#28. Theatreland .pdf
Theatreland — poetry by Gregory Vincent St. Thomasino.
“Image and language take precedence” above all else, says Walter Benjamin. In these poems we are reminded that we need not choose between the two. Here, where every poem echoes another unto infinity, we are reminded of the “solitary arc” that is the intersection of text and image, the geometry of the world become word, “an epitome, in parenthesis / a passage, or, in correspondence.” These poems entangle and disentangle. Read horizontally or vertically, forward or backward, we make, “out of” the unhomely—that is, language—“a home.” To read these poems is to create heterotopic spaces, as much in their negation and absence as their horizons. As readers, we are “now harking and immovable.” We are now “making quote.” Read these poems and embrace the plurality of the word, imagine space anew and expanding. — Jacqueline Winter Thomas
If you’re looking for a different word order read Gregory Vincent St Thomasino. — Alan Halsey
Suicide by Language by Gregory Vincent St. Thomasino. Novel. “It’s about a relationship, and relationality generally.”
“Suicide by Language is fragmentary, aphoristic, fractured, but above all provocative. St. Thomasino eschews plot-and-character development for the blank space of the page, for the shimmering emptiness of screen. The result is a sort of performance of erasure implicating less the death of the author/narrator than of the poem/novel narrated by itself. No matter your expectations, this work will surely confound them.” —Mark DuCharme
“Under the changing and sometimes urbane surface, there is a keen wildness at play here. This is an artist in full and confident flow, riffing and revealing the tangents and rifts in the way we think words and word thoughts.” —David Annwn
“In the great tradition, stretching back at least to Leaves of Grass, of landmark books that just happen to be self-published, Suicide by Language has arrived.” —Joel Chace
“The only magic wand that may free the reader from St. Thomasino’s page-turner is a Portable Jung or Flowers of Evil.” —Rich Murphy
“St. Thomasino’s humanistic metaphor-shy expedition, bolts together, in sum, a wild filmic primer. Prep for turbulence and fierce cyclonic gravity. Surreal effects flicker and penetrate the presumptive commonplace, the everyday savage vacuum of familiar assumptions, with tact and poise, and best of all, thru many fun and humorous conflicts.” —Jasper Brinton
“We wander through this linguistically constructed landscape with a world-wearied and beleaguered pilgrim who nonetheless maintains a wry and often humorous cynicism. There is a sense of exhilaration as we move from fragment to fragment, as the effect of it is more akin to hypertext, or the beautifully dis-jointed editing of Godard, who St. Thomasino credits as the inspiration behind his novel. As we explore the humor, absurdity, and sometimes agonies of isolation and fragmentation, other possibilities for meaning emerge—a crystallization and dispersion of desire, like a Deleuzian rhizome. This brilliant, provocative novel is also a manifesto for poetry in the age of ‘post-truth,’ ‘relativity,’ and a pop-cultural landscape As with Godard, St. Thomasino’s response is innuendo, style, suggestion, and an always ‘cool’ command of language that flickers across the page in a kind of dream logic. St. Thomasino’s Suicide by Language is brilliant, daring, and necessary.” —Jonathan Minton
#26. The Wet Motorcycle: a selected .pdf
The Wet Motorcycle: a selected by Gregory Vincent St. Thomasino. Poetry, prose, poetics theory.
“In this selection of writing drawn from 30+ generative years, Gregory Vincent St. Thomasino, through poetry, essay, and story, inscribes a psycho/physiological map of his linguistic odyssey.” —Crag Hill
“As he states in ‘Crash Course in Logoclastics,’ the ‘discourse is not anterior to the reading,’ but a ‘putting-in-order’ enacted by the reader at the site of the poem. This complex binary of readerly invitation and agency is beautifully explored in the collection’s title poem, which functions simultaneously as ‘fortune, or pasture,’ and as ‘a summons / or // roster.’ Here, the reader is both participant and the recipient of this ‘landscape of one’s own.’” —Jonathan Minton
“To read these poems is to create heterotopic spaces, as much in their negation and absence as their horizons. As readers, we are ‘now harking and immovable.’ We are now ‘making quote.’ Read these poems and embrace the plurality of the word, imagine space anew and expanding.” —Jacqueline Winter Thomas
“These are poems which happily don’t try to explain themselves: they only invite us to enjoy the flight. Beware vertigo and be prepared for macaronics squeezed out of lyric stripped to artery and vein. Some words ask mercy and reference runs to an allusive and elusive lexicon for cover. There’s no slack but much crafty elision and many well-timed jumps. If you’re looking for a different word order read Gregory Vincent St Thomasino.” —Alan Halsey
#25. The Logoclasody Manifesto .pdf
The Logoclasody Manifesto 2018. Second Edition, expanded. Gregory Vincent St. Thomasino on logoclasody, logoclastics, eidetics and pannarrativity. Addenda include the Crash Course in Logoclastics, Concrete to Eidetic (on visual poetry) and On Mathematical Poetry.
#24. The White Album .pdf
The White Album by Adam Fieled. Poetry. In the year of the 50th anniversary of The Beatles’ legendary “White Album,” the legendary Adam Fieled remixes and remasters the entire 30-song set as only he can. From “Julia”: “She knows / what this means: they’re placing bets about who / she calls or doesn’t. She feels herself infinitely / rich in this, and buzzes around, redheaded brat / lost in the miasma of newly acquired wealth, / that could go anywhere, do anything.”
#23. Poets East: An Anthology of Long Island Poets .pdf
Poets East: An Anthology of Long Island Poets edited by Gregory Vincent St. Thomasino. The Native Americans called Long Island “Paumanok,” which means “land of tribute.” For poets everywhere, but for Long Island poets especially, the significance of “tribute,” of “land of tribute,” is nowise more advanced and expressed than in the sensibilities of native son Walt Whitman. For Whitman, “land of tribute” is Nature’s tribute to herself, Nature celebrating Nature. This small anthology is dedicated to the spirit-of-tribute that is the spirit of Long Island poet Walt Whitman.
#22. Anisette .pdf
Anisette by Ezra Mark. Prose poetry. “The breeze carries the scent of sea-water. The rattling of the shingle, and silence as the waves withdraw.”
“How does connection occur? Anisette, absinthe, memory and death are powerful connectors with disconnection like so many anise seeds yet to be steeped rattling in their wake. In Anisette, Ezra Mark writes that ‘memory is most fragile at the moment it’s touched. Every time you recall something—literally re-collect it—you risk breaking it.’ Mark is careful of memories that none the less recur like so many ‘keys in the lock,’ replicated by the keys in ‘a custodian’s belt as he polishes the lectern.’ This piece calls up ‘doubt and faith,’ ‘a photo and its negative,’ and finally the ‘something in-between.’ Simone Weil has the last word: ‘Two prisoners whose cells adjoin communicate with each other by knocking on the wall. The wall is the thing which separates them but is also their means of communication. It is the same with us and God. Every separation is a link.’ ” —Jeanne Heuving
#21. Successions of Words Are So .pdf
Successions of Words Are So by Larry Laurence. Prose poetry. “ . . . after the movers’ balancing act / of stairs & baby grand to the sunroom / where later she’ll play for her sated lover . . . ”
#20. The Aha Moment .pdf
The Aha Moment by Márton Koppány. Visual poetry. “These works are minimalist by design, but should we paraphrase the thought channeled therein, the effect would be encyclopedic, ranging through philosophy, psychology, politics, and the human emotions.”
#19. Sanzona Girls .pdf
Sanzona Girls by David Chikhladze. Haiku and haikai 2004 – 2014. “ . . . the spring / to tame / to beat about the source . . . ”
44 Resurrections by Eileen R. Tabios. Poetry. “I forgot truth is disembodied. / I forgot the spine bent willingly for a stranger’s whip.”
#17. The Monumental Potential of Donkeys .pdf
The Monumental Potential of Donkeys by David Berridge. Poetry. “ . . . would you / bleed / vowels / indignantly // operatically . . . ”
#16. Hungarian LangArt .pdf
Hungarian LangArt by Márton Koppány. Visual poetry. “These works are minimalist by design, but should we paraphrase the thought channeled therein, the effect would be encyclopedic, ranging through philosophy, psychology, politics, and the human emotions.”
#15. light in a black scar .pdf
light in a black scar by Jake Berry. Poetry. “Leave them lie / and they will rise / into an impotent cloud / and piss / the backward flood . . . ”
#14. blossoms from nothing .pdf
blossoms from nothing by Travis Cebula. Poetry. “ . . . morning is a time / of hard lines / petals and soil. / feathers and sky.”
#13. An Extended Environment with Metrical and/or Dimensional Properties .pdf
An Extended Environment with Metrical and/or Dimensional Properties by Anne Gorrick. Poetry. “ . . . an innovative contemporary torsion / a lacquering adventure / constructed of extraordinarily beautiful notes / mixed from a futuristic painting.”
Beginning to End and other alphabet poems by Alan Halsey. Poems and poetic sequences. With art by Alan Halsey. “Poussin’s Passion, or The Poison Trees of Arcadia: The Fate of the Counterfactual.”
#11. Paul de Man and the Cornell Demaniacs .pdf
Paul de Man and the Cornell Demaniacs by Jack Foley. Essay, recollection. “I studied with de Man in the early 1960s at Cornell University. The de Man of that time was different from the de Man you are aware of. . . . Despite his interest in Heidegger, the central issue for the de Man of this period was ‘inwardness’ — what he called, citing Rousseau, ‘conscience de soi,’ self consciousness.”
The Galloping Man and five other poems by Gregory Vincent St. Thomasino. “ . . . how does / a body know, here is a hand, and here, is a sentence / or, / what’s riding on hearts . . . ”
#9. Prosaic Suburban Commercial .pdf
Prosaic Suburban Commercial by Keith Higginbotham. Two poetic sequences. “ . . . bathe deep in / the barely-there / disassembled gallery / of the everyday . . . ”
#8. Polylogue .pdf
Polylogue by Carey Scott Wilkerson. Poems. “ . . . with rules and constitutive games, / with paints and gramarye / with some modicum / of my reckless trust . . . ”
Bashō’s Phonebook. 30 translations by Travis Macdonald. The great Japanese haiku poet Matsuo Bashō goes digital. Conceptual poetry. With translator’s notes.
#6. Correspondance (a sketchbook) .pdf
Correspondance (a sketchbook) by Joseph F. Keppler. Digital art.
“What can I call this work? Neither painting nor critique yet informed by art, the following are sketches to me. Rather than executed on paper, they’re drawings designed using the pervasive computer. These graphics approach oeuvre subjectively, not as meticulous copies or art history illustrations, but as some poetic efforts. My laptop simply opens a new capacity for thinking about art and drawing it. As studies these are (a)musing tributes as well as appropriate(d) attributes.” —Joseph F. Keppler, from the introduction
“Joseph Keppler shows us what it now means to be literate.” —Jim Andrews, Vispo ~ Langu(im)age
“Allusions to significant works, quotations of style, and adaptations that bring old works to new life.” —Crag Hill, Poetry Scorecard
#5. Six Comets Are Coming .pdfSix Comets Are Coming by Gregory Vincent St. Thomasino. Volume I of the collected works including Go and Go Mirrored, with revised introductions, corrected text and restored original font.
“The closest live experience to these poems would be walking through an international airport, catching snatches of conversation in a number of different languages, ‘understanding’ some of them, simply marveling in the phenomenal beauty of the rest. These poems capture language as it is lived.” —Lewis LaCook, from his review of Go
“It’s an expanding language which develops new meanings and makes comprehensive what can be language placed far from unilateral ways of thinking and representing articulations, relationships but also solitude: the beginning of an open entity, identity, and on the other hand the end of closed identity.” —Florent Fajole, on Go
#4. The Logoclasody Manifesto .pdfGregory Vincent St. Thomasino on logoclasody, logoclastics, eidetics and pannarrativity, 2008. Addenda include the Crash Course in Logoclastics, Concrete to Eidetic (on visual poetry) and On Mathematical Poetry.
“As an exegetical object, Logoclasody documents quite brilliantly an ontological crisis in poetry and is, by design, an exemplar both of the problem and the solution. St.Thomasino conceives the central aporia of writing as one of recovering, from the ruin of a necessarily incomplete knowledge, the deep-structure(s) of representation. And by exploiting the tension between grammatical function and the irruptive energies of text itself, the St. Thomasinian program deploys logos as an expressive motif, through which are diffracted both meaning and its contested relationship to language.” —Carey Scott Wilkerson, Columbus State University
#3. Waves .pdfWaves by Márton Koppány. Visual poetry.
“These works are minimalist by design, but should we paraphrase the thought channeled therein, the effect would be encyclopedic, ranging through philosophy, psychology, politics, and the human emotions.” —Gregory Vincent St. Thomasino on Márton Koppány
#2. Mending My Black Sweater .pdfMending My Black Sweater and other poems by Mary Ann Sullivan. Poems of making conscious, of acceptance and of self-remembering, and of personal responsibility.
Gregory Vincent St. Thomasino joins John M. Bennett “In the Bennett Tree.” Collaborative poems, images, an introduction and a full-length critical essay pay homage to American poet John M. Bennett.
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