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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December 27, 2012

“Unbroadcast Reruns” (KSE #243), new poetry chapbook from Michael Layne Heath

MICHAEL   LAYNE    HEATH

“Unbroadcast Reruns”

poetry chapbook, issued 2 January 2013

$5 postpaid anywhere, payment via paypal to django5722(at)yahoo(dot)com

limited hand-numbered, hand-cut, hand-assembled edition of 89 copies

UNBROADCAST RERUNS

KSE is proud to announce the publication of the seventh poetry chapbook (his fifth for KSE) by San Francisco’s MICHAEL LAYNE HEATH“UNBROADCAST RERUNS” (KSE #243). Mr. Heath was one of the founding-fathers of punk-rock writing with his seminal VINTAGE VIOLENCE ‘zine, covering the under-rated Washington DC area scene in the late 70′s, and then moving into the early 80′s he was a fixture at other ‘zines of the day such as CAPITOL CRISIS and TRULY NEEDY. He’s been one of my favorite writers for 30+ years, and he was one of the first authors I approached to join the KSE family.

Michael moved to San Francisco in 1992 and began taking his work to new levels as he moved into poetry, a perfect fit as his writing always had the specificity and detail and metaphor needed for verse. With the  musicality one would expect, a timelessly hip voice, a mastery of reference and allusion, and a gritty streetwise presence—along with a cynical wit and a unique ability to capture the delicious pain of longing and physical desire in a way that is neither cloying nor cliche-ridden—Michael’s poetry is a breath of fresh air in today’s phony poetry world of post-Bukowski losers and posers and pretentious academic pasticheurs.

In UNBROADCAST RERUNS, Michael’s expertly-crafted and musical post-Beat lines capture the joys and despairs of everyday San Francisco life, and by extension life anywhere, such is the depth of his deep yet everyday imagery. Michael has long been one of my favorite writers dealing with desire and sexuality—-he captures in language that is both rich and real that hunger and the excitement and the melancholy and the loneliness that we all feel as sexualized beings, whatever our orientation. And being a respected music writer and a musician himself, Michael always has a verse that is innately musical, with a syntax full of fascinating textures and shadings. I can always HEAR his voice on the page. Also, Mike and I being around the same age (he recently crossed the 50-yard line, we might say), his writing about facing middle-age is poignant and deeply felt. There’s no whining, of course (KSE is a no-whining zone), but there is a coming to terms with aging and wonderful appreciation of how the balance of knowledge and physical ability gradually tilts more to one side with each passing year. KSE is proud to support the work of Michael Layne Heath. If you like ANY of the product we issue, music or writing, trust me…you need to read MLH’s poetry.

Like Corso or Patti Smith, Heath often writes from a poet-finding-his/her-way-in-a-barren-world persona, on the hungry streets and in the seedy transient hotels of San Francisco, seeking transcendence through a cheap thrill, looking to score, looking to connect with a fellow member of the diaspora, his head full of ornate Nino Rota film soundtracks and trippy Jamaican dub, his stomach empty, his heart overflowing, paying for drinks with pocket change, selling his Kerouac books and Prince Far I albums to pay the overdue rent, wondering if that lanky, ponytailed, sandy-haired, jean-jacketed guy from the midwest at the other end of the bar notices him, and wondering how he can get busfare home…if indeed he goes home tonight.

Michael Layne Heath creates/evokes a rich sensory world in his poetry, and we readers share in the poet’s insights, fears, and small pleasures. He’s intimate without being confessional, and he always leaves a lot unsaid, so his work cries out for multiple readings and also begs to be read aloud and savored. UNBROADCAST RERUNS may be only a 10-page chapbook, but it’s got far more content and far more depth than most 300-page books. Mr. Heath is, to me, one of the ten most essential poets writing in America today…no surprise that one of his earlier KSE chapbooks was listed as one of the ten best reads of the year (2007) in Arthur Magazine. This is a hand-assembled, hand-numbered edition of 89 copies, available for $5 postpaid ANYWHERE.

Also, the cover features an original artwork commissioned especially for this chapbook from Austin painter-musician Carl Smith—-I have one of Carl’s paintings propped up against the CDR duplicator that I use for the creation of our KSE music releases, so in a way, Carl’s work is inspiring everything we do here at Kendra Steiner Editions. I’m excited to feature one of his works on Michael’s chapbook…if you live within driving distance of Austin, try to check out Carl’s work in person. It’s richly textured and three-dimensional action painting that really must be seen in-person. In any event, it totally captures the raw life-filled poetic “action painting” brushstrokes of MLH’s poetry. UNBROADCAST RERUNS by Michael Layne Heath…

Get yours now.

also available from KSE:

poetry chapbooks ($5 each, ppd.):

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

KSE # 216, JOHN SWEET, “Brave Retreat” 

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

and coming in a few weeks…

KSE #250, DOUG DRAIME, “Dusk With Carol”

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and CDR’s of experimental music ($8 each, ppd…$2 extra for postage outside US if ordering only one CDR):

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

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

KSE # 210 (CDR), HEATHER LEIGH, “Empire”

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

KSE #237 (CDR),  MICHAEL BARRETT & MIKE GRIFFIN, “Birtual Seme-Alabak” (the long awaited PARASHI/BELLTONESUICIDE duo album!)

KSE #247 (CDR), MARCUS RUBIO & BILL SHUTE, “Only The Imprint Of An Echo Remains” (poetry and electronic music album, recorded in San Antonio, TX)

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

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

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

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

KSE #223 (CDR), ALISTAIR CROSBIE, “A Campfire In The Snow”

KSE #214 (CDR), SABRINA SIEGEL,”Bottlecaps” 

THANKS FOR YOUR SUPPORT OF KSE SINCE 2006…soon entering our SEVENTH year of operation, with some 250 releases in that time! Support independent, non-aligned artists who do not operate through established channels or the lame “alternative” scene…meet the new boss, same as the old boss

MLH 2

earlier poetry works from MLH (now out of print, alas), published by Kendra Steiner Editions:

KSE #78, Michael Layne Heath, “Sacred Grounds.”  2008

KSE #126, Michael Layne Heath, “Grey Rage (Dyed)” early 2009

KSE #150,  Michael Layne Heath, “Loons of a Dogman.” Sound Library Series, Volume 48   late 2009

KSE #184, Michael Layne Heath, ”Jazzbo Wind”  2011

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