Earthmare

earthmare coverCergat. Earthmare: The Lost Book of Wars. gnOme, 2015.

These texts are dusty. Exhumed from age-old insulating nepenthean layers of medical ontology, they recount God’s earthmare of creation, reviving thus, the Great Wars and spawning forth new cosmo-sporogonies. Heresy-producing factories, these apocrypha texts narrating another story of Genesis, have been repressed and condemned to oblivion by religious and scientific institutions alike. Now uncharneled, after more than 4000 soporific years, they announce the apocalypse and open the flood gates.

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Be Still, My Throbbing Tattoo

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I. P. Snooks. Be Still, My Throbbing Tattoo. ISBN-10: 0993205801. ISBN-13: 978-0993205804. gnOme. 2015. 210 pp. $12.99.

QUEEN ELIZABETH II IS DEAD … Thanks to the interdimensional revelations contained within Be Still, My Throbbing Tattoo, it is now possible to learn the truth about the deceased Queen and her reign of terror, including how she manipulated the media to make people believe a fairy story, how she spied on people via official portraits, and how she recorded their secret desires with banknotes. It is also possible to learn just how many deaths you have suffered during your wider existence, and how many worlds have been kept hidden from you by forces as dark as redactional rectangles.

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footnote to silence

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Ars Cogitanda. footnote to silence. ISBN-13: 978-0692352311. ISBN-10: 0692352317. gnOme. 2014. 62 pp. $7.00.

Cast as the footnotes to an invisible text, the beings identified as the “assembled footnoters” roil their way through the text chastising, exhorting, praising, fulminating, and otherwise reacting to that which cannot be perceived. Characters such as Gertrude, the sinoburius fossil and Stanley the long-dead Australopithecine anchor narrative components of the text, as limited as they may be. Silence, which erupts in various guises, variously represents the body, inarticulate spaces between letters, the unwanted, the unknowable. Drawing upon an large body of scientific work ranging from inter-kingdom bacterial signalling to the neurology of empathy, the manuscript explores what it means to think of ourselves as things in the world of posthuman systems theory. Referencing the powers and weaknesses of language and its more fundamental cousin somatic communication, the manuscript de-articulates standard conceptual frameworks that found themselves on passive notions of the material universe. Opening on a critique of “thing theory,” the text boils a stew of Western magical and philosophical thinking using the evidence and tropes of science as both pot and fire.

“The senses delicately collide in AR S’s work. The poet builds images with the precision touch of an author of haiku, choosing words as if they were toothpicks placed in an elaborate sculpture, yet allowing each image to expand beyond the constraints of the haiku form. Like all successful poetry, S’s work offers readers a glimpse into the poet’s perspective, a step into a synesthetic world.” – Ken Hunt (editor, Filling Station)

“In footnote to Silence, AR S luminously provides us with insight into the workings of the inner universe. While we all listen to the dramatic narrative of our lives, it is the footnotes, the asides, the glossed over insignificant events that hold reality together. By twisting our perspective to listen to the silence rather than the noise (with Silence as “the ephemeral text as an object”), we can inquire more deeply into the thoughts and experiences that compose us. In language sometimes lyrical, sometimes playful, sometimes coldly scientific, but always inventive, S leads us down the byways of the mind where limbic floods of perception await.” – John C. Goodman, author of Naked Beauty (Blue & Yellow Dog Press)

“This is a strange, wonderful book. The footnotes are alternately bewildering, deeply funny and strangely lyrical. They will persuade you, baffle you and send you off to cross-reference. They will remove the top of your head again and again.” – Jennifer Zilm, author of The Whole and Broken Yellows: Van Gogh Poems and Others (Frog Hollow Press)

“I was struck by the humour in the pages I read.” – E.W. of V

“Here at theNewerYork, one of our main guidelines for a piece of writing is that it be experimental without being obtuse. While creating an entire manuscript made up of footnotes is certainly experimental, the results, unfortunately, feel inaccessible for the most part. For this to be a more successful experiment (at least as far as we define success in such things), there would be more of a clear throughline, something more for the reader to latch onto that would compel them to continue reading. While there are snippets of intrigue to be found, such as in the discussion of the occult and tarot cards, as well as short passages with a more narrative style, like the one with Gertrude, the more compelling parts of the manuscript just do not outweigh what otherwise seems to be a very academic, dry paper in style and substance. The work doesn’t necessarily need clearer characters or more of a story, but it would benefit from more connections between ideas or more opportunities for emotional connection. It’s also possible that a strong editorial hand could cut this down to the most interesting footnotes and ideas, thus keeping the reader compelled throughout. At this length, however, the footnotes become wearisome. We won’t be accepting this manuscript. Thank you for your time and your submission.” – Daniel Bullard-Bates, theNewerYork Press

“What are you? A talking dog?” – S.G. of V.

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Un-Sight/ Un-Sound (delirium X.)

front coverM. Un-Sight/ Un-Sound (delirium X.). ISBN-13: 978-0692334799. ISBN-10: 0692334793. gnOme. 2014. 130 pp.

un-sight un-sound/ yet/ in vacuum of doubt’s expel/ clamouring for beyond flesh what meat as if/ yet forage no/ not a/ eye crushed within fist of none/ echoing chamber of nothing/ never dispelled

Un-Sight/ Un-Sound (delirium X.) is a prose-poetic work in three sequences: “delirium X,” “Meat Sequence (after Francis Bacon),” and “Ghost-Limb Tongue.” In the first, quotations from various authors (Bataille, Beckett, Luca, Popa et al.) are used as springboards for surreal imagistic fragmentation. The second section, inspired by Deleuze’s Francis Bacon, deals with the subject of flesh/ meat and explores the concept of the human object divulged of identity/ place, stripped of ego, and viewed from an externus. The third section addresses the conflict between sense and the real and concludes with a collection of aphorisms written with regard to words becoming a bankrupt form of expression in the conflict between language and the Post-Human world . . .

“It is nice to see that language too can be broken and made to rot like everything else.” – E. Elias Merhige

“M’s project is to reveal the terrible tenacity of words that stubbornly persist in meaning when we deliberately set about using them as weapons to torment the angelic cadavers strewn about where the happy holiday camps of the mindlessly grinning flowers & summer brigade used to poison the mind.” – David McLean

“[T]here are moments in Un-Sight/ Un-Sound where it seems as if the hold language has over our perceptions is being, if not broken, then at least distorted enough for us to catch a glimpse of the world that lies behind our makeshift descriptions and definitions.” – Christopher Brownsword

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Autophagiography

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A & N. Autophagiography. ISBN-13: 978-0692234204. ISBN-10: 0692234209. gnOme, 2014. 192 pp. $12.00.

A true story, hot off the wine presses of the heart. Something indescribable occurred. Communications ensued, becoming a saintly self-eating process whose vermicular trail is this book. Part romance, part mystical dialogue, part melodrama, Autophagiography is a ( )hole document of impossible love and friendship between two real inexistent persons. The results may astonish you.

Contents: I. ALP, a.k.a. Resent Morning Prayer. II. Scars of the Horizon. III. New Life. IV. Saintly Communication: A Rule. V. Postscripts

“Bitten hard by the Autophagiography‘s ‘spiral ouroboros’ even as concentration is dissipated among its narrative peculiarities, cultural allusions, codes, and ceaseless diversions, I will try to find a way to talk about it . . . ” — Nick Land

” . . . a significant accidental experiment in documentary authorship, an ‘as-is’ book with several delightful surprises and contradictions . . . the conception and editing of Autophagiography becomes an important part of the narrative itself, so that the text literally and narratively eats itself into its own real present, like some kind of monstrous love-child proverbially devouring the authors out of their inexistent sub-oceanic house and home: ‘The monster is here and I cannot stop it, I don’t want it ever to shut up. Whatever happens in this life there will be the fault of this cataclysmic now screaming to me, deafening me with the echo of a deformity that I always was’ (73) . . . One can only hope without hope that its authors somehow find happiness in this sphere or the next, or at least in a weird new somewhere that is neither.” — Anonymous, “Eating Yourself to L( )ve,” HTMLGIANT

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Cantos for the Crestfallen

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Pseudo-Leopardi. Cantos for the Crestfallen. Translated by A. Necrezută, F. Pilastru & I. Imaculată. ISBN-13: 978-0692218853. ISBN-10: 0692218858. gnOme, 2014. 44 pp. $10.00.

Pseudo-Leopardi’s Cantos for the Crestfallen, here translated for the first time from the Romanian original, is a breathless expiration of impossible pessimo-mystical desires for the immanent beyond. In a sequence of thirty one verses channeling the spirits of Cioran, Dante, and the poet’s eponym, the Cantos testify to life’s senselessness, the necessity of being beheaded, and the love of saints. It is an intoxicated and uncompromising vision: The name of you / Who alter one atom of my sigh is now stricken from life.

“Not since Die Nachtwachen (The Nightwatches), published in 1804 under the pseudonym of Bonaventura, a German Romantic of often-attributed yet arguably still uncertain identity, has there appeared such a book as Cantos for the Crestfallen. Also written by an unknown hand, one drenched in a philosophy and poetics of an apocalyptic tone, the latter title rivals its predecessor in both mystery and melancholy. At the same time that the authors of these works tear the mask from the dark face of the inhuman comedy, they practice a reckless wit that makes the blackness of our lives blacker still. Cantos for the Crestfallen in particular flows with gruesome conceits that empty into an ocean of tears, ultimately drowning its reader far from the sight of land, of home, and of hope.” – Thomas Ligotti

“Like his namesake-by-declamatio, the author of Cantos for the Crestfallen has managed to condense all human afflictions into one solitary fusion of despair, a misery with teeth enough to bite the hand off every nescient and conciliatory illusion. And yet to underpin this breathless, almost throttled, ennui (his own sigh even “drowning in air”) there is the resolve and the bitterness of a love affair gone wrong, the unrequited affections, the raw feels of the world’s interminable spurning; and all of it a lie, a necrophile’s symphony tapped out by a heart made ash of, a heart crawling up a corkscrewed spine to die inside a brain.” – Gary J. Shipley

“Pseudo-Leopardi’s Cantos exhale a spirit of blackened occidental sufism that will make your head spiral.” – Pir Iqbal the Impaled

“From the enhaloed entrails of a forgotten notebook comes these Cantos for the Crestfallen. These poems describe nothing and enact everything—litanies of a moldering solar refusal.” – Rasu-Yong Tugen, Baroness de Tristeombre

CC @ goodreads

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Songs from the Black Moon

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Rasu-Yong Tugen, Baroness de TristeombreSongs from the Black Moon. ISBN-13: 978-0615969008. ISBN-10: 0615969003. gnOme, 2014. 80 pp. Text and images. $9.99.

All the trees whose names we have forgotten have long since embraced our entwined limbs.

In the tradition of the 19th century, fin-de-siècle prose poem, Songs from the Black Moon is a dark elegy for an already-forgotten planet and its wandering, somnambulistic inhabitants.

“A book of beautiful and strangely tranquil outbursts of disaffection and dissolution. I wish everyone on earth lived by the sentiments expressed within it.” — Thomas Ligotti

“In search of an atrabilious poetics that might render breathable the ‘black abyss’ within, the Baronesse de Tristeombre has written an apocryphal rejoinder to the Book of Lamentations, filled with salt, sand, crystal and leprous flesh. Read this grimoire of ‘tectonic sorrow’ and despair anew.” — Drew Daniel, author of The Melancholy Assemblage

“In the black light of these lunar songs, you and I despair for the last time, again.”
Pseudo-Leopardi, author of Cantos for the Crestfallen

“Songs from the Black Moon resurrects the literary tradition of Dark Romanticism – poetry that is stark, sparse, and drenched in a blackened lyricism . . . These poems are ecstatic lamentations for the world-without-us . . . ” — Eugene Thacker, author of In The Dust of This Planet

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