aaaaaaaaaaalice by Jennifer Karmin

112 pages, 7x9, $16


Alice and anime, Asia and uncertainty, we do so want our sounds to make sense, our textual travels to have a guide, even if that guide is the white rabbit that will hide. aaaaaaaaaaalice is the sound and sight of the disappearing rabbit, the one with a hat, the one who pops up with regular unpredictability whenever we go somewhere not here, and while words will swivel around us like our very own heads, making the unfamiliar familiar and the familiar unfamiliar, making no sense but nonsense and non-sense sense, like in this very text, what's moreover curious, as Karmin rightly notes, is that “yesterday a man was walking.”  —Vanessa Place


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The Alps by Brandon Shimoda

144 pages, 7x9, $14


Part elegy, part celebration, Brandon Shimoda's debut interweaves glimpses of individual lives, fragments of revolution and war, and a bird’s-eye view of the waxing and waning of generations in mapping profound issues of identity and history. Viewed through the lens of his particular family history, Shimoda stations The Alps in an eerily beautiful yet threatening landscape, one entangled, inextricably, with the brutality of human existence. By turns playful, detached, and deeply emotional, the myriad voices of The Alps resonate with a spare and violent beauty. —Laura Sims


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The Death of Pringle by Justin Katko

98 pages, 7x9, w/ CD, $20                                        


The Death of Pringle is a journey through the imperial/scientific/infinitely-manipulative matrix of virtual power: the cynical wager against which poetry is the only language capable of going further and faster. And can it move! Labile switching, epic and farce, Shelley and punk, intellect and sewer. Pringle is a poem/opera with soundtrack (CD included) and visual accompaniment (some marvellous stuff). Sheer guts. —William Rowe


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ALL STEEL by Lori Anderson Moseman

96 pages, 7x9, $18


Our age of human thing plant animal atmosphere entanglement calls for a poet who knows her way around a toolbox. Moseman is such a rare breed: a writer whose way with words is as sharp as her drawknife, whose poems take on the caesurae of a life working the front lines, the “sledge, haul, spill, cut” of contested ground. Everything is connected, but at every step we pull apart as much as we pull together; ALL STEEL’s deeply implicated poems riddle that hard fact. Core samples from a century of trauma, her pleasurable, challenging language shapes deliver, from a divided past, the data of our common future. —Jonathan Skinner


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A Sing Economy

256 pages, 7x9, $5


A Sing Economy is the second Flim Forum Press anthology and contains extensive selections from 20 contemporary poets: Kate Schapira, Barrett Gordon, Jennifer Karmin, Stephanie Strickland, Mathew Timmons, Kaethe Schwehn, Harold Abramowitz & Amanda Ackerman, Jaye Bartell, Jessica Smith, David Pavelich, Erin M. Bertram, Laura Sims, Deborah Poe, a.rawlings & francois luong, Michael Slosek, Kevin Thurston, Hannah Rodabaugh, and Tawrin Baker. Also, three cover films by Scott Puccio.


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Oh One Arrow

212 pages, 7x9, $5


Oh One Arrow is an anthology of contemporary experimental poetry and the first articulation of the poetic/aesthetic of Flim Forum Press. The volume contains extensive selections from 16 contemporary poets: Brandon Shimoda, Thom Donovan, Jonathan Minton, Adam Golaski, Lori Anderson Moseman, Katie Kemple, Christopher Fritton, Eric Gelsinger, Jacqueline Lyons, John Cotter, Jeff Paris, Michael Ives, Jaime Corbacho, Matthew Klane, Pierre Joris, and Aaron Lowinger. Cover and insert art by Luke Daly.


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The Problem of Boredom in Paradise

Selected Poems by Paul Hannigan (Ed. Adam Golaski)

166 pages, 7x9, $20 (+ $4 for S&H)


Paul Hannigan, society reporter on safari, sketches serpentine philosophers and corporate  baboons, chronicles “these degrading surprises we call our days.” Like a good comedian, he paints these fools on his own face, in othered self-portraits, alternately toothy and toothless, sad saccharine, smothered in “moral sherbet.” Hannigan mumble mumbles a messy subjectivity, all the insecurities of our race, gender, sexuality. He can be rhapsodically self-felicitous in fantasies of self-pity. He can be witty, crude, and brutally cruel. Paul Hannigan, fall-guy, castaway, shackles Milton with suburban shopping malls and maps over happiness with The Bush, that colonial/genital beachhead. Hannigan’s poems are busy napping, bong coughing, constantly undressing, disabling, donning a series of hospital gowns. Perverted lyrics parade from his hopelessly open mouth.


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Clarity Speaks of a Crystal Sea by Afton Wilky NEW!

110 pages, 7x9, $18 (+ $4 for S&H)


In Afton Wilky’s Clarity Speaks of a Crystal Sea, entire rooms of installation are  

captivated by book form. The pages hold out paper sculptures, words in compound 

trains and scatters, and juxtapositions of wrought and abandoned explanation, while 

the character Haada acts in story fragments that bring us closer in to this book’s

“blinkers and the stammering whispers.” An incredible balance between openness –

text in movement – and refinement – text brought to a pitch of expressive

preparation – is part of what makes you feel you are in the room where it’s

happening. Hand- writing entries, cutting-room floor word piles, the thirsty water

glasses, the photographed concertinas and text-braids: all these elements are paced to

make the book a whole experience, air shifting through the brain and black ink at the

heart. This is “piling” at its excruciatingly breathing hinge, and it’s beautiful.


—Lisa Samuels


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