful museum devoted ENTIRELY to this one artist and organized into thematic rooms each of which presents multiple related artworks—-took my breath away. A. J. was familiar with CT’s work and was excited to join me on this project. This is a long-term project and I doubt you’ll be seeing it until late 2009 or early 2010, but projects of this type require a lot of preparation and background study. I hope the end result will be worth it.

In other KSE news, I have the completed manuscript now for MK Chavez and Mira Horvich’s PINNACLE chap

pinnacle

which will be out in September, and also Misti Rainwater-Lites’ new VEGAS THE HARD WAY chap that will be out in October. Both of these are newly written multi-poem suites, composed especially for the KSE format. They are important new works from two of the nation’s finest working poets. And only $4 each in the US ($5 elsewhere). How can you go wrong with that?

Well, in honor of the late, great, one-time El Paso resident Raymond Carver (who was a friend of my first wife Kathleen when he lived in EP…read her excellent article about him in an old issue of the Hollins Critic), I think I’ll take a swig of Ny-Quil, and then get back to Daniel, who just survived that night in the lion’s den and is back having dreams and visions again. Maybe if I take a second swig of the Ny-Quil I’ll have some of my own…

…………………………………………………………………………………………….

ps, there’s a new review of my FACE TO FACE (KSE #101) chapbook over at Michael Aaron Casares’  “Over Your Radar”  blog. You can read it here: http://overyourradar.blogspot.com/2009/08/bill-shute-face-to-face.html

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