Textile Series Chapbooks
The Textile Series features handmade fabric-bound chapbooks for experimental readers and writers.
Enjoy lovely chapbooks by MMisty Harper, Emily Carr, Charles Alexander, Beverly Dahlen, Paul Klinger, Kevin Holden, Julia Bloch and David Leftwich!
"In Sophie Seita’s Meat, the witty rigors of the dainty butcher and are butchered (the product of femininity both cleaver and carcass seemingly destined to be sectioned into retail-ready portions). In the racialized and gendered economy of our atmospherically fractured colonial violence, you get you a piece of meat so sweet. Or not. Seita folds us in through the discourses we’ve been eaten by." - Laura Elrick
Written during the new weeks of parenthood, The City is an energetic and relevant sweep of Houston--a city of difficult economies and sticky relationships.
What is the individual’s relationship to corporate notions of personhood in the twenty-first century? These pieces use the prose poem form to engage with this theme through the politics of fertility, playing connection and disconnection against each other via the line to chart the edges of personhood.
In this chapbook, Holden explores sublimation as snow turning into air and the psychoanalytical concept particularly at it relates to queerness strategies, ie "channeling their repression into the glinting (snow)".
i had hoped to make an alphabet of teeth, all the forms resting in
boxes suggested it, as the roots of the teeth bend in ways that suggest
meanings can be distinguished. The linguistic capabilities of a
carnassial or incisor, whereas a molar seems bound / boulder / solid /
vowel / in the middle of. The curl of beaver’s incisor almost a “C” the
teeth of homodonts become my vowels, my most common usages...
In this chapbook poet and artist Paul Klinger explores the intimacy and expiration of teeth. Cataloged beside these strange and exuberant lietmotif poems are the blunt fonts of found teeth -- those of horses, grandfathers and daughters.
These two poems by Beverly Dahlen drift between the gravities of personal and political matter, teasing out the imperative we have to our environment and our neighbors.
The sense of flow in some ways dominates a work that changes many times, from the straightforward to the farcical to the mythopoetic. These two sections of a longer book present a somewhat meditative work, and one in which the title suddenly becomes a character walking through the landscape of the poem or of a world.
Stay this Moment: The Autopsy Lyrics, Acts 3 & 4, an excerpt from Emily Carr’s longer novella-in-verse, constructs a sexually charged patchwork of characters and themes, all predicated on a skepticism toward both the world that contains them and that which they contain.
Rose Incus is a quirky and delicate collection of poems by Altanta poet, Misty Harper. Many of these poems' titles feature the mysterious names and dates of strangers: Past Hooker (1921-2009, California), Voice Gurr (1906-1971, Michigan), Mitter Spellers (1911-1976, Florida) and more. With only these names, dates and places; Harper pieces together little wisps of persons in an experimental (and oddly intimate) language of portraiture.
It's fall and we know you'll fall in love with these new chapbooks by Hank Lazer, Carrie Hunter, Sara Lefsyk, Trevor Calvert, Amanda Davidson, Lauren Levin, JOnathan Skinner, Pattie McCarthy, Jenn McCreary, Brenda Sieczkowski, C.E. Putnam, and David Hadbawnik.
Read about the romance of star-crossed lovers Dido and Aeneas, with more intrigue and drama than an episode of the Vanderpump Rules!
Read about bleeding shrubbery, shipwrecks, prophecies, monsters, and Aeneas wondering what the point of it all is...
The Bunny Manuscript (Episode 3) is an excerpt from a longer work in progress, entitled The Bunny Manuscript. This weird volume is a time/space-travelogue composed of lessons, tales, lyrics and images of characters including Herf, the BUNNY, FOOT, Ben Franklin, Spooky, Yaks and Evol Ghosts.
Eclectic, energetic, exuberant are only a few words to describe this set of delicious images Brenda Sieczkowski parades before us. First, we have mashup of balloons: from those of lumber Macy's Day to the use of "meat balloons" in French cuisine. "The Great Plains Alchemy of Weather" draws from the Mid-West, where the earthiness of farmland meets the synthesis of the artificial.
“Sieczkowski's poems are funny and dangerous, prophetic and whipsmart—asking us what we owe each other, what we believe in, what we can know of the selves and worlds that tumbleweed onto our psyches or trail after us like flotsam.”
— Donna de la Perrière
Written over correspondence via text message & email while on (separate) vacations with their respective families during summer 2013, & revised/tidied up upon their return, worrywort should be read while listening to the radiohead song with the same name.
Chip Calls is a new collection of “warbler” poems based on the following constraints:
1) acquaintance: add the bird to your “life list” before writing;
2) voice: listen to its song, translating rhythm and pitches;
3) plumage: note the bird’s color and pattern;
4) behavior: attend to habitat and details of foraging, breeding, nesting and migration;
5) range: name a far away place, since warblers link humans across hemispheres;
6) languages: include words from poets writing in the North as well as the South—warblers feed on both sides of the border;
7) nonsense: acknowledge that warblers are restless, hard to see, and give you a crick in the neck.
Written during pregnancy, The Lens is an attempt to be "about" both the intense emotional and bodily experience and a re-evaluation of the author's Reagan-era childhood and anxiety. In this wonderfully sticky lyric, the pastoral acts as both trap and balm for past and future.
North Give Flesh to Wind is a wind-burned collection of poems that probe mythological natives of power, escape, and the north wind. Here, the natural landscape becomes stage for a cast of characters including the North wind (kind of an abstract sovereign), a boy, geese, fur, secret agents, whistling, girls, a Queen with a math-skirt, wolves.
Arcanagrams: A Reckoning re-imagines inherited cosmology using only the letters found in certain family and religious names. These poems are a wrestling and a reckoning with certain tenets of the small religious sect the author was raised in, which was based on the writing of Emanuel Swedenborg, an Enlightenment-era scientist and revelator. The resulting odd spellings and tilted grammar are meant to defamiliarize some of Swedenborg's punishing ideas around gender, while obviating the compellingly weird aspects of his writings.
Sara Lefsyk’s A Small Man Looked At Me is composed as a sequence of short prose sections. The design allows each paragraph/stanza to wrap over to the subsequent page, allowing for something far more compelling than had everything been standardized. It allows an interesting take on the prose, suggesting a more organic and linked progression from section to section. An imagistic sequence of self-contained pieces, each prose-section works to accumulate slowly into the realm of extremely short novella, heading towards a subtle and soft denouement.
- Rob mclennan on A Small Man Looked At Me
Scienza Nuova is a small collection of prose poems riffing off of James Joyce's Finnegan's Wake. Written in a step towards dreamspace, collage, fragment, history--LRL has redesigned the reading experience by tilting Hunter's already off-kilter paragraphs this way and that.
Like Lazer's other notebook poems, these handwritten poems are discursive and poetic readings-as-renderings—this time, thinking & writing through of several works of Merleau-Ponty including The Prose of the World, The World of Perception, and Phenomenology of Perception.
Chapbooks by Emily Carr, Caroline Knapp, Stephen Nelson, Brooklyn Copeland, Elizabeth Robinson, Brad Vogler, Steve Gilmartin, Houston Poetry Collective, John Harkey, Mary Kasimor, Craig Dworkin, Jared Schickling, Jen Tynes, Jen Hofer, Charles Alexander, Beverly Dahlen, David Hadbawnik, Adam Fagin, Doug MacPherson, Matt Reeck, Forrest Roth and Dawn Pendergast
We're pleased to bring you two mini-chapbooks by Dawn Pendergast. My Speaker, she does not know whom to float to is is a tiny group of poems written by perusing an aquarium manual. This chapbook features remnant fabric.
Croc is a rather bullish collection of love poems featuring crocodiles and alligators. The front cover features sections of alligator prints by Dawn's husband, Paul Klinger. All prints were made by applying paint directly to alligator carcasses and then pressing paper against the painted surface. Each minichap is very different!
"The Sullen Pages" is a prose poem sequence taken from a longer manuscript in progress built around an archaic pastoral theme, using primarily the lack of referents to revisit and undermine the traditional genteel pastoral. Many of these pieces were written under the influence of Gertrude Stein, Susan Howe and other poets, as well as ethno-ambient music by such artists as Alio Die and Amiri Baghiri.
The Pastoral City is the fourth of a five-part manuscript by Matt Reeck called Transparencies that works through theme and variations. The writing alternates between prose and poetry and looks at the world as a fit home. Yet it also thinks about the dichotomies of self/group, mind/body and city/country that cloud the fact of the earth being a fit home.
This collection of poems is an excerpt from a larger work called sheep dip, a creative translation of O Guardador de Rebanhos by Fernando Pessoa, who wrote it under the persona of Alberto Caeiro, a shepherd. It is also in conversation with two English translations of Pessoa's book—The Keeper of Sheep by Edwin Honig and Susan Brown and Sheep’s Vigil by a Fervent Person by Erin Mouré.
'The sounds which I hear with the consent and coincidence of all my senses,' writes Henry David Thoreau in his Journal, 'these are significant and musical.' T's Alphabet by Adam Fagan subjects Thoreau's language to a set of procedures, seeking to arrive, with the 'consent and coincidence' of poetic sense, into the music of Thoreau's mind—earthy, atmospheric, wildly discursive.
While the Aeneid needs little introduction, Hadbawnik's categorically UN-stilted translation highlights its modernity and experimental tendencies. The poem appears side by side with black and white reproductions of Carrie Kaser's lovely art work which is also used in the cover design.