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  NMLCT - Poems

  Paul Vermeersch

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  Imagine The Matrix retold by the reanimated cyborg bodies of the Brothers Grimm.
  		 
  Fables and fairytales collide with virtual reality, artificial intelligence, and monstrous myths in a world where no one knows what to believe. In his eighth book of poems, Paul Vermeersch responds to the increasing difficulty of knowing what is real and what isn’t, what is our genuine experience and what is constructed for us by The Algorithm. In a “post-truth” society rife with simulations, misinformation, and computer-generated hallucinations, these poems explore the relationship between the synthetic and the authentic as they raise hope for the possibility of escape from MCHNCT (Machine City) to NMLCT (Animal City), where the promise of “real life” still exists.
  		 
  These poems — all precisely 16 lines long, identically formed as though mass-produced — are themselves artificial creations, products of the imagination, sometimes disorienting but always vivid. They hold up a mirror not only to nature, but also to its unnatural distortions and facsimiles. In NMLCT, Vermeersch gives us his answer to an existence in thrall to the artificial. But it also foretells a different future, one where the air and the grass and the trees, and all the life they engender, might always be genuine and sensed and safe.

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  The Missing Months

  Lachlan Mackinnon

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  Many of the poems in The Missing Months occupy the strange hiatus afforded by lockdown. They look forward as well as back, toying with possible futures, enthused by utopian dreams or fearing cultural and bodily entropy. They celebrate and mourn the lives of friends and relatives, captivated by carefully tended images from the past. Lockdown's 'missing months' in the world of a four-year-old granddaughter are laid down and remembered for her. Familiar objects - a park bench, stones, grass, stars, windows - are reanimated. This poetry of imaginative journeying 'stretches/Banks on a slope of air and turns' like the heron it watches. Between the crackle of radio signals and rain, the Russian poet Osip Mandelstam and the American singer Miranda Lambert, here is a poet in search of points of reference, the 'bright fresh leaves' of sunlight among the ruins.

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  Rhyme A Dozen A - 12 Poets 12...

  Stephen Crane, Edna St Vincent...

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  ‘A dime a dozen’ as known in America, is perhaps equal to the English ‘cheap as chips’ but whatever the lingua franca of your choice in this series we hereby submit ‘A Rhyme a Dozen’ as 12 poems on many given subjects that are a well-rounded gathering, maybe even an essential guide, from the knowing pens of classic poets and their beautifully spoken verse to the comfort of your ears. 
   
  1 - 01 - A Rhyme A Dozen - 12 Poems, 12 Poets, 1 Topic - Geographical Features - An Introduction 
  2 - On the Desert by Stephen Crane 
  3 - Mist In The Valley by Edna St Vincent Millay 
  4 - The Lake Isle of Inisfree by William Butler Yeats 
  5 - The River and Its Waves Are One by Kabir 
  6 - The Awakening River by Katherine Mansfield 
  7 - In the Forest by Sarojini Naidu 
  8 - Woods in Winter by Henry Wadsworth Longfellow 
  9 - The Waterfall by Henry Vaughan 
  10 - Aurora Borealis by Herman Melville 
  11 - The Cloud on the Mountain by Alama Iqbal 
  12 - Alone Looking at the Mountain by Li Po 
  13 - How the Old Mountains Drip with Sunset by Emily Dickinson

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  The Poetry of Carl Sandburg

  Carl Sandburg

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  Known as a "poet of the people," Carl Sandburg wrote verses infused with soulfulness and lyric grace, and his work was characterized with a love and compassion for the common man. Here is a collection of nearly 100 of his best poems, including "Chicago," "Fog," "To a Contemporary Bunkshooter," "Masses," and "The Great Hunt," as well as other verses featuring themes like love, war, death, loneliness, immigrant life, and the beauty of nature. These early poems— which earned him enormous popularity in the 1920s and '30s— are read here by Susan Anspach, Roscoe Lee Browne, Robert Foxworth, Elliott Gould, Joel Grey, Ernie Hudson, Arte Johnson, Melissa Manchester, Kevin McCarthy, Carl Reiner, Burt Reynolds, Jean Smart, Alfre Woodard, and Efrem Zimbalist, Jr.

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  Questa

  Stephanie Fleischmann

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  Jessie, who hasn’t seen her mother since she was 14, is on her way home, bringing with her a foster child who won’t talk and a runaway they’ve picked up along the way. Meanwhile, her estranged mother awaits their arrival at the bus station in Questa, New Mexico, next to a woman who longs for a disappeared love to return.
   
  
   
  Questa debuted at the historic CHARAS/El Bohio Community Center in New York City in 1991, and received its West Coast premiere in L.A. Theatre Works’ production.
   
  
   
  Recorded at The Guest Quarters Suite Hotel, Santa Monica, in June 1991.
   
  
   
  Directed by Michael Bloom
   
  Producing Director: Susan Albert Loewenberg
   
  
   
  An L.A. Theatre Works full-cast recording, starring:
   
  Christopher Dreyer as Albert
   
  Valerie Landsburg as Jessie
   
  Dorothy Lyman as Sophie
   
  Alma Martinez as Swan Lady
   
  Bianca Sanchez as Delia
   
  
   
  Produced for Radio by Steve Barker
   
  Stage Manager: Christopher Fox
   
  Original music by Michele Navazio

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  The Kingdom of Surfaces - Poems

  Sally Wen Mao

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  In The Kingdom of Surfaces, award-winning poet Sally Wen Mao examines art and history—especially the provenance of objects such as porcelain, silk, and pearls—to frame an important conversation on beauty, empire, commodification, and violence. In lyric poems and wide-ranging sequences, Mao interrogates gendered expressions such as the contemporary “leftover women,” which denotes unmarried women, and the historical “castle-toppler,” a term used to describe a concubine whose beauty ruins an emperor and his empire. These poems also explore the permeability of object and subject through the history of Chinese women in America, labor practices around the silk loom, and the ongoing violence against Asian people during the COVID-19 pandemic. 
   
  At its heart, The Kingdom of Surfaces imagines the poet wandering into a Western fantasy, which covets, imitates, and appropriates Chinese aesthetics via Chinamania and the nineteenth-century Aesthetic Movement, while perpetuating state violence upon actual lives. The title poem is a speculative recasting of Through the Looking-Glass, set in a surreal topsy-turvy version of the eponymous China-themed 2015 Metropolitan Museum of Art Gala. The Kingdom of Surfaces is a brilliantly conceived call for those who recognize the horrors of American exceptionalism to topple the empire that values capital over lives and power over liberation.

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