Shadows of the Future

There is, as Bob Grumman termed it, the knownstream; then there is the otherstream, a raging subterranean river of literary lava. It bursts through to an unsuspecting public in Warholian, beat, and Dadaesque and Sadean eruptions--a few readers live to tell the tale and the rest never know what hit them. Welcome to Shadows of the Future. Here you have Chris Mansel and his he/she serial killers, Marc Vincenz's Swiss-Chinese eyes, Sheila Murphy ripping zen a new one, C. Brannon Watts with blood in his mouth, mIEKAL aND's Unglish, Annie Pluto's words entwined like lovers, Camille Baco's spare music, Marie-Marcia Casoly's fleshy skeletons, John M. Bennett's muy orthography, Sarah Sarai's mellifluous light, and Joani Reese's evanescence. Carol Novack calls from from the other side and Jack Foley calls from any coast he wants. Jeffrey Side's words looks knowlingly upon the festivities, Jukka-Pekka Kervinen's poems pulse like his recordings, and Susan Lewis's pivots the prose poetics at impossible new angles. And there are more of us, of course, because Otherstream is more, even de trop, or monk minimalist, as it wants. Ask Jake Berry, who rules our online haunts like a happy Pluto handing out inheritances. Yes, we are legion. Like it. Otherstream is where every significant literature was born, midwifed by a writer who asked, looking at a new syntax and/or semantics, how can I write like that, never worrying about the may. Like all poets, but perhaps more extreme, we seek the new perspective, though our sense, sounds, and sentences, broken or not.