‘The crows scream
and fly to town in whirring flight:
soon it will snow —
happy he who now still has a home!’ …
The world — a gate
to a thousand wastelands dumb and cold!
Whoever has lost
what you have lost, rests nowhere. … — Friedrich Nietzsche

Thinking of rasPutin, we laughed when a friend joked about the availability of refurbished Geiger counters on Amazon. Gallows humor helps to ease the anxiety of current conditions. Here’s a serious kind of distraction: Moloko Print’s volume of selected poems, ‘That’s the Way to Travel,” by Jan Heller Levi, with illustrations by Marlies Pekarek. (Levi’s first book, “Once I Gazed at You in Wonder,” earned the Walt Whitman Award from the Academy of American Poets.)

Two books by Mark Terrill have arrived with ekphrastic poems of great appeal: “The Salvador-Dali-Lama Express” and “Great Balls of Doubt.” Here are two poems with images from daily life and the thoughts they arouse.

The epigraph (“I’ll do penance with farts and groans / Kneeling on my marrowbones”) comes from a poem by James Joyce. The folio includes four deformed sonnets (“Cursed,” “Her Days All Flee,” “World of Trouble,” “Mirage”) and a poem (“After Carl”).

Paul Bowles wrote a short story called “The Garden” in 1963. Three years later Joseph McPhillips asked him to dramatize the story for students at the American School of Tangier. Bowles, who was in Thailand at the time and about to leave for Morocco by ship, wrote scenes for the play on his way back and airmailed them to McPhillips, who immediately started rehearsals. Following Bowles’s advice, McPhillips involved artists and writers such as Marguerite McBey, Ira Belline, Brion Gysin, and John Hopkins. The play was staged in Tangier in April 1967, but was never published. This documentation offers the original text of the play (translated as well into German) with an evocative motherlode of illustrations that trace the play’s genesis from page to stage. 

Poetry by Leia John, by William Cody Maher, by Ira Cohen, and a memoir by Theo Green. Have a look and please don’t take offense at the explicitness of John’s lines.

(Yesterday this blogpost disappeared from the site, inexplicably, so the staff has re-posted it. Apologies to all who clicked on it and were directed to a dead end.)

“The whole idea of the permutations came to me visually on seeing the so-called Divine Tautology in print. It looked wrong, to me, non-symmetrical. The biggest word, That, belonged in the middle but all I had to do was switch the last two words and It asked a question: ‘I Am That, Am I?’ The rest followed.” — Brion Gysin

The Brooklyn-based publisher DABA Press is bringing out the most complete edition of Brion Gysin’s permutated poems published and recorded to date. The book is gorgeous to look at, sets the poems in their rightful context, and does justice to Ian Sommerville’s computer collaboration.

Mine have never been finished either. And so . . . an updated, revised, redesigned, and expanded collection in both hardcover and paperback editions is out now, with a new title: “All That Would Ever After Not Be Said.”