Bøker utgitt av Luna Bisonte Prods

"To be an innovative poet on the Left Coast (or anywhere) is like shouting your truth to an empty (or at best half full) room. This is especially true if your innovations don't match the practice of the current reigning innovation. Iván Argüelles has never been a L=A=N=G=U=A=G=E poet, though language-tongue's parlance-is at the heart of what he does. Hearing him read his work aloud is a deep pleasure, but it is also here, on the page, in octogenarian splendor. As Pound, late in life, said of Eliot, after Eliot's death, after decades of output: Read him", Jack Foley. "Two poems per morning from the beloved Iván Argüelles cascade in reverse each overcoming transcendence. This sonic inversion choirs joy, choirs that are speaking-being behind us crablike. This morning: "Is there anything in the sky that looks like the world?" To paraphrase Zbigniew Herbert, the poet with one wing commands the stars to fall and there is light. This is that light coming and going", Solomon Rino.

Roberto Net Carlo (Mayagüez, Puerto Rico 1954). Poeta y artista que propaga su obra extensa y alucinante como Roberto Ncar en Facebook, es un "vallejiano urbano" según Rafael Acevedo. Sobre Ncar, dice Ana Lindner: "Tratando de establecer un orden en su propio caos existencial, convida vida a esta conjunción de imagen y palabra, entre la realidad contextualizada y el lenguaje pérfido en su función expresiva: logra, así, una poética mordiente mediante la reelaboración permanente de nuevos dispositivos poéticos puestos en la escena de lo cotidiano." Una cotidianidad que incluye una visión aguda de los estragos del colonialismo en su tierra natal. El libro incluye algunos poemas visuales.

The authors describe this long poem like this: "Field Hollers was born of insomnia, trading stanzas largely predawn, back and forth before light harrowed." This sequence of stanzas consists of a sort of dialogue, a back-and-forth between 2 "twins" (ie, 2 voices, not 2 sets of twins) who constantly switch places, go into reverse, or speak as one voice, so much so that there is little distinction, really, between them. They become a single double voice, and talk on a metaphoric and metaphysical plane in language that is achingly beautiful and resonant. This is a unique and extraordinary work, and can be read, and reread, in one sitting, and again and again and again.- John M. Bennett

IS KNOT is: Poems, many incorporating visual elements, in English or Spanish or both, interspersed with visual poems, Fluxus-like texts, hacks, and collaborations. Written in 2016, it is a tour de force of Bennett's unique poetics."Your visuals are priceless, John ... I prefer them to so much experimental work, either in the realm of the so-called visual arts or "concrete poetry" (which they really ain't) ... your so-called poetry which calls itself verse, but is the cryptically deranged response to "official literature", stands head and shoulders above ... Superimpositions of the subconscious stripped of Freudian valor (values?) ... And knockout minimalism!" - Iván Argüelles.On Bennett's OJIJETE:OJIJETE can be "read" in a conventional sense and also experienced strictly on the visual level. Bennett uses fonts, typography, tropes from concrete poetry and a minimal use of visual images to create one of the more effective image-texts that I have ever seen. I see in OJIJETE Ezra Pound's Cantos using ideograms, the fluidity of Paterson by William Carlos Williams and, of course, Charles Olson's Maximus. John M. Bennett is one of the few visual poets today who has the knowledge and skills to use the lessons of literary Modernism (and errors) to create a 21st century vispo. OJIJETE is a shining example of his abilities.- De Villo Sloan in Asemic Front 2.

In this 4th volume of Arthur Dies, the literary, experimental and multilingual excitement ramps up several notches, including several pages of visual guides and visual poetry. The great Merlin shows up, wearing a plague mask, and there are hints that Arthur himself may be on the verge of being born; is it true?! This is not just a re-telling of a famous legend/history, but a re-imagining and re-creating of a story/myth that encompasses all of history and all of human imagination. About an earlier volume of Lindsann's epic project, Iván Argüelles said: "This is in fact an epic both in the traditional sense of the word, and in the approach of an anti-poetics perspective of what can be undone in that tradition. In its sweeping texts and contexts it embodies not only the imagined or fictive culture of the twilight era alluded to, but those of our own post-modern and failed civilization with all its cultural and literary -isms that have arisen from an original 'avant-garde'. Lindsann combines the mythical Avalon with Blake's Albion, pursuing these emblematic nomenclatures to their illogical fusion in an always enigmatic concatenation of events and personages flung about in a supreme and deft literary whirl." This new volume is enriched with four appendices, which provide a narrative synopsis of the previous volumes, a list of principal characters, a social glossary, and a list of sources. All of which are extremely useful for following the development of this incredible epic anti-poem, a work which redefines both poetry and epic. - John M. Bennett

Bennett's realignment of this fabulous text is divided into 26 somewhat brief, but incredibly beautiful, dense, unpunctuated and asyntactic sections, each with its own title. The overall effect reading these passages is that of a sublime but often disturbing dream, that requires its own rules and sets of margins or lack thereof. The relentless run-on flow of words as enactments of sounds dredged from an archaic distance has affinities with not just earth's surface but more precisely what lies underneath, an inherent chthonic Hell. Bennett's oneiric vision plunges the reader into a shadowy, indefinable alternate reality, an aphasia of the senses. Things more often unnamed--murders, children, cries, vengeances pass through a misty lens, light transmogrified by language into a tenuous dark other-world. The text is short enough to be read in one sitting and should be in order to get its full effect, a powerfully mesmerizing excursion through this telescoped concise language into a turbulent epic scenario, not unlike the constantly shifting nuances of the Mahabharata, except that here we are in Pre-Columbian Mesoamerica. - Iván Argüelles

The title means "Diary of an Eighty-Year-Old: A Poem with More Tears than Hands"; the poems or cantos are in English. The Book is a long, intense, lyrical, and often surreal meditation/recollection of a life in all its complexities, with frequent immersions into the loss of friends and family. In short this is a stunningly beautiful, unique, and unsentimentalized invocation of life and its mirror image, death. Argüelles remains at the peak of his powers with this unforgettably intimate, universal, and deeply human work, "where sleep is freed / from waking".

This masterful poetry extinguishes those artificial lines that distinguish a moment from a century. It is all here and available to us, Mark Young shows. "A late/afternoon/point of co-/incidence // this bench/in the/Botanical Gardens/shared/with Desnos/& Diogenes" reminds us nature crafts consciousness right back at us. "Black cockatoos . . .small white flowers." This against the beautiful political purity of stating the truth in "damp trumpets."Quote from final poem, DAMP TRUMPETS: "Where are thesubmarines? Ishouted out. Youpromised you'ddrain the swampso I'd be ableto see the submarinesthat were lyingon the bottom."Things come together from a distance above, revealing equally how far they are apart. Mark Young's keen eye disturbs predictability. He knows from many angles refutation and commingling. Pachelbel's Canon and mismatched feelings between a man and a woman.Sheila E. Murphy

Contents of this book include poems written by the author February through May, 2016. Interspersed throughout are a series of eight visual poems written in the author's signature calligraphy with rubber stampings. Sinclair Scripa aka Tara Verheide, wrote the following: "Ode to the work of John M. Bennett; I believe that the broom closet is where John M. Bennett's words hide. Bennett's language, immersed in buckets of wetness, emerge from the closet, carried by Fantasia's Micky Wizard's brooms in intense exponential rigor. They spill as poetry, endlessly over the edge and down the stairs of the effervescent fountains of life's dark and mysterious castles."