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That Our Eyes be Rigged
Kristi Maxwell’s fourth collection is an eye opening exploration of language’s tangled relationship to the physical world
Plan/K
Poetry. Following in a long line of acts of piracy by women writers (Kathy Acker's Pussy, King of the Pirates), Kristi Maxwell proves herself a masterful ventriloquist. Slipping her hand into through a card game (Royalty), a children's book, historical documents on sea pirates, and Treasure Island, Maxwell speaks, strikes, through double entendres, puns, homonyms, and jokes--all the devices scorned by the 'original' pirates of linguistic, cultural and political power. PLAN/K--not only Dickinson's plank but also Maxwell's (and Kafka's) plan K (plans A-J always go awry)--engenders alternate subtexts, defrocks priests and denudes emperors: '['where are your manners' 'where are your manners' 'in...
The Bedside Guide to No Tell Motel - Second Floor
Edited by Reb Livingston and Molly Arden, the second volume of No Tell Motel's Bedside Guide explores the multi-faceted aspects of desire and appeal. Including poems by Kristi Maxwell, Bruce Covey, Alison Stine, Evie Shockley, Jennifer L. Knox, Rebecca Loudon, Robyn Art, David Lehman, Didi Menendez, Charles Jensen, Jen Tynes, Clay Matthews, Kate Greenstreet, Aaron Belz, Carly Sachs, Margot Schilpp, Jill Alexander Essbaum, Hugh Behm-Steinberg, kari edwards, Michael Quattrone, Sueyeun Juliette Lee, Simon Perchik, Ron Klassnik, Peter Jay Shippy and many others.
My My
Ecopoetic at its core, Kristi Maxwell's My My is concerned about the world, "that abundant stray," and scrutinizes the messiness of humans' relationships to each other and to the nonhuman--how acts of seeing can lift up or erase. Maxwell's seventh book operates under the sign of "or," testing out alternatives and revisions in the hopes of landing on a truth that can be lived with. Part-sigh, part-sly, these poems make friends with their own shiftiness and recognize that the imperfect might be the best place to look for our next c(l)ues.
New Pony
Poetry. Fiction. Literary Nonfiction. NEW PONY includes work by Erik Anderson, Cynthia Arrieu-King & Kristi Maxwell, Sarah Bartlett & Emily Kendal Frey, Eric Baus & Seth Perlow, Sommer Browning & Brandon Shimoda, Adam Clay, Gary L. McDowell, and Brandon Shimoda, Julia Cohen & Mathias Svalina, Thomas Cook & Nate Slawson, Bruce Covey & Terita Heath-Wlaz, MTC Cronin & Peter Boyle, Mark DeCarteret, DZ Delgado & Sandy Florian, Jennifer K. Dick, Camille Dungy & Ravi Shankar, Annie Finch & Erika Howsare, Shawn Huelle & Jess Wigent, Kirk Keen, The Pines, Seth Perlow & Catherine Theis, Dani Rado, Andrea Rexilius & Susan Scarlata, Kate Schapira, Paul Siegell, Justin Taylor & Bill Hayward, and William Walsh.
Realm Sixty-four
Poetry. Taking its name from the literal field of the chessboard, Kristi Maxwell's first book explores the dynamics of engagement, both through and within language. These poems are interested in the strategies that interactions encompass -- interactions between words, between illusion and non-illusion, between idea and image, between speakers, between voices, and between reader and text. From the history of the chess-playing automaton known as The Turk to a series of flirtations cadged in the game's battlefield language, the subjects of Maxwell's poems are rarely what they seem to be. "Like the minimalist sculptors we have learned to admire without their theories mattering anymore, these poems have pure, ephemeral lines that suggest much thought about time and utterance, yet they float free without any need for explanation. This can happen partly because Maxwell has an inspired sense of the look of the page. If you wanted to blur on her words, you would still see beauty, harmony and space" -- Fanny Howe.
Animals and Ourselves
The relationship between humans and animals has always been strong, symbiotic and complicated. Animals, real and fictional, have been a mainstay in the arts and entertainment, figuring prominently in literature, film, television, social media, and live performances. Increasingly, though, people are anthropomorphizing animals, assigning them humanoid roles, tasks and identities. At the same time, humans, such as members of the furry culture or college mascots, find pleasure in adopting animal identities and characteristics. This book is the first of its kind to explore these growing phenomena across media. The contributors to this collection represent various disciplines, to include the arts, humanities, social sciences, and healthcare. Their essays demonstrate the various ways that human and animal lives are intertwined and constantly evolving.
The Book of Goodbyes
Winner of the Isabella Gardner Poetry Award The Book of Goodbyes speaks to a certain deranged love that throws into question sex, legality, gender-politics, disability, and the end of an affair. The book shifts between lyric and narrative, hyper-realism and magical realism, fact and fiction, and is organized like a play with Act I, Intermission, Act II, and Curtain Call.
Once Upon a Time in the Twenty-First Century
Fun and innovative exercises and prompts for creative writing students Once Upon a Time in the Twenty-First Century: Unexpected Exercises in Creative Writing is a unique creative writing text that will appeal to a wide range of readers and writers—from grade nine through college and beyond. Successful creative writers from numerous genres constructed these exercises, including poetry, fiction, and creative nonfiction to one-act plays, song lyrics, genre fiction, travel guides, comics and beyond. The exercises use a broad range of creative approaches, aesthetics, and voices, all with an emphasis on demystifying the writing process and having fun. Editor Robin Behn has divided the book into ...
Poetics of Emergence
Experimental poetry responded to historical change in the decades after World War II, with an attitude of such casual and reckless originality that its insights have often been overlooked. However, as Benjamin Lee argues, to ignore the scenes of self and the historical occasions captured by experimental poets during the 1950s and 1960s is to overlook a rich and instructive resource for our own complicated transition into the twenty-first century. Frank O'Hara and fellow experimental poets like Amiri Baraka, Diane di Prima, and Allen Ginsberg offer us a set of perceptive responses to Cold War culture, lyric meditations on consequential changes in U.S. social life and politics, including the decline of the Old Left, the rise of white-collar workers, and the emergence of vernacular practices like hipsterism and camp. At the same time, they offer us opportunities to anatomize our own desire for historical significance and belonging, a desire we may well see reflected and reconfigured in the work of these poets.
