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|TENEBRAED by Heller Levinson|
Further investigations and explorations into the linguistic poetics of the Hinge Universe.......
Whoosh’s, How Much Of’s, Gerundial Geists, Four-Plays, Accidentals, Fecundating Rotational Clusters, MUPAE’s (Mutational Update Panel Animation Extenders), In The _ Of _ ‘s, Fusion Reconnoiters, Smelling’s, With’s, Migratories, plus plus, plus, and now, newly populated with tenebraed , the Hinge Universe bulges with a rare Pulsative Virility. This volume rhapsodizes the potency of the Logos, sanctifying its elasticity, multi-dimensionality, and unceasing capacity to spread fresh seeding to Re-Crystallize our world. This latest Heller Incandescence is further enriched by the new behavioral sproutings: Import/Export/Mine.
In the words of John Olson: “One wonders if there is a tornado in Heller’s skull, a whirling dervish of ‘mental musculature,’ a ‘procreant ecstatically perceptual perpetual tingle.”
Heller Levinson's "Hinge" ignites "velocity" and "flux." Lines, planes, angles, rotate as aural lenses, magnifying vibrations which condense at the realia of the microscopic, possessing entry, say, into the micro-elucidation of Cezanne's colour, or inhabiting the pulse of Van Gogh as he roams the beauty of Arles and its heavens.
"To exist only at the junction of language, at the point of its every divagation from speech, while in the realm of being a non-poet, is a welcome attraction for an author who seeks always the obnubilation of meaning. Hinge Theory, by its very definition, is ostensibly too literary, yet if we approach it with a mind as violent as its births and its miscarriages then a rare pleasure emerges, that what feels akin to opening a new textbook on the history of post-poetry. "
"Through Hinge theory's emphasis on language's cellular nature and each poem's associative leaps, Levinson reminds us that language is rooted in the body and that it ultimately represents that body in social discourse. Relentlessly questioning how we place our words side-by-side, Levinson is causing us to wonder about the way our relationships are structured. It's a sexy politic seeking to change the space we situate our lives in, one rarely pursued since the days of Arthur Rimbaud and Aime Cesaire."
Recent review of Hinge Theory:
and more at: http://jivinladybug.wordpress.com/?s=heller
and another at http://m.huffpost.com/us/entry
Heller Levinson lives in NYC where he studies animal behavior. He has published in over a hundred journals and magazines including Sulfur, Jacket, Hunger, Talisman, First Intensity, Laurel Review, Omega, The Wandering Hermit, Fire (U.K), Alligatorzine, The Jivin' Ladybug, Moria, Woodcoin, etc. His last publication, Wrack Lariat was also published by Black Widow Press. He is the originator of Hinge Theory. Please visit hellerlevinson.com for more information.
That Clayton Eshleman has not ceased from exploration over a career spanning more than fifty-five years is witnessed by the bulk, range, and diversity of the present collection of his essential poetry. That he has sought to open up his life and work, to entwine and entangle it with others, through observation and vision, research and scholarship, translation and editing, and collaboration and conversation, all of this reflects Eshleman’s life commitment, indeed a commitment to life in writing poetry.
The world embraced by Eshleman’s poetry is our world. As a contemporary writer, Eshleman’s history is our own: his writing a record and reflection of our times. Eshleman’s story — the story revealed in his poetry — is the story of mid-America meeting the wider world; the story of social and political radicalism, of a counterculture raising a voice in poetry and in art; of the challenges, frustrations and anomie that befell that counterculture and of the continued and indeed on-going drama of empire and overreaching power, from Vietnam and El Salvador to Afghanistan and Iraq. Eshleman’s life in letters has exemplified a commitment to ceaseless, wide-ranging exploration and encounter: with other places, other people, other poetries — foreign and familiar —, other modes of thought and image. As he has written of his work: “I dream of poems that could change something essential / about the way a few people view creation…”
Clayton Eshleman has published roughly 100 books and chapbooks of original poetry, translations, and nonfiction writings, and edited seventy issues of magazines and journals, including the ground-breaking Caterpillar and Sulfur. His writings have appeared in over 500 literary magazines and journals around the world and his books and writings have been translated into a number of languages. It is undoubtedly unnecessary to observe that he made and has fulfilled a life commitment to poetry.
“Nobody is like him in his struggle. With ornery stubbornness he has kept visiting the dark occasions, and brought back for us poems unlike anybody else’s. At times he makes the wildness of most poetry seem merely effete. Because he has gone down and done so with a language fit for his researches: clotted, angry, surprised, full of grunts as a cartoon, full of magical gleams like sunlight striking through chinks of rock, hard as tourmaline, streets of mica peeled away.
I know of no poet who has fed so richly from the thingliness of the world beneath his feet, none who so resists the glamour of beliefs. He is a shaman without a single superstition.”—Robert Kelly
The third collection of wide ranging prose poems by John Olson to be published by Black Widow Press: Dada Budapest. Forthcoming end of January 2017! Not familiar with his works? Check out Backscatter: New and Collected Poems and Larynx Galaxy. Either one will get you hooked on John's imaginative and frolicking prose poems. A growing body of work truly unlike any other writer you have encountered.
Praise for John Olson's prose poems!
"Extraordinary...the greatest prose poetry [i've] ever read." Philip Lamantia
"John Olson is afraid of no word or trope of words, and especially not of tropes of ideas looming into and out of one another. And no emotion or boundary less compounding of emotions is beyond likelihood in the presence of his surging perceptions as they float in inspiration. Larynx Galaxy is also a syrinx galaxy playing on the panpipes of imagination." -Michael McClure
John Olson's Larynx Galaxy is a cross between The Poetics of Space and The Revolution of Everyday Life. It spins off both of these seminal texts and recreates a new Utopian boundary-free world in which all the senses are engaged simultaneously and the mind is a minefield where you (the reader) must proceed at your own risk. Olson is an encylopedist, a bricologist, an omnivore--the total package, as they say--in the tradition of The Pillow Book and Walden. He has written a text for the ages--brilliant, hallucinatory, clearheaded--verging on the edges of infinity, yet forever at home in the world. --- Lewis Warsh
"Olson is an original, and that accomplishment is an extraordinary feat at this point in the long history of literature. His prose poems do not remind me of anyone else's work. While elements of Surrealism are involved, he is not a Surrealist: while his non-narrative, exploding juxtapositions reveal a background awareness of Surrealism, thematic development is always present, so that a given work of one to three pages, unlike Language Poetry, does not erase itself as it proceeds; there is a floating focus that functions like a jungle gym. On this "gym," Olson displays his linguistic acrobatics, juxtaposing the totally unexpected with, to borrow Hart Crane's marvelous phrase, "the logic of metaphor." So a piece advances in several directions at once and concludes when its duration is sensed as complete." ----Clayton Eshleman
John Olson is an American poet and novelist. Olson has lived for many years in Seattle, Washington. He has published nine collections of poetry and three novels, including his recent novel: In Advance of the Broken Justy, and a book of essays: Essences and Sentences. Other works include Larynx Galaxy, Backscatter: New & Selected Poems and Souls of Wind, nominated for the 2008 Believer Book Award. In 2004, Seattle’s weekly newspaper, The Stranger gave Olson one of its annual "genius awards." His writing notebooks have been exhibited at the University of Washington. Olson's prose poetry has been published and reviewed in print and online poetry magazines around the world.