Thursday, December 13, 2018


What does it say when both Republicans & Democrats support censorship of media sources that report stories that don't support the popular narrative?  Well, if you've read Edward Herman & Noam Chomsky's Manufacturing Consent--if not, you should--then you know the amount of painstaking hours of research & analysis that went into their creating the propaganda model to show that America's so-called "free press" is controlled by the corporations that own them if not the government itself.  Indications that the mainstream media serves as a proxy purveyor of government propaganda can be found in a few online articles linked below.

First, two of America's leading, supposedly reliable newspapers, The New York Times & The Washington Post, suggest that it's at "times" best not to "post" the truth--hmm, sounds suspiciously like fake news--an admission of sorts of their intent to manipulate readers into buying a particular version of the news (as well as subscriptions) rather than to inform.  Click here.

So important is it to control public opinion that the corporate media will present only information that supports a particular agenda, regardless of how flimsy the evidence.  If unsubstantiated allegations don't do the trick, the media will actually lie to further the cause.  Furthermore, those who present evidence that refutes the popular narratives are subject to vilification & censorship. O, how they fuss & fume at the internet, destroyer of truth, liberty & the American way of telling you what you think!  At times, as in the case of Wikileaks, corporate media lackeys seek retribution for those who dare oppose them, even at the cost of (kaff kaff) freedom of the press itself.  Click here.

Also, since so many people use it as a general information source, it's useful to know that Wikipedia is not neutral but presents a decidedly neoliberal bias.  Click here.

My point is not that you shouldn't believe anything mainstream media sources say, but that you shouldn't believe everything.  In fact, it's a good idea to view news reports in general with a healthy amount of skepticism.  We don't need Facebook, Google, etc., to filter our news (few would support government censorship, so why condone corporate censorship?); we need to learn to think for ourselves.

Thursday, November 1, 2018


I’m very pleased that my poem “What Are Today’s Poets Doing? is in the latest issue of Lotus-eater.  Many thanks to the editors. 

Monday, October 22, 2018

Examples of Irony

Wow!  SNL socked it to President Cheeto again!  Admittedly, I'm basing this on the Bing's "news" headlines.  I haven't watched that show since Belushi OD'd.  For that matter, very few of the skits from the early episodes of SNL stand the test of time the way Monty Python does (see illustration), but that's beside the point.  My main gripe against what passes for political satire in the corporate-controlled mainstream media is not so much its stale brand of humor, which is irksome, as it is the notion that's what's wrong with America goes no deeper than the personal foibles of one blowhard with a terrible comb-over.  To say such "satire" suffers from oversimplification is oversimplification.  The fact is, America's problems are systemic.  Every US administration shares the blame for America's history of horribly fucked up policies.  

Monty Python, Dead Parrot Sketch, Oil on canvas
Trump, despicable as he is--& he's Looney Tunes levels that--isn’t unique among presidents.  You ever notice how much he's like Ronald Reagan?  Both are Republicans, former TV personalities, & racists.  Probably the biggest difference between the two is perception.  Last I heard, much of the media & most people dislike Trump, yet loved--perhaps still love--that miserable yakking asshole Reagan, idiotic knob that he was.  

Well, I suppose such a shift in sentiment counts as progress these days.  I mean, sure, voters still elect bigots, but at least they don't like them, right?  It’s the same sort of pinheaded progress exhibited by Senate Minority Leader Chuck Schumer when he proposed renaming the US Senate Russell Office Building--named for Georgia Senator Richard Russell, a staunch supporter of Jim Crow laws—after John McCain, who voted against making Martin Luther King Day a federal holiday.  Jesus & everyone in D.C. wants to wax poetic to eulogize McCain as a hero & statesman, never mind his hawkishness & corruption. I get it--McCain died.  But not speaking ill of the dead doesn’t necessitate blindly heaping kudos upon the departed, so pardon me if I don’t participate in the McCain lovefest.  Also, fuck Chuck Schumer.

Saturday, September 1, 2018

Friday, August 24, 2018

Fistful of Book Reviews

Great Expectations, Charles Dickens.  My expectations, fairly high during the early part of the novel, dropped substantially during the middle, but rose to an acceptable level by the book's end.  All in all, I regard the novel as good, but great--?

A Distant Star, Roberto Bolaño.  Reminiscent of The Savage Detectives--both stories share a common narrator & originate in poetry workshops --A Distant Star is set in Chile during Pinochet's reign.  I've attended numerous workshops myself, but Alberto Ruiz-Tagle is way worse than any of the poets I've met, & that's saying something.  I've yet to read 2666, though it's on my to-do list, as is The Unknown University, Bolaño's collected poems.

Collected Poems, T.S. Eliot.  Whenever I hear Eliot crowned the greatest poet of the 20th century, I have to wonder if the person making that claim has actually read Eliot's Collected Poems.  It's not that long.  Eliot didn't produce all that much poetry comparatively.  While it's true that quality is a better measurement than quantity, after The Waste Land--& for that matter, in parts of The Waste Land, a significant though deeply flawed work--Eliot seems to steer windward from his early success as a poet.  Preachy diatribes replace imagery; abstractions lie atop abstractions in tottering stacks of abstractions. So imagine my chagrin when a former colleague referred to Four Quartets as Eliot's masterpiece. For starters, shouldn't it just be Quartet?  Beyond that, the poem is irrevocably marred with long-winded, meandering prosaic passages, as well as what sounds at times like nostalgia for his poetic roots, but here, one cannot say what those roots clutch, what branches grow out of this stony rubbish, for it seems little more than a heap of broken images.  He's an important literary figure, if for no other reason than Prufrock & Other Observations, but opinions about Eliot should be tempered with the simple fact that, as crazy as it sounds, he never quite fulfills his early promise.

A Scanner Darkly, Philip K. Dick.  This novel about the drug culture (think 60s counterculture) reads not so much as sci-fi as crime noir psychedelicized.  It occurs to me now that the person who dubbed Eliot's Four Quartets a masterpiece was perhaps addicted to Substance D.

The Art of Syntax, Ellen Bryant Voight.  Her explication of syntactical rhythm's OK in certain chunks, but other chunks were a bit too much on the chunky side for my tastes, chunk-wise.  My main complaint, which may seem petty, is that Voight feels the need to prop up the poets whose works she's cited, determined to make us understand that they, as Pee Wee Herman would say, "meant to do that," i.e., whatever she's pointing out they did.  Fair enough, but I assume that most poets know what they're doing--particularly established poets, such as those Voight's chosen--so I have to wonder who she saw as her audience.  Besides, for that matter, what does it matter if the poet created the rhythmic effect purposefully or by chance?  The result would remain unchanged--as should the analysis.  I don't mean to suggest that her book lacks any value, for Voight offers many valid insights throughout, but I wish she had limited the discussion to the poems themselves, rather than pumping up poets for their awesome displays of craftsmanship.

What We Talk About When We Talk About Love, Raymond Carver.  I'd probably not read this slim volume of stories in ten years or so, but reading it again reminded me of the many reasons I like Carver.  He's always among the writers I talk about when I talk about writers I like.

Through the Looking Glass, Lewis Carroll.  While one will find many of Carroll's iconic characters, such as the White Rabbit, Cheshire Cat & Mad Hatter, in Alice's Adventures in Wonderland, I prefer Through the Looking Glass, which includes a parody of Wordsworth, because it's just plain funny. Those who have never read Carroll probably know his work through TV shows & movies, but these often prove adaptations in little more than title, using Carroll's premise to create their own goofy, upside down, topsy-turvy worlds, hyuck, which, by & large, fall regrettably short of Carroll's original vision & wit.  Tim Burton, for example, sucks.  If you've never read Carroll's stories, you can easily remedy that in a sitting or two.  There's also a rather faithful adaptation (outside of the initial narrative framing & the welcome inclusion of the lost chapter) of Through the Looking Glass, starring Kate Beckinsale, which you can watch here.

My Antonia, Willa Cather.  "In farm-houses," Cather writes, "somehow, life comes and goes by the back door."  Despite my age, I'm still too immature to hear something like that without giggling.  Told from the perspective of Jim Burden, looking back on this childhood in Nebraska, the novel moves at a fairly steady pace & is enjoyable enough--if you like Little House of the Prairie sort of shtick.  However, the introduction of the blind troubadour Samson, a former slave, is problematic.  In terms of the first-person narrative frame, Jim Burden couldn't know the minutia of Samson's upbringing, much less his thoughts.  Nor could Cather, it seems, given her embarrassingly bad, stereotypical depiction of African-Americans, as Elizabeth Ammons (Conflicting Stories) & remarkably few others point out. Moreover, it's unclear why Cather chose to include Samson's backstory since the character serves no plot purpose, & he disappears from the novel shortly after he's introduced, never to be seen again.  On the plus side, Cather presents positive portrayals of women.   

Nip the Buds, Shoot the Kids, Kenzaburo Oe.  The New York Times calls Nip the Buds, Shoot the Kids a cross between Lord of the Flies & The Plague.  Admittedly, I'm not predisposed to trust what the corporate lackeys at The Times say about much of anything, but dystopian novels about kids isolated from adults can't help but remind one of Lord of the Flies.  The kids in Oe's story, however, demonstrate greater humanity than the grownups.  As for the comparison with The Plague, well, quite frankly, I'm avoiding it.

Lord of the Flies, William Golding.  So I reread it, & the way I see it, it's not so much about what happens to kids without adult supervision as much as it is about what happens when kids imitate adults, you know, those grownups engaged in the war that caused the evacuation & subsequent stranding of the kids on the unsupervised island.

The Plague, Albert Camus.  Then I sucked it up & read this, too.  It's an interesting read, though the ending goes on too long with unnecessary explication & quite a bit of philosophizing about the psychological & sociological effects of the plague & perhaps all disasters.  As for NYT's comparison mentioned earlier between Nip the Buds, Shoot the Kids The Plague, both are concerned with plagues, but otherwise, they're about as much alike as Moby Dick & Moby.  Still, thanks to the Times' prodding, I've completed the trifecta of Camus novels, which I would rate, from best to worst:  1) The Stranger; 2) The Plague; 3) The Fall.

The Red Badge of Courage, Stephen Crane.  Ah, nostalgia!  In high school, when I first read this, we studied this as an antiwar novel, but as I reread it now, it seems not so much anti as it is a war novel.  Overcoming one's cowardice & becoming a lean, mean fighting machine doesn't strike me as a particularly strong antiwar statement.

Up from Slavery, Booker T. Washington.  Reading this book is like listening to Fox News. While Washington provides many uplifting stories about his rise from slavery & poverty, he seems to be a bit of an apologist, holding the opinion that although slavery as an institution is immoral & abhorrent, former slaves enjoy a better life in America than they would have had in Africa. Washington spends a good portion of the book relating the recognition & acclaim he's received for his total awesomeness from newspapers, educators, civic leaders, European nobles, & even U.S. presidents, such as Grover Cleveland, who Washington pronounces bigotry-free.  Like Cleveland, Washington is also anti-union, suggesting that strikes are the result of the infiltration of rebel-rousing reds egging on workers who've earned so much money that they want time off to indulge in their vices.  Later, Washington lavishes praise upon the wealthy, recounting anecdote upon anecdote of the largely unnamed, unknown, beneficent rich, who see as their duty the betterment of the world.  To be fair, as an example of such altruism, Washington cites robber baron Collis P. Huntington--yeah, & in further irony, Andrew Carnegie.  Although charity is necessary & good, Washington believes any steps by the state toward wealth redistribution would cause civilizations to crumble, arguing, in essence, that the rich are job creators, so leave them alone,you bastards.  It's easy to understand why Washington fell into disfavor among progressives.

The Taming of the Shrew, William Shakespeare.  I reread this to help me consider the question of whether Shakespeare's intent, given his positive portrayal of women in other plays, was satirical, & after looking over the text--which is, after all, what the reader must ultimately rely upon in such analysis--I've come to the conclusion, um, regrettably no.

The Merry Wives of Windsor, William Shakespeare.  O! the joys of cuckoldry!

First Time Reading Freud, Douglas Goetsch.  I met Goetsch many years ago at an Iowa summer poetry workshop that he taught & he seemed like a good guy, so I bought this chapbook from him, cash on the barrelhead, whatever that's about.   It's a fine little chappie.  I especially like "Your Town."  I also find these lines from "1970, Port Jefferson Harbor" particularly nice:

        Beyond was Long Island Sound,
        where we'd never go.
        I could see Rocky Point,
        high and thick with trees,
        white mansions peeking
        through the green like
        canvas behind a painting.

The Low End of Higher Things, David Clewell.  Clewell's a list maker.  Relying almost exclusively on listing to establish rhythm, he lists almost anything & everything ad infinitum if not ad nauseam. Long lines resembling prose lend themselves to his expansive tendencies, a technique that works well in various of his dramatic monologues (or perhaps non-dramatic monologues, given Clewell's sly sense of humor).  Yet at other times, the poems in this collection seem to ramble on far too long, leaving the reader wishing that Clewell would whittle his lists down.  Although on the wordy side, the book's well worth reading, if for no other reason than "CIA in Wonderland," a retelling of the agency's covert experimentation with LSD. 

September Blackberries, Michael McClure.  I owe McClure an apology.  For years, I've insisted that September Blackberries is the worst book of poetry ever written.  Part of my misjudgment possibly arose from McClure's tendency to "write rapidly and without judgment" ("Xes--A Spontaneous Poem").  As a result, many--if not most, if not indeed all--of these poems (each centered in lieu of hard left margins, in an attempt at creative typography) sound like the stereotypical rants of a New Age thinker on acid.  For instance, in "Mantra, Brother, Mantra," McClure, for no discernible reason, says, or rather--by employing ALL CAPS, which he does randomly & frequently throughout this volume--screams "MEAT IS INTELLECTIVE!" no less than seven times.  There are points of varying validity that McClure wants to make beyond the notion that all life is meat, a recurring theme, but even then, he tends to come across as a raving madman conjuring disconnected images & wild abstractions.  McClure's endeavors are ambitious, his failures spectacular.  However,  as Ted "Theodore" Logan, Esquire, would indubitably agree, despite the many deficiencies, it is

                                          NOT, NOT,  NOT, NOT,

                                          NOT, NOT,  NOT, NOT,

                                                 THE SHUCK
                                                  OF WIMPY
                                               ASTRONAUTS. ("Beginning with Two Lines By Eigner")

Yeah, well, I stand corrected.

Cairo Traffic, Lloyd Schwartz.  It begins with "A True Poem," excerpted below:

     I'm working on a poem so true, I can't show it to anyone.

     I could never show it to anyone.

     Because it says exactly what I think, and what I think scares me.

     Sometimes it pleases me.

     Usually it brings misery.

     And this poem says exactly what I think.

     What I think about myself, what I think about my friends, what I think about my lover.


It doesn't get any better--& I don't mean that as a compliment.  Stylistically, if that's what you want to call it, Schwartz often employs a form of prose poetry, but it's not very good prose, much less poetry.  His mawkish sentimentality & amateurish expressions are mostly devoid of imagery, which, when it does appear, it does so almost meaninglessly in a void--a poorly constructed one, but definitely a void.

Mexico City Blues, Jack Kerouac.  Kerouac largely eschews Mexico's vast history, which includes both the Aztec & Mayan civilizations, as a source of metaphors, opting instead for American, European, or inexplicably in at least one example, Egyptian culture.  He invokes the likes of Voltaire, Shakespeare, Melville, Twain, & various other Western icons in lieu of figures from Mexican art & literature.  Such exclusions possibly derive, in part, from what Octavio Paz characterizes in On Poets & Others as a bias in the West against Spanish & its speakers. In fact, the scarcity of imagery specific to Mexico City or Mexico in general would surely be the most glaring problem with this volume if these 242 numbered "choruses" didn't seem less like poetry than conglomerations of words smashed together on the page.  Kerouac demonstrates a rudimentary understanding of poetics at best.  His use of random, mostly nonsensical rhymes suggests that he believes if it rhymes, it's poetry.  Like a novice, he frequently lets the rudder of rhyme steer him off topic, though the blame may not lie with the rhyme.  The habitual lack of focus, in light of the numerous drug references scattered throughout,  may lead one to suspect that Kerouac, perhaps "goofing" as he scribbled & doodled in his pocket notebook, never sobered up--at least never enough to revise.  His sporadic invocations of what Kenneth Rexroth dubs "a dime-store incense burner" Buddha often conclude with a single image, a good strategy that in Kerouac's waxy hands goes awry, as these images are mostly unrelated to what precedes them.  Some Kerouac defenders claim that Mexico City Blues should be read as a single poem--in a single sitting, according to Anthony W.T.F. Hecht--not as a series of individual poems; however, rather than remedy, such suggestions merely add to the myriad problems with the text, for the predominant thread running through it, sorry to say, remains bad writing.   "No worst," Gerard Manley Hopkins exclaims, "there is none," & one may argue he foresaw the ill-fated New York Herald Tribune comparing his work to what's in this book.  Seriously, does anyone, even the most ardent Kerouac fan, actually hear Hopkins in this collection?  

Click here for another fistful.

Friday, June 1, 2018

The Following Is a Self-Promotional Announcement (SPA)

You’re sure to happen upon—while browsing the variety of poetry, prose, art & hybrids thereof in the summer issue of After the Pause—my poem “Very Bad Flowers.”

Thanks to the good folks at After the Pause.

Wednesday, May 30, 2018

Fleegle the Banana Split, a Fortnight Dead

O you who turn cartwheels and look to cartoons of Jay Ward,
Consider Fleegle, who, though not handsome, was taller than you.

--Tommy Eliot

Wednesday, April 25, 2018

Fighting Fake News with Fake News

After billionaire schmuck Mark Suckerberg (British spelling) testified before Congress that he'd allowed Cambridge Analytica to use Facebook as a virtual glory hole, I expected the scandal would force the US to expel British diplomats, make the BBC register as a foreign agent--in my opinion, The Guardian too--& vilify, besmirch & otherwise smear the Queen & Theresa May. 

OK, the last of these I do anyway & it's nothing to do with Cambridge Analytica.  

The upshot of the scandal/investigation/bullshit is that Facebook (as well as Twitter & Reddit, if I'm not mistaken) is stepping up its efforts to filter feeds to protect us from fake news.  I'm not sure exactly how the censorship--er, filtering--system works, but I'm pretty sure its purpose is banning any info or opinions that our corporate overlords don't want shared.  Instead, FBers will be treated to generous & unadulterated doses of propaganda based on flimsy to no evidence in support of our latest war--er, "humanitarian intervention"--followed by a fluffy feature on Meghen Markle's upcoming royal nuptials.

If you haven't read Herman & Chomsky's Manufacturing Consent, you should.  In the meantime, in case you've forgotten Judith Miller, New York Times lying sack of shit columnist Farhad Manjoo's "For Two Months, I Got My News from Print Newspapers.  Here's What I Learned" serves as a risibly good example of just how untrustworthy so-called vetted news is.

Saturday, March 31, 2018

Fistful of Book Reviews

In the Time of the Butterflies, Julia Alvarez.  Sobbed my way through this tragic (based on real life events) story of the Mirabal sisters during Trujillo's reign in the Dominican Republic.

Ham on Rye, Charles Bukowski.  The On the Road of the K-12 crowd.  Certain passages sound very much like Bukowski's poetry.  Whether that's good or bad is a question readers must decide for themselves.

Plato & a Platypus Walk into a Bar, Thomas Cathcart & Daniel Klein.  Explaining philosophical concepts through jokes may sound funny, but the jokes are stale & the relationship to philosophic principles is often strained.  Well, I didn't get it.

Manufacturing Consent, Edward S. Herman & Noam Chomsky.  Great analysis & indictment of the "free press" & its wont to legitimize & enable insidious US foreign policies.

America's Deadliest Export: Democracy, William Blum.  While there's new material, it's basically a rehash of Blum's other, better, more detailed books, Killing Hope & Rogue State, both of which, the former esp., I highly recommend.

This Big Fake WorldAda Limón.  Enjoyable, funny & smart, but I have a complaint.  This "story in verse," as it says on the cover, refers frequently to one character as "our hero" in various titles & poems, which strikes me as neither necessary nor amusing, but rather cliche, esp. in comparison to the creativity Limón demonstrates elsewhere.

You Must Revise Your Life, William Stafford.  S'alright, but I like Writing the Australian Crawl better.

The Route As Briefed, James Tate.  An eclectic selection of interviews, essays, & fiction any Tate fan will enjoy, which I certainly did, despite my copy containing horrendous printing errors.

Do Androids Dream of Electric Sheep? Philip K. Dick.  I'd say that I like Dick, but that might give some of you the wrong idea.  I'd also say the book's better than the Harrison Ford movie supposedly based on the novel, but quite frankly, it's not even the same story.  It's a good movie, but as to its myriad differences, the term "blade runner" isn't used anywhere in the novel.  Re: the movie sequel, I'll probably watch it when it comes to TV, if it hasn't already.

To Have and Have Not, Ernest Hemingway.  OK, the fragmented episodes may not actually contribute to the overriding story arc & it's chock full of gratuitous racial epithets, yet it's surprisingly not as bad as . . .

A Farewell to Arms, Ernest Hemingway.  I'd first read this novel as a college freshman, but sweet Felipe, Matty & Jesus Alou, that was in another millennium & I was left (far-left, actually) with only a vague dream-like memory that I didn't enjoy it.  Now I remember why.  Slow pacing & insipid conversations make this, if not Hemingway's worst, potentially his most boring book.

Tortilla Flat, John Steinbeck.  May I recommend Tortilla Factory instead?

My Man Jeeves, P.G. Wodehouse.  Other than a few scraps here & there, I'd not read much Wodehouse & his comic shtik before.  Yep, he's witty, that's for sure.

Selected Poems, Alfred, Lord Tennyson. What can I say?  I kind of like Tennyson.  He's got a great ear--& awesome beard--though he does go on a bit at times.

A Mercy, Toni Morrison.  Terrific lyrically spun narrative. 

All of Us, Raymond Carver.  He's a great short story writer, but this volume of his collected poems shows Carver's prowess as a poet.  Sure, you may want to overlook those that read more like journal entries than finished poems, but there's an unflinching honesty in these poems that have caused me to read this collection from start to finish again & again.

Want more reviews?  Try clicking here.  

Tuesday, February 27, 2018

"Fake News" Stories Are Fake News Stories

Considering the hoopla surrounding supposed fake news, you'd think that misrepresenting facts has never been an issue in journalism before, yet fake news existed before the USA itself spewed from the wigged heads of Washington, Adams, Jefferson, et al.  What's new is the label "fake news."  Before the popularity of the internet, it was easy for conventional media to control what information reached the people, but since then, the relatively inexpensive mode (though the recent ruling negating net-neutrality may change this) of presenting alternative news reports has created a conundrum for corporate-owned news providers. 

With politicians & celebrities quick to defend the corporate media & defame the rest, it's no wonder that many Americans have bought into the notion that the only real news is the one presented by the "reliable" sources, such as Newsweek, Time, Washington Post, New York Times, CNN & the big three networks.  They are reliable in that you can rely on them to present a pro-American stance in nearly every circumstance, constantly vilifying & demonizing those who oppose the American view.  It is mostly through alternative news sources that we can learn what those in power don't want us to know. 

As a result, Google, Twitter, & Facebook, among others, have implemented filtering systems that limit what feeds you receive.  They don't want people to have to think about things themselves, to decide for themselves whether the reports are nonsensical or "fake."  These corporations have decided to take it upon themselves to help you form the right world view, i.e., that of the corporate elite.  Of course, there is fake news.  As I mentioned, much of what the mainstream media presents is "fake" in that it presents only a limited view, one that's heavily biased.  That you can't believe everything you read remains true regardless of the source.  But to label as "fake news" any report that doesn't fit the narrative that the mainstream media conveys is yet another attempt to control what we know, what we think. 

Most of us probably remember the oft-cited quote from newspaper tycoon William Randolph Hearst ("You furnish the pictures.  I'll furnish the war."), who helped sell the Spanish-American War to the American public.   Even if the quote itself is apocryphal, the fact is that Hearst's papers carried stories with a clear jingoistic edge.  Many Americans like to believe this example is an outlier, not the normal manner in which the press works.  Many have apparently already forgotten the media's role in selling the war in Iraq--er, make that wars.  Unfortunately, in most instances, the press operates as a propaganda tool, readily accepting & rarely questioning the government's account of facts.  Likewise, their audiences afford the media that same leniency, literally buying their stories wholesale.   

The current media Russia-hate blitz fits perfectly into the "propaganda model," developed by Noam Chomsky & Edward Herman in Manufacturing Consent, in which the authors analyze raw data from newspaper articles to determine the editorial biases of the so-called "free press."  The conclusions they reach, it would seem in every instance, is that the mainstream press (including, yes, The New York Times) rarely questions government reports, but instead buys & sells the government & its corporate masters' point of view to the public. 

Below are two links to The Real News interview with Max Blumenthal detailing many of the ways the media is misrepresenting the facts in the Russia-hate hysteria, as well as an article by Aaron Maté in The Nation, dispelling many similar assertions.  My hope is that, even if I'm preaching to the choir, reading or listening to them will give you a new, better informed perspective. 


Thursday, January 11, 2018

The Death of Knut House Press

Some time in 2017, Knut House Press went out of business.  As a result, my collection of poems, Walking in Chicago with a Suitcase in My Hand, published by Knut House Press, is no longer in print.  While there are still a few copies of the black & white edition of Walking in Chicago available at Amazon--& at a deep discount, I might add--the color edition is no longer available.  (It would also appear that the Kindle version can still be purchased, but I don't know if that will continue.)

Needless to say, I'm deeply saddened by the turn of events.  I am free to market my book to other publishers--it was a finalist at a half dozen other poetry contests before Knut House published it, so maybe there's some interest--& may pursue this course at some point in the future.  However, I have no immediate plans to do so.  As of now, Walking in Chicago has limited availability.