Bøger udgivet af Lowbrow Press LLC

Nicelle Davis's powerful debut poetry collection, Circe, masterfully chronicles the complex inner life of this all too human enchantress from Greek mythology. Primarily narrated by Circe herself, the book records her post-Odysseus "withdrawal"... Her laments are interrupted and enriched by a series of poems voiced by a bevy of canny and dangerous sirens. Their incantatory "recipes" produce a provocative admixture of visceral wisdom and sensual bravado... Circe is a deeply moving, endlessly inventive, and enlightening exploration into the terrors of abandonment, the ageless plight of aggrieved women, and the bittersweet and sustaining powers of love. Nicelle Davis has given us an entirely new and riveting version of Circe, a woman painfully scorned, whose path towards healing leads her into a greater awareness of herself. -Maurya Simon, author of Cartographies Nicelle Davis' work emerges from the origins of light and fire, quickly, wildly and with cracks from which tendrils emerge, a longing for sense to be made for those left behind by Odysseus, those sirens, singing gasps of poetry. This poetry wills the reader into a time/space where light burns and language runs off the edge of the world. -Kate Gale, author of Mating Season "To fight the quiet, I talk to my selves," Circe says. Nicelle Davis's poems are the manysided chorus of that complicated character: passionate and resigned, angry and forgiving. They shimmer with Circe's energy and despair, and, most of all, with her love: for her son, for Odysseus, finally even for his wife Penelope. Not least, Davis's vibrant language is a love song for us, her readers and listeners, "entering me with my eye / in your palm-seeing my face, not / as a void, but a window." -Dawn Potter, author of How the Crimes Happened "There was never enough about the sirens," says the foreword to Nicelle Davis's book of poems, which then remedies that omission by giving voice to the "other woman" of the Odyssey. "I thought love would swallow pain," says Circe, whose Homeric version turns her enemies into animals. The magic in Nicelle Davis's poems, however, is the blend of anger, regret, and love that spurs them-the complicated brew that poetry exists to make clear. -Natasha Saje, author of Bend

In one of the prayer-poems compiled in Matt Mauch's Prayer Book, the speaker prays to a rock without coming across as phony. Though essentially secular, there is, in these poems, a gut-level understanding of an individual's turn toward that which is instinctually divine-a rejection of dogma and rules in an attempt to take back something essential: the feeling (rather than the idea) of prayer as hope, prayer as song, prayer as poem. Among the laundromats, VFWs, parking lots, and backyard cookouts-many of the poems occurring in places where urban and natural landscapes meet-are often-humorous portraits of vulnerability warring with a kind of I-don't-want-to-wilt-too-much strength. The various speakers are lying in a ditch, wanting to become a brick in a building, communing with a pigeon, stuck in moments they want to get out of (or get something out of), wandering and wondering when they crave the ability to be arriving and deciding

"We sometimes can browse the world but sometimes we need detail. We need to know the ugly why and the beautiful why. The poetic Queer why is often neglected. I believe this anthology will go someway to uncover and decorate our eclectic and diverse wheres and whys. In these increasingly complex times we need to understand why more." -Gerry Potter "When we talk about literature, there are tweets and there are three-volume novels. And, selected poems and collected poems and a poem. There are so many different packages for the same energy to travel through. I think post-identity is sort of a zen concept. You know like, "Wake up!" (Smacks hands with a sharp clap). What's the identity of that moment? What's the gender of that moment? There are spots where there is no identity whatsoever. But by the nature of who I am or who any of us are we will need to be in groups that resemble us. It's so crucial to have those identity groups where you gather and are reinforced by your conversations. And don't live there. Something I'm really interested in is how queer identity is like an immigrant group. We need to find each other at various points to say, "God-Iceland!" But we don't live in Iceland. I think "post" is a desire to have a little space, but I don't think it's a place where you get to stay." -Eileen Myles

Poems, reviews, interviews, essays, and other prose on poetry by Kris Bigalk - Tim Nolan - Cullen Bailey Burns - David Mura - Heid E. Erdrich - Jim Redmond - Kyle Adamson - Anh-Hoa Thi Nguyen - Francine Sterle - William Waltz - Sarah Fox - MC Hyland - John Medeiros - Patrick Hicks - Matt Ryan - Caitlin Bailey Thompson - Christopher Title - Scott Vetsch - Courtney Algeo - H.C. Wiederholt - Paige Reihl - Sean Hill - Lynette Reini-Grandell - Sun Yung Shin - Anna George Meek - Paula Cisewski - Sharon Chmielarz - Jim Coppoc - Stacia M. Fleegal - Merle Depasquale - Paul D. Dickinson - Joyce Sutphen - Matt Rasmussen - Gretchen Marquette - Steve Healey - G.E. Patterson - Dean Young - Dobby Gibson - Brad Liening - John Medieros - William Reichard - Matt Mauch - Sharon Chmielarz - Cullen Bailey Burns - Joyce Sutphen - James Cihlar - Morgan Grayce Willow - Regan Smith - Leslie Adrienne Miller - Stacia Fleegal - Cass Dalglish - Tim Nolan - Kathryn Kysar

"Trancelumination is unlike any other book I've encountered in American poetry. What a wild and crazy book. What a wonderful book! Trapped somewhere between poetry and the wisdom found in Chinese fortune cookies is the territory of the aphorism and John Bradley finds his way there again and again in these brilliant shards that shine like mica in a sidewalk. These are truly a delight to read, to savor, to return to. 'Ok, it's been fun, but now back to wordlessness, ' John Bradley writes. But, please let's not rush back to wordlessness too soon!" -- Jim Moore, author of Invisible Strings "Drop a penny into Trancelumination and receive a fortune scrawled by a teller whose clairvoyance is as clouded as it is terrifying and beautiful. Often drunk on language, these fortunes arrive in the form of aphorism, joke, horror, hallucination, and lie. The reader is warned: 'don't wear socks spun from human flesh' because in this world what feels impossible to bear is a heart-wrenching possibility. It is John Bradley's gigantic imagination that saves and destroys this world (and its fortunes) over and over again." --Sabrina Orah Mark, author of Tsim Tsum John Bradley's aphorisms are mundanely magnificent and nonchalantly sublime, like cracking open a fortune cookie to find not a saying but a symphony orchestra. -James Geary, author of The World in a Phrase: A Brief History of the Aphorism and Geary's Guide to the World's Great Aphorists