Kendra Steiner Editions (Bill Shute)

April 20, 2020

coming in June 2020, the new book-length poem from Bill Shute, Tomorrow Won’t Bring The Rain (KSE #416)

tomorrow cover



KSE #416

54 pages, perfect-bound, ISBN 9798639051586

a new book-length open-field poem, in three sections

composed June 2019-April 2020 in Bexar County, Texas

I’m hoping that this will be available by June 2020, but that may not be in my power to control in the present Coronavirus environment, where poetry (and books of any kind) are considered non-essential.

This was begun immediately after the completion of RIVERSIDE FUGUE.

As always, I hope you find it interesting and worthwhile

More details in June, when it’s ready at the printers….

“Silence is my substitute for counterpoint”  –Morton Feldman

January 20, 2015

late 2014 Bill Shute poetry chapbooks

Welcome to the new year—-Time to watch last year retreat into the rear-view mirror, time to make this year better and more productive and more enjoyable and more kind and tolerant than last year. Time to live on a deeper level in 2015….so we need to move on at KSE. Last year was productive for me, poetry-wise, so we’ve got six different poetry (and poetry-and-photography) chapbooks from the second half of 2014 still available. The lower-numbered ones are down to a handful of copies left, so grab these now if you are so inclined….and if you are not, then please move out of your comfort zone and GET so inclined. Many of these pieces are set in particular locales (Texas, Louisiana, the Gulf Coast, Kansas, etc.) and have a very strong sense of place—-they are funny, they can be tragic, the use of language is fresh, the form/structure is untypical, and they work as barometers for contemporary society and culture. What more could you ask for $6. Also, four of them are poetry-and-photography chapbooks—in those,  my photographs dialogue with the poems on the same page. These cost more to print, but the end result is well worth it. I’m moving away from that in 2015 with the projects I have on the drawing board, so take advantage of these while you can. Because of the nature of printing chapbooks with photographs, I’m fairly sure these will not be reprinted this way in the future. The poetry half may be extracted for republication, but the photos won’t.

I grew up with and learned my craft from study of mentors such as Blackburn, Wieners, Berrigan, Reznikoff, Eigner, and Dorn, and I’d like to think that I took the baton offered by those folks’ work and ran with it in directions different from the way others have….

There are a lot of new poetry events coming your way from KSE….I have a new poetry-and-music album (just finished recordings the vocal tracks yesterday in Austin) with the Hamilton, Ontario-based free-improv sound sculptors FOSSILS coming out in March, THE FLORIDA NOCTURNE POEMS, pictured here:



I completed two new chapbooks during my week in Louisiana (see previous post). A few of KSE’s finest poets will be back for new chapbooks in 2015 (details later), AND we will be compiling an anthology chapbook in late 2015 to celebrate KSE’s TENTH ANNIVERSARY, featuring a number of different poets such as Adrian Manning and Michael Layne Heath.

And there are more poetry-and-music collaborations planned….

UNTIL THEN, please take a minute and score a few of the latest round of Bill Shute poetry chapbooks. Response has been great on these–many e-mails and text messages and notes have been rec’d from readers who enjoyed and appreciated these. All are editions of around 50, home-made, hand-cut…and once they are gone, they are gone. Ordering is easy….HERE THEY ARE:


($6 US ppd/$7 elsewhere ppd)

KSE #295 (poetry-and-photography chapbook), BILL SHUTE, “Caged Heat”


KSE #278 (poetry chapbook), BILL SHUTE, “Life Goes To A Party, sound library series, volume 76″



KSE #290 (poetry chapbook), BILL SHUTE, “Jaywalkers: ducal poems, three”


KSE #287 (poetry-and-photography chapbook), BILL SHUTE, “The Fellowship of the Frog”  


KSE #282 (poetry-and-photography chapbook),  BILL SHUTE, “Hot Combination” 

guide dogs_20140608_0001


KSE #280 (poetry and photography chapbook), BILL SHUTE, “Guide Dogs and Bartenders on the Gulf Coast”

guide dogs_20140410_0001


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

Please include a note with your paypal order including the items ordered AND your mailing address (which Paypal often fails to provide me)….thanks!

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

We have a lot planned for 2015….a new round of releases will begin in early March with an exciting new album from DEREK ROGERS!

April 11, 2014

new poetry-and-photography chapbook, Bill Shute, “Guide Dogs and Bartenders On The Gulf Coast” (KSE #280)


“Guide Dogs and Bartenders on the Gulf Coast”

poetry and photography chapbook                KSE #280

$6 postpaid in US / $7 postpaid elsewhere

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

 guide dogs_20140410_0001

GUIDE DOGS AND BARTENDERS ON THE GULF COAST….8 pages of poems composed during my recent 5-day stay in Galveston County, the setting of the previous chapbooks SEAWALL and THE MOSQUITOES OF LA MARQUE…the photographs were taken a few months ago.

On my own both on the Island and the mainland in the first week of April 2014, armed with copies of THE COLLECTED LETTERS OF JACK SPICER, Diane Wakoski’s JASON THE SAILOR (Volume 2 in her four-volume ARCHEOLOGY OF MOVIES AND BOOKS), and that perennial favorite, Paul Blackburn’s JOURNALS… an actor improvising within character in a Cassavetes film, the narrator of this chapbook found himself thrust into re-inventing himself and creating a new life in Galveston County, Texas, circa 2014….kept on a short leash, crashing with acquaintances willing to help him get his footing, looking for work, having to re-learn the dirty little secrets on which this 2014 social and economic order is based….the chapbook is a series of open-field poetic assemblages, unified by the consciousness of our narrator, but also has an easy-to-follow narrative woven in…. The text covers the top 60% or so of each page, while the bottom 40% features Gulf Coast photographs I took in January 2014.

Together, text and photographs (we hope) take you deep into the poem’s setting and both the narrator’s consciousness and his immediate environment. See the flashing red and blue lights from the Sheriff’s patrol car, smell the oil-tinged salt air, taste the soggy all-you-can-eat burritos, hear the calls from the bingo parlor, feel the seaweed wrapped around your leg during a pre-dawn swim, during that brief window of time when shore access is not controlled.

It’s not an ideal life, but as Paul Laurence Dunbar put it so eloquently in the final lines of his 1903 novel THE SPORT OF THE GODS, “it was all that was left to them, and they took it up without complaint, for they knew they were powerless against some Will infinitely stronger than their own.” But of course, it’s all about finding the cracks in the wall, emerging through the margins, mapping the underground highway, and stealing small shards of ecstasy wherever/whenever one can….with the assistance of the Guide Dogs and Bartenders on the Gulf Coast.

Limited,  (awkwardly)hand-cut, hand-assembled, hand-numbered edition of 39 copies. Get yours now. As this is a poetry and photography book, it’s possible that the poems (not the photos) might appear in some future “Selected Poems” volume (if people feel they are worthy of it), but they WILL NOT appear in this context with the dialogue of text and photograph, which is the way I created this volume and the way I prefer for it to be experienced.


more poetry chapbooks available from KSE:

these ones are $7 US postpaid / $8 elsewhere postpaid




(NOTE: last remaining copies on 258 and 259)


these ones are $6 US postpaid / $7 elsewhere postpaid

KSE #273  (poetry chapbook), BILL SHUTE, “Someplace on Anywhere Road” (Sound Library Series, Volume 75)

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

KSE #256 (poetry chapbook), BILL SHUTE, “Led Along” (Sound Library Series, Volume 73)

KSE #269 (poetry chapbook), BILL SHUTE, “That Eccentric Rag” (sound library series, volume 74)

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


ps, please include a note w/ your paypal order listing the items ordered and your mailing address…


 As always, thanks for your support of independent DIY arts organizations such as KSE…direct from person-to-person, no middleman (or woman)…

September 2, 2013

“Worried Men and Wooden Soldiers” (KSE #263), new poetry chapbook from Bill Shute



poetry chapbook

$6 US / $7 elsewhere, postpaid

Worried Men & Wooden Soldiers is brilliant in its execution; it pulls no punches, and no doubt is the most important and

vital subject in literature (or in any art) today. Few of us have the balls or moxie to even venture into the arena.” –Doug Draime


As most of us stumble through life, trying to keep our act together with multiple part-time jobs and inadequate or no health-care, and people keep themselves occupied by  posting cat videos on Facebook, we’re often too consumed with the small details of day-to-day survival to step back and look at the big picture:  the massive expansion of the military-industrial complex and the massive expansion of the surveillance and “domestic intelligence” communities. We can barely afford to pay the federal taxes that support the drone strikes on civilians in other countries and prop up an international military presence of the sort that bankrupted the Roman Empire or the Spaniards back in their colonial expansion days. HIGH ON INCONTINENT FEVER DREAMS OF EXCEPTIONALISM AND EMPIRE.

That’s what is embodied in WORRIED MEN AND WOODEN SOLDIERS.  In my usual open-field form, with energized clusters of language floating on the page like mosquitoes on the edge of a swamp, it’s my poetic-construct which seeks to present a core-sample of 2013 America, also dealing with the experience of being a poet/artist in these times.

This was composed in May-June 2013, both here in San Antonio and also in Western Louisiana, during the week we spent there.

I premiered this piece (In a slightly edited form—some things work well on the page, but not in a live reading) at my reading in Pittsburgh this summer, at Amazing Books, with Jim D. Deuchars…and it is one of the four poetry chapbooks Jim and I made videos for. You can watch the video of WORRIED MEN AND WOODEN SOLDIERS here:

It’s a rare occasion when one can create a work that is both formalistically sound AND containing an explicit political message. Falling into the trap of agit-prop is always a concern, but I don’t think that has happened here (as it has in other political pieces I’ve written and discarded).

Governor Ultrasound is drunk on Alabama Feeling, our flaws and bruises are airbrushed away with a coat of baconnaise, too many travelers are breaking down or wiping out on Great Gatsby Curve….they inflate you with images of possessions but execute you when you rob the Goodie Train—-kept in place by Worried Men and Wooden Soldiers.

WORRIED MEN AND WOODEN SOLDIERS. KSE #263. Hand-made, irregular-cut, hand-numbered DIY edition of 72 copies.

$6 US postpaid / $7 elsewhere postpaid.

payment via paypal to   DJANGO5722(at)YAHOO(dot)COM

please include a note with your paypal order that lists what you are ordering and provides your mailing address…thanks!

You can also get the following recent chapbooks for the same price, most limited editions of 50 or fewer copies, and in most copies, with about 2/3 of the print run already gone:

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

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

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

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 #232 , BILL SHUTE, “Tonalist Fury,” Volume 70 in the Sound Library Series

As always, thank you for your support of KSE (now in our 8th year) and your support of independent, non-aligned artists. You do not have to suck up to a clique or play along with the “alternative arts” powers that be, for whom you have no respect!  DO IT YOURSELF. PRODUCE IT YOURSELF. DISTRIBUTE IT YOURSELF. FORM ALLIANCES WITH FELLOW CREATORS AND WITH YOUR AUDIENCE (WITHOUT MIDDLEMEN GETTING BETWEEN YOU AND YOUR AUDIENCE) AND DO NOT CEDE ANY POWER TO POWER-HUNGRY PRETENTIOUS ARTS ORGANIZATIONS OR CROOKED “ALTERNATIVE” DISTRIBUTORS. Let the parasites and the gatekeepers starve.

August 7, 2013

Bill Shute reads poetry chapbook LED ALONG

Filed under: Uncategorized — kendrasteinereditions @ 11:46 am
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While I was in Pittsburgh, Jim D. Deuchars filmed a series of four poetry videos with me reading various pieces old and new.

The first of these is now on You Tube:

I’m very happy with this video, and I hope you’ll enjoy it too.

Here is the cover of the original LED ALONG chapbook…

led along

Mister Charlie, don’t you know your mill is burning down?

July 19, 2013

Kendra Steiner Editions featured at Free Form Freakout–link to podcast

In early July 2013, I did an extensive interview w/ David Perron at KMSU-FM (Minnesota State University, Mankato) on the legendary Free From Freakout program, discussing my own poetry and background, the history of Kendra Steiner Editions, commentaries on many KSE artists, and a discussion of current and upcoming projects. There’s LOTS of music and a lot of interview—-the whole show runs 2 hrs. 15 min. Thanks to David for his long-time interest in KSE and the professional job he did w/ the show. Some of you will remember that I was interviewed by KMSU-FM last fall on two of the installments of their Jandek Study Group broadcasts (shows 4 and 5 out of the 7 total). Here is the link…happy listening!

July 7, 2013

THE LANGUAGE OF CONSTRUCTION (KSE #265), new art-and-poetry chapbook from BILL SHUTE


KSE #265   poetry and photography chapbook

$6 US postpaid / $7 outside US postpaid

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


Often, upon finishing what I consider a more “important” work,  I will feel as though I need to explore more fully aspects of that piece  and extend those aspects into new areas before I move onto another larger work (some of my friends who are painters and composers tell me they do the same thing). THE LANGUAGE OF CONSTRUCTION does that on a few levels.

The title phrase is, of course, Picasso’s. After working on my Picasso-inspired chapbook WORRIED MEN AND WOODEN SOLDIERS (which will be released later this summer…I’ll be premiering it at my reading at Amazing Books in Pittsburgh on July 28 and will have some pre-release copies available there…hope to see you!), I wanted get more into some of  the structural aspects of Picasso that I was investigating/playing with in WORRIED MEN. I was also still on a high from doing the art-and-poetry chapbook with Daniel Hipolito (MEDITATIONS ON A ONE-WAY TRAIL, KSE #261, still available for $6/$7, same price as this one), and wanted to continue poetic dialoguing with artworks. I had a suite of photographs I’d taken recently in New Braunfels, Texas; I’d been making some poetic notes recently in New Braunfels, Texas; thus, it seemed a natural to combine the two and produce a new art-and-poetry chapbook, and that’s THE LANGUAGE OF CONSTRUCTION.

The political concerns of WORRIED MEN are continued here, but in a more indirect and reflective manner, with a focus on how politics has “trickled down” to the individuals who, in this piece, wash dishes and wait on tables in New Braunfels, Texas, trying to find or to create small epiphanies in their/our lives. For me (and I never intend to tell anyone else how to write or how to live life, just report on what works for me), poetry loses value when it becomes divorced from life as it is lived—-that does NOT mean that I am producing a flat naturalistic recording of events or a direct transcription of interior monologue. When one uses the things of everyday life as the pieces with which he/she constructs his poetic word-sculpture, those “things” become part of a new “thing,” the poetry construct. That’s why I took the title JUNK SCULPTURE FROM THE NEW GILDED AGE for one of my spoken word cdr’s.

In a conversation a few days ago with an artist friend with whom I’m working on a project, I described my FLORIDA NOCTURNE POEMS as “rough-cut energized clusters of phrases, placed on the page as if it’s a canvas (post-Charles Olson “projective verse,” open-field poetry, though Paul Blackburn or Ted Berrigan are much more touchstones for me than Olson’s own poetry),”  and I suppose that is an adequate description of what’s going on here, though with a twist of the casual voice one finds in early Lewis MacAdams (I’ve been reading a lot of his 60’s/70’s works recently…his modern work is superb also, check him out), and of course, let’s not forget that the poems grow out of the artworks.

So come with me to contemporary Texas, to the restaurant/bar workplace, with its chatty customers, fidgety toddlers, a-hole bosses, after-work trysts, unrealized dreams, dust and desserts….waiting for rain, but afraid of rain…

Limited hand-numbered edition of 49 copies…get yours now. Because of the cost of printing, I hardly ever reprint the art-and-poetry chapbooks (I did a number of these in the 2008-2009 period), and also for logistical reasons, it’s unlikely that they will appear in future “selected poems” volumes, since the poems are inseparable from the artwork, and the artwork is too expensive to reproduce…so grab this now or you won’t get one….

language three

I also want to announce two new and exciting poetry chapbooks that will be out in August…you can order them beginning the first week in August and they’ll be officially released later in that month:


matt krefting poetry PRINCESS



graham cover

as always, thanks for your support of independent non-aligned DIY arts organizations such as KSE that circumvent the established “underground” hierarchy and connect person-to-person…

language five

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





December 9, 2012

Marcus Rubio / Bill Shute poetry-and-electronic composition album praised at Volcanic Tongue

Our recent poetry and electronic composition album ‘Only The Imprint of an Echo Remains‘ gets a rave review from Scotland’s legendary Volcanic Tongue! We’ve written about the album elsewhere on the blog (just scroll down or click this:  ), but as usual, David Keenan shows a great insight into the work–many thanks! Also, speaking for myself (the poetry half of this duo), I’m honored to have Jess Franco’s name dropped in a review of mine. Marcus and I may be doing a joint performance of material rooted in this album sometime in the next month or so in San Antonio. Check the blog for details. If it doesn’t happen now, we’ll try for some other time…Summer 2013 perhaps. Until then, grab a copy of ONLY THE IMPRINT OF AN ECHO REMAINS and experience the possibilities when poetry and contemporary electronic composition get together.


“Only The Imprint of An Echo Remains” (KSE #247, cdr album)

$8 ppd. in the US/$10 ppd. elsewhere

paypal to django5722(at)yahoo(dot)com

marcus rubio and bill shute

Marcus Rubio & Bill Shute 
Only The Imprint Of An Echo Remains 
Kendra Steiner Editions KSE-247 

Inspired collaboration between American soundist Marcus Rubio and poet/writer/curator Bill Shute: Only The Imprint… alternates between recordings of Shute reading his poetry – “Oneness And The Sun”, “Objectless” and “The Twenty Fifth Life Of Alcyone” – with radical treatments of sections/snippets/echoes from the reading by Rubio, using techniques like granular synthesis and spectral reduction. The results are startling. Shute has a great, resonant, expressive, reading voice and Rubio inverts this with his treatments, generating cold zones of austere Euro electronics and almost NWW-esque shots of dead air. Indeed, some of the pieces remind me of Nate Young’s Regression experiments, with Shute’s voice variously disembowelled, smeared and otherwise dissembled, to the point that it becomes another texture or rhythm in the piece. Rubio would seem to have much in common with John Oswald’s various time-stretching plunderphonic strategies, and the music has that feeling of entire worlds squeezed into seconds, unfolding in rippling rhythms and generating eerie moments of sing-song beauty that feel closer to actual song constructs than ‘mere’ sonic manipulation, with a grandeur and ambition that goes way beyond what you might think the remit entails. And when it switches to Bill’s reading the effect is startling, like a sudden zoom, a crude Jess Franco close-up that feels like a complete inversion of what went before. A great side, highly recommended!

Posted at Volcanic Tongue (written by David Keenan), 2 December 2012

October 18, 2012

Peach Cobbler In The Poker Room (KSE #245), Book Three of the Florida Nocturne Poems

Filed under: Uncategorized — kendrasteinereditions @ 1:53 pm
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Florida Nocturne Poems, Book Three

KSE #245 (poetry chapbook)

$5 postpaid anywhere

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


also available in the Florida Nocture poems series:

Book One: Shades of Night Descending  (KSE #234)

Book Two: Mondo Daytona (KSE #241)

Book Four: Jupiter In The Rearview Mirror (KSE #248) 

Unique times require a unique poetry, hence The Florida Nocturne Poems series. PEACH COBBLER IN THE POKER ROOM, composed during my July-August 2012 time in Central Florida, is another poetic core-sample of crazed and crazy America circa 2012, this time set in the state famous for the stolen 2000 Presidential election and the Trayvon Martin shooting.  A world where the fundamentalist churches and the casinos and the right-wing politicians  engage in an awkward  Waltz of the Toreadors, fooling no one but diverting attention away from what’s REALLY going on, a power shift and wealth transfer that looks to turn the state into a third-world country with an ruling oligarchy supervised by Governor Ultrasound.

This is a sparse poem in places, it’s angry in other places, and it captures a narrator stumbling through day-to-day life in contemporary Florida (kind of like a semi-tropical Texas in a minor key), trying to adapt to others’s needs and desires in the hope that that might make life go by more smoothly (it’s always easier to adapt and to turn the other cheek, he thinks)…and that smoothness helps in a nightmare world of rich people in SUV’s, Buford Pusser-esque law enforcement figures staring down from billboards, Bob Evans covering everything in thick white gravy, know-nothing politicized fundamentalist churches controlling the schools, and cloying plastic nostalgia coming at one from all directions. No wonder Myrna gets excited about the Peach Cobbler In The Poker Room.

Alice, the narrator’s on-again/off-again partner, doesn’t have time for those silly and confusing Bill Shute poetry chapbooks (after all, she says, one can only willingly suspend one’s disbelief so far!) that she quietly returns, but maybe YOU DO? And if so, you can get this one for only $5 postpaid anywhere. And while you are at it, why not get the entire Florida Nocturne poems series of four chapbooks…each is chock-full of as much detail and life experience and food-for-contemplation as a feature film or a full-length novel, but they are only six-to-eight pages each, and like rich food, a little bit goes a long way…. through understatement and selectivity and synecdoche (I liked that word better before Charlie Kaufman used it) and a collage-like aesthetic, you get the feeling of getting much more than six-to-eight pages.  People are busy today…attention spans aren’t what they once were. Your time might be better spent reading Melville’s CLAREL, I agree, but that was then and this is now. And you can’t get more NOW than this sequence of Florida-based poetry chapbooks documenting the America of 2012…true today, true next year, true next century, alas.  The more things change, the more they stay the same…only the technology and the slang change.

PEACH COBBLER IN THE POKER ROOM…limited hand-assembled, hand-numbered edition of 49 copies…get yours now…it’s better than wasting that $5 in the poker room on either gambling or on an order of peach cobbler that will just raise your blood sugar and cholesterol…

October 3, 2010

San Antonio Sky Songs spoken-word cdr reviewed at Volcanic Tongue


Bill Shute
San Antonio Sky Songs
Kendra Steiner Editions #171


First-ever full album of readings from Texan poet/critic Bill Shute, whose Kendra Steiner Editions has done more for living, breathing POETRY than any number of godforsaken writers workshops or poetry ‘slams’ over the past few years. Shute writes and champions poetry that is birthed in the gut as much as the brain and that comes out of the reality of lives lived more than banal academia or creative writing classes. Over the past five years or so he has written and published more than any other poet/writer I can think of, and when the time comes to take the temperature of samizdat post-Beat publishing, Kendra Steiner/Bill Shute will be one of the central players. This collection of readings, recorded in Austin Texas in July 2010 by Derek Rogers, covers material published between 2006-2009. Shute has a great voice and it’s a blast to listen to these poems that you know so well and hear the way the rhythm and pacing leaps off the page, adding a whole new level of visualisation to his already highly place/time specific writings. This one features “Four Texas Streams” (an early favourite), “Emergency”, “Pebbles, Screens, And Trombones”, “Acres”, “Suspension”, “Boss Man”, “Shore Access” and “Silhouettes”. Highly recommended!  

(David Keenan, Glasgow, Scotland—–2 October 2010)

Europe: 0rder from Volcanic Tongue (

cdr available in North America for $7 ppd. paypal to django5722(at)yahoo(dot)com.

July 16, 2010

SEAWALL (KSE #169) by Bill Shute, now available

B I L L   S H U T E  ,    SEAWALL  (KSE #169)

sound library series, volume 57

My newest poetry chapbook, SEAWALL (KSE #169) , was written in Galveston about two weeks after the Gulf Oil Spill. At the time, I imagined the tarballs washing up on the Texas Gulf Coast, which had not yet happened; of course, now they HAVE begun washing up on the Texas Gulf Coast. This sad event will totally change the lives of Gulf Coast residents and will uproot Gulf Coast culture—-indeed, it already has. And things will NEVER be the same, even if the water becomes “acceptable” again in 10 years or whatever. And for better or worse, it will become a defining moment for the Obama administration, although he of course had nothing to do with it.  SEAWALL is my attempt to capture in poetry, from a Texas perspective, the Gulf Oil Spill and its (no pun intended) fallout. I hope you find it interesting and worthwhile. This event will touch and has touched us all. I don’t understand how poets can NOT write about such events!

Paypal ordering only: $5 ppd. anywhere to django5722(at)yahoo(dot)com.

I wrote it in Galveston, TX, in early May 2010 on the second floor balcony of the $35/night Super 8 Motel that faces Seawall Blvd. and the Gulf Of Mexico, fuelled by energy drinks and under the spell of the Ophibre CD  “drone works for differing digital audio formats and encoding methods” (SRA, 2009), repeating each short track about eight times before moving on to the next one and then repeating that. Someone it helped me clarify the vision of what was in front of me and project into the near future. The drones fuctioned as waves of oil moving in my mind’s eye through the Gulf toward Galveston…

If he would ever read it, I’d hope Joe Bob Briggs would say, “Check it out!”

November 22, 2009

Kaufmann & 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.


#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

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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 (1973)

August 13, 2009

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

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

      (Sound Library Series, Volume 46)


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  .

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) ;


#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



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:


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


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:

June 16, 2009

KSE #138, THE STUMBLE, now available

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      now available:  KSE #138

the stumble


BILL  SHUTE, “THE STUMBLE” (sound library series, volume 44)

That I would eventually do a sound library volume inspired by a Jandek album was inevitable. After all, I’ve been listening to Jandek albums for almost 25 years (Byron Coley and Chris Stigliano turned me onto his work around 1984-85), his work has been a huge influence on my own, and his label Corwood Industries was the main influence on the business model of Kendra Steiner Editions. Hearing the struggle and the search-for-meaning and search-for-fulfillment found in each of those many Jandek albums, I’ve felt like his work has been a constant series of dispatches from a fellow traveler on life’s highway. And his constant experiments with form and texture and persona are endlessly fascinating and an inspiration to any artist interested in breaking beyond established barriers. So here is my dispatch from Texas 2009, growing out of the soil of repeated listenings to the wonderful 2003 album THE PLACE (Corwood CD 0772). Penned dogs are barking at anything that moves; led by the nose by a sensationalistic and science-ignorant media, the public is going crazy about the swine flu; people are living vicariously through chatrooms and false online personas; men and women are doing their fourth tours in the Army of occupation in Iraq; used cars are washed and polished for any remaining customers; metal dinosaur birds are blocking the sun; and that affair with the married woman is coming to an end as the all-night jazz radio plays so low in the background it becomes musical homeopathy. It’s a personal stumble, and it’s a national stumble…but we’ll get our balance upon this wobbly rock …somehow… someday…

hand-assembled, hand-numbered edition of 89 copies, of which we’ve already moved 27.  issued with the blessing of Corwood Industries (long-time KSE readers).

Cost is $4.00 each or 3 for $10.00 (only one copy of any book per customer) postpaid in North America. Send a check (or well-concealed cash) made payable to Bill Shute, 14080 Nacogdoches Rd. #350, San Antonio, Texas, 78247. OR chapbooks are available to overseas readers DIRECT FROM KSE postpaid outside of North America for only $5 each. Overseas orders should write to django5722 (at) yahoo (dot) com and request a paypal invoice for whatever you’d like.

Why not get the 3-for-10 deal and choose THE STUMBLE as one of your selections.  Here’s what’s available now from KSE:

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

#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 ;

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

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

#129,  MIRA HORVICH / BILL  SHUTE, suspension ;

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


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

#34,  STUART CRUTCHFIELD, shack simple (reprint).

and next week we’ll be rolling out Aleathia Drehmer’s poetry-photography chapbook CIRCLES. watch for that!

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