Charles P. Stevenson Libary, Bard College celebrates acquisition of A Picture of Everyone I Love Passes Through me with exhibtion and reading

Lunar Chandelier Press is proud to announce
that  the Charles P. Stevenson Library, Bard College has acquired
A Picture of Everyone I Love Passes Through Me
Mixed and Remixed by John Bloomberg-Rissman and Lynn Behrendt
with collages by Lynn Behrendt. The acquisition and book were celebrated with an exhibition of the collages at the Bard Library from January 11th through February 14th 2017 and with a reading  by Lynn Behrendt and reception at the library  on February 2nd.

Pacific Rim Review of Books reviews Soutness + Vincent Katz and Thomas Fink Have an Exchange

        Paul Falardeau has reviewed Southness by Vincent Katz in the Pacific Rim Review of Books, issue Twenty One. Falardeau states that  the effect of Ktaz's measure "... is closer to a Satie piano composition." He goes on to compare Katz's language in Southness as like Basho. Here's a link to this intriguing and extensive journal of books that may be new to you as it was to us: http://www.prrb.ca/aboutus01.html
The writing in Southness is one of the points of a very interesting, recent conversation, "An Exchange with Vincent Katz",  documented on Thomas Fink's blog: Dichtung Yammer. We liked the depth with which Vincent Katz's elucidates his writing process and the insight into his frames of reference when he responds: 

"... there is such a thing as a plain style. It makes me think of Cicero’s     (and others’) taxonomies of rhetorical styles, in particular, the drier, more clipped, Attic style, versus the more florid, elaborate, Asiatic style. Thought of in these terms, the poems you cite might be termed Attic ... When I was writing poems like “Memory” and “Botanical,” as well as “Change,” in Southness, I was trying to come out of a phase in which I allowed myself to write poems in which I minimized conscious control, such as “Rapid Departures,” which was published in 2005 in a book by the same title.  Those poems, which maybe had their origin in poems like those in my book Pearl, published in 1998 but written in 1990-91, I allowed to be registers of crazily off-kilter senses of perspective, consciousness, time of day, global hemisphere even. Worn out from allowing such imbalance into my verse’s mind, I attempted to find a way to tamp it down. Simultaneously (in the late 1990s), I wanted to get away from the dailiness of a Frank O’Hara type poem into a poem that might be more controlled and, as I thought of it then, abstract. I had long been a reader of Robert Creeley’s poems, and I noticed how form played a major role in his work, structuring, but also limiting, obscuring or semi-obscuring thoughts at times, which created a less literal, more universal effect."

For the entire exchange and more conversations, go to https://dichtungyammer.wordpress.com/



New release from Lunar Chandelier Press:

Lynn Behrendt reads with Ian Dreiblatt
on Saturday, June 11th, at the Hudson Opera House, Hudson NY 5pm

 In celebration of a new release from Lunar Chandelier Press:
A Picture of Everyone I Love Passes Through Me
A masterful collaborative work of interlaced language feeds mixed
by John Bloomberg-Rissman then remixed by Lynn Behrendt
with Collages by Lynn Behrendt. .

“I am a catastrophe but I am a nimble catastrophe”, A Picture of Everyone I Love Passes Through Me announces and then proceeds' to agitate through “a flux, a continuous, compact and lucid flow: an intuition, a vacillating frisson of illumination as if caught in a flash of lightning."

Poets Lynn Behrendt ( author of petals, emblems; editor of Annandale Dream Gazette) and John Bloomberg- Rissman (co-editor, Poems for the Millennium 5: Barbaric, Vast & Wild and author of the long running blog: Zeigeist Spam) seem to be “Practicing Hauntology” in a “Cabinet of the solar plexus.” The authors/artists have remixed snippets of text from a multitude of diverse sources: Timothy Martin, WB Keckler, Aime Cesairé, Ian Willms (just to name a few). Mina Loy, Phillip Lamantia, Donna Haraway, Samuel Delany,and Bruce Andrews meet amidst the dust of Breton and Soupault's Magnetic Fields as visualized by Charles Kaufman without any corporate controls.

In a cosmic, yet earthly co-creational web of interlaced language feeds, mixed by Bloomberg-Rissman, remixed by Behrendt, paired with Behrendt's 140 unforgettable, many worlds, multihued, time-travelled collage works, the readerly consciousness is moved by multiplying destructive and ubertoxic situations in the 21st century debris. “These ponds currently hold enough toxic waste to fill 2.2 million Olympic-sized swimming pools.” Ecstatic multisourced language within the “Untitled (Grotto with Cow Horn)” and “(a baobab trunk or a bombax buttress) under “a boiling of loquacious birds and the kisses of meteorites” offers palliative and ecstatic rest in “a bathtub full of gravity and eucalyptus leaves.” You won’t be able to stop yourself from crying. And laughing. “Feeling blue about our blue planet? Welcome to Pioneer City! Inquiries welcome.”Ron Silliman notes (the collages) are "as instantly identifiable as that of Jess or of Joe Brainard — haunted landscapes, autopsied houses, birds & babies & the artist’s own visage staring out."

 ",,,a testament to the communal nature of language" writes Jerome Rothenberg.

 Maxine Chernoff says of A Picture of Everyone I Love Passes Through Me: "..the self is various and the mind/heart has many stages, prosceniums, theaters and interweavings, so too the marvelous linguistic visual collaboration of Lynn Behrendt and John Bloomberg-Rissman. What weaves through all the words and images is being-in the- world, alive and dead at the same time, moving objects by means of creation."


Southness by Vincent Katz released today with reading at the Serpentine Gallery, London.

Cover image by Etel Adnan, large detail of Untitled, 2014, oil on canvas
30 x 24 cm© Galerie Lelong
 photo:Fabrice Giber

Lunar Chandelier Press announces the publication today of Southness by Vincent Katz.Availability to be announced soon on facebook and the Lunar Chandelier Press blog.
 “With all the wonders of the world/which are here/simply on earth/offered to everyone/strewn about” wrote Jacques Prévert in the poem “Pater Noster.” The spirit of Prévert sparkles in poet Vincent Katz’s Southness. Following up on the generous depth of Swimming Home (Nightboat Books, 2015) with this set of lyrically composed meditations, Katz cools, condenses and abstracts the tempo to a strolling pace.  “Long histories” with “voices in the rain” at a “calmed ¾ simplicity” (and stripped of much punctuation) are transfigured by mind.  Transport is offered with “a way of breathing” as a conduit by which to “confront solidity” in “Plein Air” amidst the “latent flux.” Katz’s lyric traverses a relatively southern line of latitude, its engimas “a hindrance” … “on periphery/late in path” that while not fixed to a single location are immediately felt as true.  The fresh concise forms of Southness offer perception and response that contend with a “trembling avidity” … “under modernity’s/ glare.”
Accompanied with a vivid detail on the cover from a painting by poet and painter Etel Adnan, Southness has been noted by John Godfrey to “exercise coolness while implicitly maintaining that nothing in the medium is not personal. Denser poems present mental spaces word-to-word that thread striking affinities. The words resonate, in their abbreviation, with feeling and honesty. … The poet in and out of the shadows.” And Peter Gizzi comments: “observation, personal declaration, and joy … are abundant throughout this wonderful book. Southness is a sensory and sonic adventure.”
Thursday 2 June, 8pm. Readers:
Etel Adnan
Elaine Equi 
Peter Gizzi 
John Godfrey 
Vincent Katz 
followed by an in-conversation between 
Alex Katz and Serpentine's Artistic Director, Hans Ulrich Obrist.
This evening will take place within the exhibition by Alex Katz, at the Serpentine Gallery, Kensington Gardens, London W2 3XA



No Bullshit Says Berrigan

"Lunar Chandelier has put out books by John Godfrey,
Toni Simon,Lynn Behrendt, Vyt Bakaitis, and Joe Elliot since
it started up in 2010. High quality reads and objects. No bullshit,
no program. You can tell the work is cared for."

-Anselm Berriganhttp://thirdfactory.wordpress.com/2012/12/28/attention-span-2012-anselm-berrigan/