ISSUE 19

  

Brave New Word ISSUE 19

AKA Slight Return

Editor's note:

The last time i was doing Brave New Word - I was expecting to move forward with new issue coming out every quarter. 

It didn't happened because I wasn't feeling like doing another Brave New Word issue.

The pandemic, lots of dayjob, other commitments were keeping me away from the zine. It was draining. My heart wasn't there for a while and I didn't wanted to do a half-hearted issue.

But people kept sending stuff and I kept explaining that BNW was on hiatus. After a while, i looked through the submissions and understood that there is a new issue. 

Because of that, this issue is a celebration of those who believed in the meme of Brave New Word. 

A bit of comparison

• Issue 18 cycle had 162 submissions total. I was actively promoting the submission call and there were a lot of first-timers.
• Issue 19 "cycle" had 49 submissions total. Most of them were from folks who already were featured in BNW, but nevertheless - 49 is a lot. Especially if you consider that i went radio silence right after Issue 18 went live.

There is also another reason for hiatus - new Blogspot layout. For reasons beyond understanding, the whole post scheduling system doesn't work properly. Sure, it is just an inconvenience, but one that discourages you from doing anything on this platform.

Without further ado - Brave New Word, Issue 19.

Issue Line-up:

1. Vernon Frazer - 5 Pieces
2. Szilveszter Botond - Perspiration of Incision
3. Mark DuCharme - Three pieces
4. Stephen Bett - The Works
5. Jim Leftwich and Jeff Crouch - An assorted collection of collaborations
6. Christian ALLE - The Works
7. Seth Leeper - 5 poems
8. Andrew Brenza - Five Pieces
9. Charles J. March III - Crisis Scrawlings
10. Michael Basinski - The Works + Ode to Daphne
11. Karl Jirgens - Pareidolic Response
12. Yury Zavadsky - "ea" 

Mark DuCharme - Three pieces

 

Mark DuCharme is the author of We, the Monstrous: Script for an Unrealizable Film, Counter Fluencies 1-20, The Unfinished: Books I-VI, Answer, The Sensory Cabinet and other works. His poetry has appeared widely in such venues as BlazeVOX, Caliban Online, Colorado Review, Eratio, First Intensity, Indefinite Space, New American Writing, Noon, Otoliths, Shiny, Talisman, Unlikely Stories, Word/ for Word, and Poetics for the More-Than-Human World: An Anthology of Poetry and Commentary.  A recipient of the Neodata Endowment in Literature and the Gertrude Stein Award in Innovative American Poetry, he lives in Boulder, Colorado.

Jim Leftwich and Jeff Crouch - An assorted collection of collaborations

Jim Leftwich is a poet and essayist. He is the author of Dirt (Luna Bisonte Prods, 1995), Doubt (Potes & Poets, 2000), Death Text Books 1 - 9 (cPress & Vugg Books, 2005-2007), Six Months Aint No Sentence Books 1 -187 (Differx Hosting@Box, 2011-2016), three volumes of essays entitled Rascible & Kempt Vols. 1 - 3 (Luna Bisonte Prods, 2016-2017), Containers Projecting Multitudes: Expositions on the Poetry of John M. Bennett (Luna Bisonte Prods, 2019), The Blue Seam (mOnocle-Lash Anti-Press, 2020), and Poetry Makes Things Happen: Poems, essays, texts, afterwords, blurbs, notes (Luna Bisonte Prods, 2021)

Jeff Crouch is alive. In Texas.

Seth Leeper - 5 poems

 

Seth Leeper is a queer poet. His work has appeared or is forthcoming in The Broadkill Review, The Summerset Review, White Wall Review, Coastal Shelf, otoliths, decomp journal, SCAB, and others. 

He holds an M.A. in Special Education from Pace University and B.A. in Creative Writing and Fashion Journalism from San Francisco State University. He lives and teaches in Brooklyn, NY.  

He tweets @sethwleeper.

Andrew Brenza - Five Pieces

Andrew Brenza’s recent chapbooks include Geometric Mantra (above/ground press), Poems in C (Viktlösheten Press), and Waterlight (Simulacrum Press). He is also the author of four collections of visual poetry, Automatic Souls (Timglaset), Gossamer Lid (Trembling Pillow Press), Alphabeticon & Other Poems (RedFoxPress), and Album, in Concrete (Alien Buddha Press). He newest book, Spool, was just released by Unsolicited Press.

Karl Jirgens - Pareidolic Response

Karl Jirgens, former English Dept. Head, at U Windsor, author of four books (Coach House, Mercury, and ECW Presses), edited two books (on painter Jack Bush, and poet Christopher Dewdney) plus, an issue of Open Letter magazine with Beatriz Hausner. His scholarly and creative works are published globally. Jirgens edited/published Rampike, an international journal of art, writing, and theory (1979-2016). His newest book of short fiction is due soon.

Michael Basinski - Ode to Daphne

This post is a continuation of Michael Basinski's section. 

***

Ode Daphne 

The traditional Daphne Apollo myth relates an amorous vignette where the god Apollo becomes attracted to the water nymph Daphne and advances towards her, an advance she rejects by taking flight. Summoning her water god father for assistance to avoid Apollo’s pursuit, she metamorphs into a laurel tree.

Loosely derived from this Daphne Apollo myth “Ode Daphne” presents an euphonious and cacophonous poetry in which Apollo is a patriarchic lecher and Daphne, at first frightened, transfigures into a tree being of feminine power and general resistance. 

“Ode Daphne” should be actualized as a form of lyric spoken music for solo or multiple voice or choral manifestation. In addition, the poetry offers lyrics for music. There are seven distinct sections in the poetry for seven distinct musics. The musical elements may be realized by one or more and up to seven composers. 

Both verbal and musical arrangers/creators/composers have liberty to score as any presentation demands. Actualize with improvisation as desire requests. 

The Suggestions

All sections of the “Ode Daphne” must be presented. The duration of each section is variable. 

Section one. Scenario: the luscious water nymph Daphne about her waterous splashing attracts the weirdo Apollow. She rejects the asshole’s advances. He, a right-wing American fascist, gives chase, and he pursues her variously through field, meadow, and forest until she summons the cosmos for help.  

This section is a form of 45 rpm composition circa 1965 with percussive exerts. There is a gradual increase in the tempo through the field, meadow, and forest.

Mood: flight.

Section two. Scenario: Daphne summons the gods with her thunderous Wa that ends section one. The gods listen. They realize there is crime in progress and within their godly imaginations begin to facilitate a response. 

This section is a period of silence. The audience listens along with the gods. There are improvisational things to be heard, slight.

Mood: attention.

Sections three and four are similar.

Section three. Scenario: Daphne is heard and herself shatters. These are her vowels.

This section could be performed by a voice or voices. Any composition should allow the vocalization to dominate. Vary tempo and perform all or some of the noise forms, and do create patterns, repeats, and refrains.  equals improvise. Find a path through the patterns. If there is a form of chorus find many paths and harmonize if imagination suggests such.

Mood: melodic.

Section four. Scenario: These are her consonants.

Vary the slow tempo and perform each neologism as a unit. Present the bold syllables of each neologism in a percussive fashion. 

Mood: impact.

Section five. Scenario: Daphne begins to reassemble into a new being.

This section has a very slow, deliberate tempo, which becomes a methodical reading or presentation of each syllable, sound, part of the neologism in the act of becoming a formed recognizable word.  

Mood: rapt.

Section six. Scenario: As Daphne begins to tree, she ponders what tree to become: ♫ I asked my mother what tree shall I be? Each line is an interrogative sentence form and ends with interrogative intonation, excepting the last two lines, which are declarative revealing Daphne’s emphatic decision to become a laurel.

This section is actualized with each question phrase recited in a chanty and singsongy or spoken tempo. Each line has its own rhythm and the rhythms between lines clash. Actualize all lines and repeat lines at whim. 

Mood: quizzical. 

Section 7. Scenario: Daphne transforms into an unending immovable, magical laurel tree, and as such she reads the entrails of past, present, and future time. 

This section of knitted fragments should be actualized as a form of spoken music at a speaking peaking pace and with musical magic.

Mood: burgeoning power.

1

 

Whoopee Daphne boody of pools, pulls water unstill still bodies booty rivers, Waikiki Daphne streams, canals, tea were where water watar bodies of watur, boil, wwwater nymph, wwwater Daphne, timpani: HER waterbody, HER body key of water, HER water, HER waterways, she’s colorless, she’s transparent, odorless, liquid, she sound she seas, sound lakes, river sound Yangtze Daphne, rain basis of fjord fluids floods of all living organisms, oceans of cool shell pools sound pools she sells sea shells down by the sea shore sea horse

Apollo is an asshole

Apollo is an asshole

Apollo is an asshole

She sells sea shells down by the sea shore 

Shallow Apo ego allego

Apollo is an asshole

Hollow Apollo, Hollow Apollo 

♫Hello, hello, hello, how low [Present in the fashion of the line in Nirvana’s Smells Like Teen Spirit.]

Watering Waterwoman Waterish Waterjet Waterlog Waterloo Waterwoman Waterski Waterwoman Waterway

HER waterbed/ Waterbus / Waterdog / Waterers / Waterhen

Yippee she lakes, leaks, ponds well pools z glee Daphne and puddles Daphne jubilee swamp, her body boobs rivers Zambesi Daphne streams canals where water moves it weaves moves, moving pools, swimming pool, drool pool, pools to pool a pool, shot pool shoot pool, everybody in the pool, no pool like an old pool reservoir, shoot pool shot pool, waterUr, navigable unimaginable Cape Canaveral pool, The Shape of Water, water, waterways, poul water pull pull tide

Apollow is a hole

Apollow is a hole

Apollow is a hole

Apollo is an asshole

Apollo is an asshole

Apollo is an asshole

HER bathwater / deepwater / eyeswater / firewater / headwater /  

HER waterbeds / waterbird / waterfall / waterfowl / waterhen

Apollow is an A!hole

Apollow is an A!hole

Apollow is an A!hole

Apo Ahole

Apo Ahole

Apo Ahole 

meltwater / rainwater / saltwater / seawater / toothwater

waterings / waterjets / waterlead / waterline / waterloo ooo

Apo Ahole

Apo Ahole

Apo Ahole 

Timpani Timpani: OOO OCEAN OF OOOCEANS ocean of OOOoceans, OOO seas, and OOO lakes, but it includes smaller pools of water such as ponds, pools, wetlands wetland pools, rare pools rarely, poodles, puddlespools water fountain, fool water covers 90 percent of the woorld surface, fall soon, pool, spoon water pool at moon noon nymph pool play pooouuul poolpool

Apollow ego swollen ego 

yellow narrow disco stinko

Apollow ego swollen ego 

yellow narrow disco stinko

Apollo is an asshole

Apollo is an asshole

Apollo is a hole

Apollo is a hole

Dewater watered water, waters watery, watery watery water, watery waters

Waterier Waterily

Waterier Waterily

Aho

Aho

Aho

Aho

bathwater /  deepwater / eyeswater /  firewater / headwater /  

waterbeds / waterbird / waterfall / waterfowl / waterhen / 

hydrologist, hydrologie, hydrological, hydromancy, hydrophilous, hydrophobia hydrotherapist, hydrotherapeutic,

hydrotropism, hypnotism, mositureism, liquidizationism, ism, ism, is

psycho / machismo / Apollow / a pillow

wirdo / libido / down low  /Apollo

HER bathwater / deepwater / eyeswater /  firewater / headwater /  

HER waterbeds / waterbird / waterfall / waterfowl / waterhen / 

meltwater / rainwater / saltwater / seawater / toadwater

waterings / waterjets / waterlead / waterline / waterloo 

HER bathwater / Her deepwater / Her eyeswater / firewater / headwater /  

HER waterbeds /waterbird / Her waterfall / Her waterfowl / waterhen / 

cutwater / dewaters / eyewater / seawater / waterage

wateriest / watershed / waterside / waterweed / waterworm 

HER water water waterzoo

water water waterzoo

water water waterzoo

water water waterzoo

Watermelon

WA!!!

 

2

 

3

WA!!!AAAAAA!!!

Wa

waaaa

waaaaaaaa

waaaaaaaaaaa

wat wa

ter  w  ter  er  w  us  w  wan  a  iads  mym  nym  myn

fre  a  sat  wa  ter  er  spin  fre  a  w  t  e  r  u  a  r  hy  eff

ae ou ie  ae ou a ie  aio Oa  eiuou o  e a ie  ea o Oa  ee i   ee a  ee ie ea  ei ai i  iao io  iao-ea Oa  ioo eaa ioo iiiaa  o aaa  oe  oua i  o eiee  uo o Oa  uo oae  u Oa  ue io  ue o  a ao ie Oa  a Ieio ie Oa  a o   Oa  a au  Aie Aaii  Aie aaea  Aie aeaa  Aie aei  Aie aioaa  Aie aiia  Aie oea  Ae euo  Ae eaiu Ae uu Ae aaiu  Ae aau  Aeuu aioia  Aue ee  Aueuee  Aaa ea  Aaa e  Aaa eo ea  Aaa eoea   Aaa  ea  Aaa a  Aea ue  Aea ie ue  Aee iai  Aiao-ee  Ao io  Aoea io  Au Iaa u uoa  Au Iaa u euioia  Au oioia  Au ua  Au iii u ia  Au iii u iuaa  Aie i  Aie eo Aie a  Aaii i  Aeaie Aoea  Aeia aoo  Aeia ee  Aeia E Aeia ee Ae  Aeia ae  Aeia o  Aeia ooea  Aeia oea  Aeia a  Aeia ouai a  Aeia u  Aeia aoe  Aeia au  Aeia ee  Aae ie  Aaia ioa  Ao iae  Aoiae   Auu Aioia  Auu eieii  Auu eaa  Aioa a au  Aioa e  Aioa i  Aioa oea ie  Aioa aoe  Aioa aoo  Aioa Oa  Aioa ou e  Aioa au  Aioa ie Oa  Aaa ie  Aaa o ie  A eae ae  Ae uie  Aea ae  Aiia ioa  Ae  Ae aai  Aai ie ea  Auaia ie  Auia ie  aii eo  aii aoe  aii e  aii oeoa ie  aii eea  aii ie i  aii io  aii e  ao  aie ooo  ae i  aee io  a io  aa  aa-ae  ea Oa  ea io  ea eae io  eaea io  ea  ea io eao  eei  e eeoo  eea ooia  eio  ei iou  iea Aie  iea eeiaa  iea Eeaii  iea aua  iea ue  iea ue  iea iei  i ee  iu  iu io  i a i Oa  io Eao  io ea  io ea ao  ioee  iu Aeuaa  iu aiaa  iu eoie  iu aua  iu ooa a ooa  iu ooa a uaaa  iu ouei  iu Eiaa  iu Eioii  iu Eeaii  iu aa  iu eei  iu aeiaa  iu  eioa a iuauaa  iu oioa  iu uiaa  iu ia  iu oeoa a oeoa  iu ue  iu uaioia  iu aiaa  iu eioa  iu aiiaa  iu oioi  iu ou  iu ei  iu aea  iu oeaa  iu iiiaa  iu aoei  i ie  ae ee  aau Oieai  oea oo  oe  oeoa ie  ouu aaiea  ouu aieaa  ouu euoie  oi ue  o Oo ea  o Oo ie ea  o Oo ea  ou Oa  ou ie  oua  ouoo  o ea  o ou  o Oa  oaaai u  oe ie  ieoe ie  i A  i Ee  i ie  ie   ooi euia  uu Aeiaa  uu Eaiaa  uu eoia  euoua aoaa  euoua eieii a eieii  u Oa  eee ie  ae  aaa  aaei iiiaa  a ae  ae  e-aa  ee ae  eo  eo ue  eue u  io ie  ia ie Oa  i Oa  oa Ae  ou  oaio  o a  oe u ou  oe-ou  ooea  oeai auaia  oeeu  uo a ie  uo o  ae Iia  aoa  eea ae eeee  e eia ou  e eio ou  oe i  oa  oaio  oaio  ooa e  ooa ae e  o aoia ie  oe ae  oe i Oa  oe ie  oe e Oa  oe u ie  oe ie ea  oe ie  oe ie ea  oa ie  oa ue  u ie  uu-u  a aia  Eae Aoiae  Eae a au  Eae i  Eae eo  Eae ooea  Eae a  Eae eio  Eae e Oa  Eae e ie  Eae eu  Eae ue  Eae ie  Eae ie-ea  Eio Oa  Eo Oa  Eeo  Eea ue  Euau ouu  Euoea a ie  Euoea a  Euoea ee Ae  Euoea ue  Eeee oaea  Eeee aoia

 

 

4

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PcfcYwTxsbrvflNtt

PnBlncPnsstrbs  

PnRgPnsrsnstn  

PtchPnPnscltrPnsrgd   

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PcsnPnPnssrtnMchx

PlctWdTrrytxfl

PndPnPnssrtnMchx

PndrsPnPnspndrsCLwsn

PndrsWhtPnPnspndrsCLwsn

PssmPnPnsvrgnnMll

PvrtyPnPnsvrgnnMll

PrcklyPnPnspngnsLmb

PgtSndFrbsgrndsLndlsnthwrld

HckryPnPnspngnsLmb  

HndrsSlshPnPnsllttnglmPnsllttvrlltt

NrthCrlnPnPnstdL  

NrthrnFxtlPnPnsblfrnBlf

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NrthrnWhtPnPnsstrbs  

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strnWhtPnPnsstrbs

5

annntifloooabhydrapoolicsatmool

atervapoorpourmoloamolobalneotheeatoifiillillotdisathiiingoooo

bletonismeeillorofwaterdivinninnineninedededehydraaacessovinwaubrayaaarayssliquescence

proofantoattabsooefffloressowsowsformuuunnterooresrhab

evaoratioeliquescencecessesefflorescenfluviologywatercourseas

sIiallrivriversfluviologisthydragogyObsowatbyanartificvalchann

elhyshydrodipsomaniaaanaaabnorlovemalofdrinkingwater

apocealesversurfacatersrographerenceulatinbutioneritiesoftersmoistosphereorm  

hydrowomaniaexcessovewatcursecurelecanoorm 

odivinainvolvexaminatioofabasinlecanoscopaforofvolstaring 

rheotropismtendencertailivingingsinstrumentstimulusofof 

atersympesiosympiezocurr 

turbiinstruormeasuturofothfluieasureturaterorotherluidsaturbidi 

the polli agency eran abno ear of watsurace watersauce wordsauce

limnology limnologist limnologic limnological drainage 

humiditynhydrophobiaan abnormal ear ov wateree wattree watrees eeeeeeeeeeeeeeees

6

Pignut Pignut Hickory Pin Blanc Oak Pignut?

Enano Pino Pinobete Pinot Noir Pinus?

Pinus Pinus Pinus Banksiana Pinus?

Pinus Pinus Clausa? 

Pinus Pinus  Pinus Rhinoceros Pinus?

Pinus Contorta Pinus Pinus? 

Glabra Pinus Pungens Perfume?

Pitch Pine Plane Tree?

Platanus Platypus?  

Polecat Wood Pond Cypress?

Holly Del Mar Pine Delta Post Oak Opp?

Fir Palm Clam Cedar?  

Devil's Walking Stick?  

Willow Oak Dog Banana?

Dogberry Doug Fir Downy Serviceberry?

Drum Post Oak Boat?

Drum Soap Duck Oak Willow Holy Holly?

Dune Holly Dwarf? 

Abies Abies Amabilis Anubis Abies Balsamea? 

Abies Abies Bracteata Abies Fraseri? 

Abies Lasiocarpa Carp Abies Magnifica? 

Abies Procera Acer? 

Acer Negundo Acer Pensyl Cumber?

Acer Rubrum Burn Acer Acer Saccharum?

Ague Agnis Tree Larch?

Spruce White Spruce Chinkapin Alligator?

Almond Willow Leaf Willow Willow Billow Billow?

Alnus Incana Alnus Rubra?

Alnus Fir Larch Fir?

Armchair Arborea Eldorado Poe?

Basswood Beech Elm Green Alder? 

Hackberry Holly Hornbeam Larch Ash Plumplum? 

Sycamore Walnut Apache Pine?

Spinosa Soft Pine Ash Leave Maple Ash?   

Aspen Tamarisk Cedar Pine Pine Soft Scrub?

Alder Hemlock Myrtle Fir Yew Pussy Willow?

Palo Blanco Panicled Dogwood?

Paper Birch Papershell Pinyon?

Parry Pinyon Pawpaw Pawpawpaw Apple?

Peach Oak Peach Willow Pecan?

Pepperwood Persea Pick Spruce Pot Port Cedar Possum?

Locust Oak Pottawattami Plum?

Pottawattami Plum Prickle Cone Pine Pickle?

Princess Pine Prickly Princess Pine?

Punk Oak Naked Namboca Nettletree Locust? 

Nogal Nootka  False Cypress? 

Northern Pin Oak Nut Pine? 

Nuzu Ndu Nyssa Sylvatica?

Walnut Fir Hemlock Larch Persimmon?

Red Oak Red Pine Redbud Spruce?

White Pine Enebro?

Eucalyptus Globulus Speckled Alder Spruce? 

Evergreen Laurel LaurelLaurel Laurel

LuarelLaurel Laurel

 

7 

I Kalmia Latifolia latifoliate I root laurally Latifah really laurel root Yggdrasil Dodona whose leaves rootish laurel unending deep secured form formed rooting echo garlands of sacred wordcrowns were went into a laurel word crown crow (crow sounds) memory crows (crow sounds) a prophetic trance because I smoke of burning echo laurel leaves to tell this future read ever further past laureal laurel and ever farther forever solid my unmovable present I Laurus Nobilis I unmovable Umbellularia Californica Prunus Laurocerasus immovable I perennial rivet riveted heartwood Banyan would I would remembrance verbs which elongated stem or elephant trunk arm support branch and leaves leaving leafing out left of the human species evolved unmovable power left with leaves as conifurrrs love-passion will in this form feminine some usages of use the May woman be narrower femininity month a mouth including only wood usable words as sounds or nouns worderlines wonderous a specified height secure tree high taxonomic Nariphon independent evolved as a way to tower above others all other to compete for sunlight and win to be forever all memories invocations mem-mem-mem memories Mim Mim Mim wisdim Mimir tend to be long-lived form some reaching several reading reach a thousand years old in wilder in a winter solid of quiet leaves immovable with leaves deafinitions I refuse to and immobile unmoving unmovinger unmovingable being beyond and before nothing left taller palms tree ferns bananas and bamboos it is estimated oak that there are just I elm passion and power form intense just o all laurel is for was would begin beyond not to be moved immortal 

Michael Basinski - The Works

Just outside of Buffalo, New York, Michael Basinski lives a little past the airport. In 2018 he published Opems (Burchfield Penney Art Center), which documents his large scale visual, sound, and performance poem exhibition titled Opems: Verbal-Visual Combines, https://www.burchfieldpenney.org/exhibitions/exhibition:03-09-2018-06-24-2018-opems-verbal-visual-combines/

Other books include: Unexplained Noises, (Buffalo Ochre Papers), Lot Sa Nots O http://xexoxial.org/is/lots_sa_nots_o/by/michael_basinski, and with Ginny O’Brien, Combings http://www.redfoxpress.com/dada-basinski2.html Combination of the Two, an exhibition of O’Brien’s and Basinski’s cooperative visual work and visual poems opened in early January 2019 at the Western New York Book Arts Collaborative. His most recent books of poetry are Tub Bunny, (Spuyten Duyvil) http://www.spuytenduyvil.net/tub-bunny.html

And Salvage (BlazeVOX[books])

http://www.blazevox.org/index.php/Shop/Poetry/salvage-by-michael-basinski-557/

Among the spots his work has appeared are: Blazing Stadium, Peach Mag, Dispatches from the Poetry Wars, Angry Old Man, Journal of Poetic Research, Word/For Word, Fell Swoop, Kenning, Rampike, Filling Station, Ur Vox, Damn the Caesars, Nerve Lantern, Mimeo Mimeo, Vanitas, Talisman, Vort, and Poetry.

Comment: “Ode Daphne” and “Five Eclipses in Under 12 and Half Minutes”

are performative sound poems for voice and instrument ensemble. Voice sound and instrument sound are interchangeable. Individuality is significant in recitation. Each poem offers some parameters.

Yury Zavadsky - "ea"

 

Dr. Yury R. Zavadsky (Ukr. Юрій Завадський; official transliteration: Iurii Zavadskyi), poet, translator, literary critic, performancer, noise artist, PhD in Theory of Literature. 

Born in Ternopil, Ukraine in 1981. In 2006 completed his postgraduate studies at the Department of Theory of Literature and Comparative Literature of the Faculty of Volodymyr Hnatiuk Ternopil National Pedagogical University. 

Worked as an assistant to the Journalistic Department of the Philological Faculty of Volodymyr Hnatiuk Ternopil National Pedagogical University. Today is CEO of Publishing House “Krok”. Currently is an editor of scientific almanac “Studia methodologica”. 

Yury published 5 books of poetry and has a number of publications in Ukrainian and Polish periodicals. Author of one of the first hypertextual poems in Ukraine “Cyharky”. 

In 2010 Yury Zavadsky recorded the album with band “ZSUF” (electronica, experimental, psychedelic music) under the title “zsuf yuryzavadsky” representing the first recorded Ukrainian project of such kind of music with sound poetry. 

Nowadays plays noise with band SUBPRODUKT. As translator and publisher, he works with authors from Poland, Australia, New Zealand, Canada, USA, Fiji, Germany, Spain, Sweden, Russia, Belarus, Georgia. Yury translates from Polish contemporary Polish poetry.

Here's his album EA. Recorded and mastered by DJ Kapusta

Jurij · ea - sound poetry album

Stephen Bett - The Works

Stephen Bett is a widely and internationally published Canadian poet with 24 books in print. His personal papers are archived in the “Contemporary Literature Collection” at Simon Fraser University. His website is stephenbett.com

Vernon Frazer - 5 Pieces

 

Vernon Frazer’s new poetry collection, Gravity Darkening, has just been released.

Charles J. March III - Crisis Scrawlings

 

Charles J. March III is a Navy veteran currently living in Orange County, CA. His works have appeared in or are forthcoming from Evergreen Review, Atlas Obscura, Litro, Chicago Tribune, L.A. Times, Lalitamba, Ligeia, 3:AM, Ink Sweat & Tears, Fleas on the Dog, Problématique, Queen Mob’s Teahouse, The Recusant, Sulfur “Surrealist Jungle”, RIC Journal, tragickal, Taco Bell Quarterly, Nauseated Drive, Storm Cellar, Terror House Magazine, Harbinger Asylum, Mycelia, Young Mag, Madness Muse Press, Mantis, Maudlin House, Joyless House, Misery Tourism, BlazeVOX, Blood Tree Literature (prize), The Babel Tower Notice Board, Bareknuckle Poet, Heroin Love Songs, Anti-Heroin Chic, Synchronized Chaos, swifts & slows, The Beatnik Cowboy, Points in Case, Black Scat Review, Expat Press, Poetry WTF?!, Stinkwaves, Young Ravens, The Writing Disorder, Defenestration, Versification, Seiren, Literary Orphans, Centre for Experimental Ontology, Otoliths, Oddball Magazine, et al. 

Links to his pieces can be found on LinkedIn and SoundCloud. 

About the pieces:
These obfuscations are my way of trying to make sense of all the suffering, while trying to transcend such on my way to finding surreal joy and humor in the absurd.

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Christian ALLE - The Works

Since the 90’s, Christian ALLE, painter, collagist and photographer is active in the networks of mail art as a participant on the various projects, but especially as publisher and animator of Nada Zero, information magazine and free participation in the spirit of FLUXUS.

https://nada-zero.jimdosite.com/

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Szilveszter Botond - Perspiration of Incision

Szilveszter Botond was born and raised Berlin, but his life got way more interesting after he moved to London. An active participant in local conceptual art and culture jamming scenes, he strives for excavation of the unknowable within the thickness of content.

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About the works - I'm using FineReader text recognition tool for various heavily compressed images. Due to compression artifacts, the text is harder to recognize and thus there is room for creativity. I'm applying math notation recognition to get the raw text and then edit the text document so that it looks more comprehensible. 

Why math notation? The symbols are purely functional and suggest definite relations between subjects. But what if you put them as content itself and explore the narrative the juxtaposition generates? That's interesting.