Sunday, March 27, 2011

Brian Foley [Part Two]




CREELEY EYE


in the former
place

the sun stands

my calluses fall off
just an hour
from darkless

dumb impersonates
calm with
a conversation feel

the eye that puckers
at mine

the eye one half
my own fault


Brian Foley is the author of the chapbooks The Constitution (Horseless Press, 2011) & The Black Eye (Brave Men Press, 2010). His poems have appeared or are forthcoming in Boston ReviewSpringgunAction YesSaltgrassColumbia Poetry JournalPoor Claudia, & elsewhere. He curates the jubilat reading series in Amherst, MA, and co-runs Brave Men Press.

Sunday, March 20, 2011

Brian Foley


MOON ABOVE THE LAW


what we
dress slow

what 
erases it

we may
know

each

on our own
companionship

acquainted
with

what costs
most

is no
longer

not at fault

like the moon
things happen

only once in



Brian Foley is the author of the chapbooks The Constitution (Horseless Press, 2011) & The Black Eye (Brave Men Press, 2010). His poems have appeared or are forthcoming in Boston Review, Springgun, Action Yes, Saltgrass, Columbia Poetry Journal, Poor Claudia, & elsewhere. He curates the jubilat reading series in Amherst, MA, and co-runs Brave Men Press.

Sunday, March 13, 2011

Elisa Gabbert

from The Self Unstable




Crows can tell one human from another, but we are unable to distinguish among various crows. This is mischaracterized as a paradox. Humans may be racist, but crows can’t read, and robots can’t really dance. All species evolve toward overspecialization. If you find anything other than food or sex interesting, it’s signaling.    



§


In a movie culture there is no play within the play. Writers hope for good actors, but when the acting is good you don’t notice the writing. The audience wants immersion, not realism; realism is no more immersive than reality, and no more a genre. If truth is a sliding scale, one must test the extremes.   



§


A paragraph is a way of saying one thing over and over again. Books are an act of supreme redundancy. What’s the difference between ambivalence and ambiguity? POV.



§


You lose naïveté before you gain wisdom. In the interim, you believe that everything is about sex. Your dreams are given to obvious motifs: the motif of your blows falling weak and ineffectual, glancing off the enemy. The motif of the foreign airport, being unable to pack, having nothing to wear. In dreams, even sex is symbolic of sex. All art is conceptual.




Elisa Gabbert is the poetry editor of Absent and the author of The French Exit (Birds, LLC) and Thanks for Sending the Engine (Kitchen Press). Her poems have appeared in Colorado Review, Denver Quarterly, The Laurel Review, Pleiades, Salt Hill, and Sentence, among other journals, and her nonfiction has appeared in Mantis, Open Letters Monthly, and The Monkey & The Wrench: Essays into Contemporary Poetics. She currently lives in Boston and blogs at The French Exit.

Sunday, March 06, 2011

Natasha Kessler [Part Three]




Natasha Kessler is a graduate student in the University of Nebraska's MFA program. She co-edits the online poetry journal Strange Machine and enjoys collaging when she is not poeming. Her poetry has appeared in PlainsongsPlains Song ReviewAlligator JuniperSub-litSugar House Review, and Grey Sparrow.