Song from Your Home Town

from a family chest

2011-11-09T20:01:00.000-08:00

bonjour meriwether & the rabid maps now available!

2011-08-15T20:57:00.000-07:00

bonjour meriwether and the rabid maps
runner-up in Fact-Simile Press' 2010 Equinox Chapbook Contest

...is a cartographical journey into poetic placehood. This limited edition of 50 books is printed on reclaimed 120 gsm and bound in old gas station roadmaps. (4x8.75 inches)

About bonjour meriwether, poet-critic Andrew Wessels writes:

"For Andrew K. Peterson, place refers to two things: geographical location and the observation of one's surroundings. This longer serialized poem alternates between specific coordinate locations: "42°N 07' 44.24" / 70°W 45' 9.13"" and sensual interactions with surroundings: "Concealed timber of these rivers, these beds." Though the coordinates are hyperspecific, they work to dis-locate the reader who likely is unable to, without seeking outside help, connect the coordinates to a known location. We keep asking Where are we? as each set of coordinates arises. The descriptions likewise prevent us from being grounded in a specific understanding that we are in a specific named place. Peterson reminds us that we can only know exactly where we are if we stay in the same place and never move. He chooses, instead, to journey forth, echoing René Char: 'How can we live without the unknown in front of us?'"

you can purchase from the beautiful people @ Fact Simile Press, here.

some museum references...

2011-07-16T12:26:00.000-07:00

On his website Zeitgeist Spam, a poet John Bloomberg-Rissman posts collage poems called 'In the house of the Hangman. In #330 of the series, there's a quote from Bhanu Kapil's amazing blurb of Museum of Thrown Objects.

Read it here.

*

Friend/poet Travis Macdonald sets a poem "Chapter 4 from 'The Story'" in the Museum of Thrown Objects.

It's published on the literary journal Dinosaur Bees. Read it here.

Nothing for You

2011-04-04T13:12:00.001-07:00

fragments for destroyed shed

2011-03-30T15:41:00.000-07:00

If on a winter's night some books get ruined by a leaky window frame...

2011-03-24T10:52:00.000-07:00

from "31 branches"

2011-01-11T11:38:00.000-08:00

"How has your first book changed your life?" Andrew K. Peterson interviews himself on "Museum of Thrown Objects"

2010-11-02T21:08:00.000-07:00

(Questions taken from Kate Greenstreet’s 1st Interview Series)

How did your manuscript for Museum of Thrown Objects happen to be picked up by BlazeVox Press? Had you sent it out much previously?

For awhile I discovered the joyous process of making little handmade chapbooks of serial poems and visual texts and giving them away to friends or presenting in my grad school workshops (I went to Naropa, where you could do that sort of thing. You could do anything, really.). So a lot of Museum first appeared as little d.i.y. books or objects that ended up on people’s refrigerators. Also, I guess it was in 2008, I made a huge, thousand-page handmade extended version of Museum and sent it to poet Jena Osman, who had been supportive of my work when I’d taken her workshop at Naropa’s SWP. My good friend, the poet Joe Cooper – had his first book Autobiography of a Stutterer released by BlazeVox in 2007. Joe had passed my name along I think and I sent BlazeVox’s editor Geoffrey Gatza two manuscripts for consideration. He liked them both, and agreed to publish one – being an incredibly gracious, collaborative publisher-editor, he allowed me to decide which project I would like to see through to book form. I chose Museum because the work still felt interesting and ever-evolving in its construction and relationship to itself as a structure and to my particular interests going forward, and just seemed to be the project that I wanted to live within for awhile.

Were you involved in designing the cover?

Yes! Around the time I was preparing the manuscript for publication, by chance I happened upon the art of Dayna Thacker, an incredibly talented Atlanta-based artist, in an issue of Art in America. I had a strong, positive reaction to her images – these bright, architectural-based surreal, collaged dreamscapes. I felt this was a true artist’s interpretation of the sort-of amateurish conceptual art-vision I had for Museum. I also really felt akin with her ideas regarding art, mindfulness, and process of art-making. I wrote to her and she was a generous and gracious collaborator; we both agreed on an image from her "Ego is Architecture" series.
One small issue regarding the cover graphics which I find funny. I suggested to Geoffrey that the lettering on the name/title have a ‘smudged’ look, as if someone (Curator? Censor? Editor? Artist? Reader?) had tried – unsuccessfully – to erase these identifications from the cover. When we sent the proof to the printers, they rejected the mock-up because they were afraid that it would ‘appear to be a printing error in the final product’ and thereby, you know, look bad on them. I guess we could’ve fought to keep the erasures, but it wasn’t an idea I was really tied to, – it might’ve been nice to have that added layer of mystery for interpretation – ultimately, I was okay with the title being ‘regular’. I’m delighted by Dayna’s work, and I think just about everyone who I show the book to loves the cover.

What do you remember about the day when you saw your finished book for the first time?

I’d equate it to the feeling of, say, if you take a walk with your dog, who then gets off the leash or just kind of wanders off, while you’re distracted looking at a flock of geese crossing the autumn sky or a squirrel climbing a tree or something, and the dog just goes out of your line of sight for a little while, maybe behind a stone wall or a line of trees or under some bushes, and you get this momentary tinge of panic, like, maybe he’s gone forever, it was my responsibility to make sure he gets back to the house okay, what will happen to him?!, but you know that he hasn’t gone very far, because he was just by your side a minute a go, and then you walk around the corner and he’s just curiously sniffing something in some deep grass, and when he sees you, he bounds out, and he looks a little bit different to you, though you’ve seen him a thousand times before, anyway you are both delighted to be in each others’ presence again, so you continue on your walk exploring the world together. It was kind of like that.

Before your book came out, did you imagine your life would change because of it?

I imagined it would, in some way, and it has, but I don’t remember really having any specifics in mind, only some vague sense of things being different...

How has your life been different since?

I find myself interviewing myself in the bathroom mirror while brushing my teeth a lot more. I can look on my bookshelf and see Museum nestled between books by my heroes like Jack Kerouac and Joanne Kyger, and that feels kinda pretty great. I take more pictures of myself. I Google myself a lot more to see if anyone on the Internet’s talking – (they aren’t) – but once or twice, I’ve been confused with the author/Christian musician Andrew Peterson – where people have attributed Museum as his book. I find that amusing and humbling.

Were there things you thought would happen that didn't? Surprises?

I thought I would’ve developed this feeling of having ‘made it’ as a poet, like I was ‘legit’. I still don’t feel like that. I still feel like I have a lot to prove, like I still haven’t written the best thing I possibly can yet...

I was surprised how much effort it took to transform the book’s abundance of visuals (collages, concrete poetry) to the printed, bound page. Museum contains 61 pages of visual poetry created with old-school technologies: typewriter, scissors, tape, copy machine. Part of the difficulty in the translation was that the original aesthetic for a lot of that material was sort of a punk-d.i.y. style - or, okay, one could say I was just screwing around and experimenting without much precision. But I like that. I wanted to maintain some of that texture, but sometimes the pieces just looked bad. I was surprised that there were a lot of file transfer issues between Geoffrey and my computers. My friend Nathan Child stepped in to help by going through the book image-by-image, and working with him was a pretty fascinating process of rediscovery. I got to revisit these images and think about their expressive qualities with a different kind of screened-in intimacy. While I didn’t want to go crazy with Photoshopping, I did sometimes marvel at how making minute adjustments would bring out new qualities in the images; for example, enhancing the veins on a photocopied oak leaf, or discovering a rogue hair inadvertently hidden under a piece of tape during construction....

The best surprise has been hearing from friends who I hadn’t heard from for many years. It’s been so wonderful to find that these people still exist and to hear about the amazing lives they’ve been living while we’ve been apart. It’s been surprising how much people seem to get behind art, or their friends creating art, or sharing their own art, or trading a photograph for a book. I like that the writing and publishing of this little thing serves as a conduit for reconnecting to parts of myself and other people who I’ve missed, or thought were gone from my life forever.

What influence has the book's publication had on your subsequent writing?

I think as the difficulties with the book production process concerning accessing and manipulating the visual-texts has made me want to close the book on that part of my art-making process for awhile. I came to writing poetry after practicing film and video production for years, so my curiosity and energy for experimenting with that type of hybridity was what fueled that type of expression. Now that I know I can explore that sort of space, I’m curious to move on to more text-based (though still hybrid and experimental) projects. Also, and this is something I conceptualized early on, before Museum was officially released, I’m conceptualizing Museum as a lifelong project, where each subsequent release expands this initial space, with variations on theme and style. Whether we’re going to be building wings or stories in the future, I can’t say yet, but I feel like it is pushing me to explore more emotionally mysterious and meaningful territories.

What have you been doing to promote the book and how do you feel about it?

With BlazeVox, the promotion lies almost solely with the writer. So: I have only done one reading since Museum’s release, and only two readings in the last two years, in fact. Both were set up by poet friends. I am terribly shy and honestly, a little insecure that my work is not good enough, so it’s been somewhat hard for me to promote myself by setting up readings, performing, sending reviewers’ copies to strangers, etc. At Naropa I was around a lot of performance art and participated in a good deal of community, which was at times intensely overwhelming, at times ecstatic and liberating. I’m having a hard time reconciling the egotistical aspects of self, self-promotion, and the money-aspect of having a product being sold as commodity. I try to give away and trade as much as possible, to be an active role as participant in an alternative economy. While I think it would be nice to have a larger audience, I find it necessary (at least at first, starting off as this is a first venture) of having that audience grow organically, rather than as a result of any sort of marketing push. For this first book I have done what I can to get it to as many friends as possible, with hopes that they can pass it on through word-of-mouth, if they like it.

How do you feel about the critical response to the book?

Pleased at the modest, positive response. Mostly from close friends who are familiar with the work and provide insightful readings which usually lead to continuing the conversations about poetry and art and philosophy which we took up when we started as friends. I’m pleased that there doesn’t seem to be one poem that everyone loves. It seems everyone has a different favorite. I think that just speaks to the subjectivity of audiences; I like thinking about the myriad experiences that go into the reading of a poem, or novel, or piece of art, or whatever.

What was the best advice you got before your book was published? Is there any advice you'd give?

Don’t forget to shake.

Do you want your life to change?

Yes.

Do you believe that poetry can create change in the world?

Yes, everything is always changing the world. Though poetry’s no more or less change than anything else, be it a cloud, or a vote...

Now Available! Here Come the Groovies, by Joseph Cooper & Andrew K. Peterson

2010-10-18T09:07:00.000-07:00

LIVESTOCK EDITIONS, LIMITED presents Here Come the Groovies, a collaborative poetry chap/book by Joseph Cooper & Andrew K. Peterson

ABOUT THE GROOVIES...

...Joe says, "Working with Andy is always maniacally educational. His profound insight into humanity makes even the most mundane moments scintillate with creative energy. Andy is a writer whose poetic aspirations, while certainly emotionally charged and deeply personal, selflessly reveal our various relational symmetries through playful experimentalism and a journalistic interrogation of truth. Groovies deeply embodies his brilliance and inventiveness, as much of this text was composed on bar patios stealing observations and menu specials, riding shotgun while transcribing our absurd dialogues, storefront advertisements, and coffee house sessions with MuuMuu House diatribes. Every Goon visitation is an effort to encapsulate, often a year's worth of phone conversations, poetic invention, suppressed delight, into about four days. This particular Buffalo venture culminated in dozens of pages of work, one hangover after another and interminable laughter. Though, never before have our adventures so honestly depicted the madness of these encounters. Here Come the Groovies is a compilation of poems delivered truly by friendship, frenzy, and an insatiable desire for the poetic."

...Andy says, "Working with Joe is a delightfully maddening challenge, because Joe is a poet and lives that way with gusto. Joe's action-speech is always provocative and personal (therefore universal) and solicits meaningful and intimate conversation. About what you said, what he said, what you thought he said, what he thought he heard you say about what you thought about what he said, etc. Groovies mostly blossomed during my recent visit to Buffalo, & unspools that experience in a variety of unconscious collaborative forms: personal poem, found language, minimalist dialogue, invisible imitation, notation's dream, and mystery text. I hope these poems capture honest, collapsible joys and exhaustions of a friendship fueled by poetry, presence (over distance) and other ephemeral substances. A kiss for good company."

Groovy info: 76 pgs., 26 copies lettered A-Z & printed in October 2010: side-stitched, laser-printed on fine business paper with Coconut cardstock covers, & some extra-special limited covers printed on brown ("summer") stock.

Please contact either Joe or Andy with your mailing address to receive a complimentary copy!

Xoxo,
Livestock Editions

The Return of the Revenge of the Lawn

2010-10-16T12:16:00.000-07:00

Now It's Jazz

2010-10-14T10:40:00.001-07:00

Via Chicago (a picture sonnet)

2010-09-11T20:18:00.000-07:00

(obligatory Yankee Hotel Foxtrot album cover recreation)

Now Available! "Museum of Thrown Objects" by Andrew K. Peterson

2010-03-29T12:39:00.000-07:00
Greetings Friend, Happy Spring and All!
.
I'm excited to share this announcement with you for the release of my first full-length book of poems, Museum of Thrown Objects, just published by BlazeVox Books (Buffalo, 2010). The cover (above) features beautiful artwork by Atlanta-based artist Dayna Thacker.
*
Here’s what some beloved readers are saying about the book!
.

Andy Peterson's poetry combines visual art, both his own and some found elsewhere in the universe, with words redolent of mystery, thrillers, clues and riddles, and does so in a far more intelligent and sustaining way than present popular literature -- while not adopting any sense of "superiority" to same. Museum of Thrown Objects is a terrific "read" and a likewise "look" as well. -- Anselm Hollo, Guy Fawkes Day 2009
.

Imagine an ocean leaving its bed to hover above itself, where it should not be, to form a "silhouette" visible against an "afternoon." The technology of displacement is deployed, in Andrew Peterson's brilliant book, to create: not "delay" but "fusion." It makes sense, then, to build a museum out of artifacts that would, in the wetness beyond architecture, disappear by "low tide", but are instead "kept." Locked away in a decaying archive, "the thrown objects" form perverse alliances when the lights dim. Where the genitalia should be, for example, are "leafs and bugs." Intra-species, foaming, future-soaked, and with a "metallic corsage" delicately sewn to the wrist, the figures in Peterson's poems come to get you. And they do. They get you and take you somewhere until: "we are all here together in our new place." -- Bhanu Kapil
.

Museum of Thrown Objects exists as a poetic architectural phenomenon. Peterson constructs a kaleidoscopic wunderkammer of lyric, vispo, and conceptual experiments. Reading/Performing through its various wings I am activated into an environment of idiosyncratic relations. Things/Objects/Words have a collaged and artificial sensibility; as if Peterson is laughing at the overbearing seriousness of our contemporary museums with some incredulous anarchistic cut & paste. The difference between encasing an artwork behind glass as a stale and defined representation of some imagined mastery and staging things/objects/words in a dynamic and active performance of potentiality. This museum is enacting a perception embedded in things as much as in ourselves and, to me most importantly, things and selves in relationship to each other. Peterson, and the reader emerge throughout as poet-collectors (curators) in the process of mapping and performing transformation and relationship. Museum of Thrown Objects instructs the reader/performer: "Do not deny you are the work of art.". And so doing provides as it performs a dialogic and critical ethics of reading. We experience Peterson experiencing and thus find our own museums everywhere. -- Jared Hayes

*
I’ll say: been a joy building/cutting/pasting/curating this 'liquid architecture' from myriad found things of memory & place: errant ink petals, torn comic strips, flaky wallpaper, extinct flightless birds, rocks shaped like extinct flightless birds, transformed instruction manuals & diagrams, dream music, talking monuments & furniture, Oulipian place-mats, unsent love letters, puzzle pieces shaped like Idaho, ransom notes for missing bathroom materials, faded family photographs, errata, & other language/objects found & lost along-between there & here (from Boulder-Missoula-Arizona-desert-along-Massachusetts-coast-to-wherever-you-are...)

*
Ordering info: You can purchase from me directly for $12 (which is below publisher's price & includes shipping!) by clicking on the PayPal “Buy Now” button on the right-hand side. (If you’d rather not order through PayPal, please feel free to send a check to me: Andrew Peterson, PO Box 532, Marshfield Hills, MA 02051). Or, I heartily encourage you to purchase by visiting BlazeVox's website, here. Oh, & trades are great, too! (E-mail me!)
.

Thank you so much for all your love, friendship, support, & inspiration. Hope to see you soon!
.

Love, Andy

"Atlantic, Oh" (A Driftwood Suite for Bob Roley)

2010-03-21T10:12:00.000-07:00

HOo1rOi1zOo1nOt1aOl1D1i0g1i0t1a0lA1c0h1e0

2010-03-20T13:05:00.000-07:00

Color the Spines in Love, Part IV (for John Sakkis)

2010-03-13T10:05:00.000-08:00

"career moves---------------------& night-------------------------untain----------duberman---ult-----------madness and civ--------------------Clark Coolidge----------National Bestseller-------------------Turning the mind in------------The Crystal Tex"

"alling in Lover Falling in---------------------------et 56-----Paul Hoov---------------ipSoak 01-----------------------------Odes----------------Otium--------------Z-----------Ries Rose--------------Etel------------------------smarie Waldrop------------------CECI N'EST PAST KEI----------------IS VITIELLO-------------Irresp----------Treet The"

"owth---------------Andre----------of Diverse Shores-------------IER ISSUE------CRA---------------Jenny Bo-----------------------------Winter Sex Ka------------AS IT LEFT YOUR EYES -------------------our auto-biography-------------------------Paige ACK"

"Quare to Beat Genera------------------------HEATH----------------18 BAD BLO----------------------NASTY TA--------------------------HEADPRESS--------------------RT-------------------The Whip Ano----------------------------Linda's Stran-----------------------Lipstick Eleven-------------------------The Arab Apoc"

"The Meat and S----------------mac low------thing o-----------BAR"

"Ion Repo-------------------------------------------------------------------------------------------rcuits the blood can be------------------------(illegible)------------------SION'S PULL---------------------NGUAGE--------------------------------TSON'S MAGENTA SO"

"The Spoon------On Digital Poetics----------BR-----------------------------flim forum p-----------------------------think of one------------------------p.------------------------to wave-------------Tinfish--------------------------can Trip-----------------------------ROOF---------------------------------------------The Daze---Tam"

dried rhodes (in advance of spring)

2010-03-09T15:24:00.001-08:00

Do...Not...Seek...The Treasure!!! (en Portlandia, 2010)

2010-02-09T20:33:00.000-08:00

Museum of Thrown Objects: Roland Barthes Memorial Photography Wing presents "Arch(i)tectural Ser(i)es: Seven Self-Portraits"

2010-02-03T07:34:00.000-08:00
"The Photograph is an extended, loaded evidence — as if it caricatured not the figure of what it represents (quite the converse) but its very existence ... The Photograph then becomes a bizarre "medium", a new form of hallucination: false on the level of perception, true on the level of time: a temporal hallucination, so to speak, a modest 'shared' hallucination (on the one hand 'it is not there,' on the other 'but it has indeed been'): a mad image, chafed by reality." - Barthes, Camera Lucida: Reflections on Photography

.

.
"I want a History of Looking. For the Photograph is the advent of myself as other: a cunning dissociation of consciousness from identity. Even odder: it was before Photography that men had the most to say about the vision of the double. Heautoscopy was compared with an hallucinosis; for centuries this was a great mythic theme." - RB, CL

Sometimes you find yourself there...

2009-10-31T16:23:00.000-07:00

Happy Hallowe'en!!!

LAZARUS Or, Don't Drink the Water

2009-07-24T16:26:00.000-07:00

Harpswell, ME. July 09
.

Color the Spines in Love, Part III

2009-07-08T08:17:00.000-07:00

"Diant Silhouett-------------the end of the-----------diaspora-------------(illegible)------rs"
"Day & Night---------reer moves----------s and civilization------------eum of Thrown Objects---------------the Portable------------------the pleasure of the text"

"To 9----------------Acc--------------Cover a Page-------------Acconci------------A Helen Adam R---------------------Gu------t----Colle-------Poem---------Barb--------Gu"

"Amiri Ba----------------READ-------AMI BA-------------the ANG--HA---------------he-----ades-----ject"

"ianic trees-------Kit Robinson-------------Demons in America----------John Gio-----------a Beautiful Monster----------Pic-------------ORLD CHAN-------Guide for th 21st----------Unbound----------miller, editor"

Flashlight Flowers (for Jared & Jen, then)

2009-06-02T17:32:00.000-07:00

The Night Commutes

2009-05-31T17:57:00.000-07:00

Color the Spines in Love, Part II

2009-03-08T07:58:00.000-07:00

"Sings----------------COLLO-----------Jack-------ouac----------Desolatio----------------cteau--------------The Holy Ter---------------------beach-----------Leslie Scalapino"

"The Iron Tonic----------H---------------Farewell to Arms------------The Naropa Press 20"

"nne--------yger--------OUT OW--------llected oems--------------BERRIG---------The Collected Poems of------------------------ne------ar---------cit"

"WORD--------------The WILLIAM S.BUR----------------i-------------Architecture-----------ve of Light---------------------New and Se------------MAXIUMUS P-----------N"

"7---------MAT---------7------MAT------------an annotated checklest-----------ARRON---"

"McSW-------Quarter--------s-----------------------------Cultural Affairs in Bos-------------PROPHECIES--------John Weiners--------ins Through Slau------------------------ILCO B"

Edie Sequence 9: "What is the felt experience of cognition at the moment one stands in the presence of a beautiful boy or flower or bird?" *

2009-02-26T17:18:00.000-08:00

Gao-chao*

2009-02-26T16:45:00.000-08:00

Note*: Gao-chao, Mandarin Chinese for "orgasm", or literally, "high tide"...

Edie Sequence 8 1/2: "In This Place Called America"

2009-02-23T14:32:00.000-08:00

Edie Sequence 7: Life on Mars*

2009-02-23T13:49:00.000-08:00

* Note: The color of these images has not been manually manipulated; rather, the discoloration is from the natural deterioration of the film over time...

A pulse, as if the backstreets commemorates our fraying ropes of light

2009-01-28T15:48:00.000-08:00

in blurring body rushes a song for cold wings

2009-01-28T10:41:00.000-08:00

Memory : Identify : As : Twelve : Year : Old : Shadow : Slides

2009-01-27T17:46:00.000-08:00

Edie Sequence: "Copenhagen, Nova Scotia"

2009-01-14T19:34:00.000-08:00

Video: Wolfman/Dirty Knife

2009-01-14T16:28:00.000-08:00

In Advance of Spring (Fenway Dream)

2009-01-14T14:02:00.000-08:00

14/1/o9. 19 degrees and cloudy. Chance of snow and showers overnight. Low 11. Winds WNW 1o-15 mph. Chance of snow 6o%.

"that they were at the beach -- aren't retroactive"

2008-12-29T16:30:00.000-08:00

tree & river fox & fence

2008-12-29T16:26:00.000-08:00

"because/ there are waves in the night/i give to you waves/in eternal nights"

2008-12-07T07:24:00.001-08:00

"Because there are trees in the night I give you / the eternal trees of night"

2008-12-03T19:47:00.000-08:00

"Because there are stones in the night I give you waves, / in stone / the descriptions of night."

2008-12-02T16:52:00.001-08:00

Color the Spines in Love, Pt. I

2008-11-08T07:29:00.000-08:00

"Axel's Ca--------Birds----Donald--------American Poets-----Muriel Ruckeyser-----selected poems----------0th Anniversary Edition.-----The Ivory-Billed Woodp-----the opening of the"

"O to 9----------Jac---some of the dh-------Sou"

"lloy-----Samuel Beckett----------na Osman---------now-------Coffee House Pr-------OEMS-------Ron Paget------e---Perfect------------in the white botanica-------piero helicz----------Borrowed Love Po-------s/walls/yard/ways"

"ino---------if on a winter's nigh------------cted Poems of Weldon Kees-------------issue two-----ul sartre--------IDDER-------str-------wha-------------Summer 2005--------Winter 2007-----------Autumn 2007-------------Autumn 2006-------------Autumn 2006"

"SH POETRY---------Derek------------Harrison & Ted Kooser BRAID-----------------D of the mind---Lawrence Ferlinghetti----------Routines---------------awrence Ferlinghetti---------Open Eye, O-------------ng of Bone----------iot-------------erican Prose Poems---------Da--------Luis----------GES"

"Holy Forest-------Rob---------William Shakespeare------------A BERNADETTE MAY---------------------------------------aire--------Notebook of a Return--------------------Happy Birthday of Death"

Edie Sequence 5: "Easter Monday"

2007-04-07T20:27:00.000-07:00

i.m. Ted Berrigan &
i.m. Edith Nelson

Edie Sequence 4: "To Conversations"

2007-04-07T19:58:00.000-07:00

After Kenneth Koch
for Jared Hayes &
i.m. Edith Nelson

Edie Sequence 3: "Laughing"

2007-04-05T19:44:00.000-07:00
I laugh
I laugh
You laugh
We laugh
Nothing else matters
But this laughing we love
You just have to know how to be stupid and happy

- Blaise Cendrars

I laugh

I laugh

You laugh

We laugh

Nothing else matters

But this laughing we love

You just have to know how to be stupid and happy

Edie Sequence 2: "Manhatta Dream"

2007-04-05T17:47:00.000-07:00

i.m. Edith Nelson

Manhattan Dream

2007-04-05T15:53:00.000-07:00

for Mark Olsen

Edie Sequence 1

2007-04-05T15:13:00.000-07:00

i.m. Edith Nelson

Jetty, Jete

2007-03-25T19:34:00.000-07:00

for Jared Hayes & Jen Dunlap

1.

2.

Leaf Petit Mort

2007-03-18T20:07:00.000-07:00

Washington Dream

2007-03-18T10:04:00.000-07:00

for Roger Walter

I.

II.

Briar house

2007-03-13T17:32:00.000-07:00
A picture-sonnet for Paul Celan

The Drunken Boat

2007-03-13T15:41:00.000-07:00