José Kozer (Cuba, lives USA) 1940

José Kozer (Cuba, lives USA)

1940

José Kozer is a Cuban poet, born in Havana in 1940. His Jewish parents had emigrated from Poland and Czechoslavkia. He left Cuba in 1960, moving to New York City until 1997, where he received his M.A. and Ph.D. from Queens College, CUNY in 1970 and 198s. He retired from Queens College as a Professor, having taught Spanish and Latin American literatures for 32 years.

       After moving to Torrox, Málaga in Spain, he moved back to the USA, living in Hallandale, Florida.

   The author of over 63 collections of poetry, he was the recipient of the Premio de Poesía Iberoamericana Pablo Neruda in 2013.

    The prestigious publisherAldus (Mexico) published two books of prose by José Kozer entitled Mezcla para dos tiempos and Una huella detartalada, as well as Acta (2010) a book of poems written upon the death of the poet’s mother. A reissue of Bajo este cien, originally issued by Fondo de Cultura Económica de México (1983) was published in Barcelona by El Bardo. Ánima and Acta est fabula; Visor (Madrid) Fondo de Cultura published his Y del esparto la invariabilidad; Monte Ávila (Caracas) his Trasvasando, and his Partículas en expansión was published in Chile in 2013 as a result of his winning the Neruda Prize.

     His poetry has been translated to English, Portuguese, German, French, Italian, Hebrew and Greek, has been widely anthologized and has appeared in numerous literary journals from all over the world. 

     The American publisher, Junction Press, New York, printed a bilingual (Spanish/English) anthology of Kozer’s work entitled Stet, edited and translated by Mark Weiss. In Havana, Cuba, Torre de Letras, an independent small press, has recently published his book Semovientes.

      Kozar has also written several books of prose and philosophy.

 

BOOKS OF POETRY

Padres y otras Profesiones (New York: Editorial Villa Miseria, 1972); Por la libre (New York: Editorial Bayú-Menoráh, 1973); Este Judíio de Números y Letras (Tenerife, Canary Islands: Editorial Católica, Ediciones Nuestro Arte, 1975); Y asií tomaron posesión en las Ciudades (Barcelona: Ambito Literario, 1978) (México D.F.: Editorial de la UNAM, 1979); Jarrón de las Abreviaturas (México, D.F.: Editorial Premiá, 1980), (Miami, Florida: Ediciones Catalego, 2003); La Rueca de los Semblantes (León, Spain: Editorial Instituto Fray Bernardinal de Sahagún, 1980); Antología breve (Santo Domingo, Dominican Republic: Editorial Luna Cabez Caliente, 1981); Bajo este Cien (México, D.F.: Editorial Fondo de Cultural Económica, 1983); La Garza sin Sombras (Barcelona; Edicions Librres del Mall, 1985), (Buenos Aires: Bajo la luna, 2006);  El Carillón de los Muertos (Buenos Aires: Ediciones Último Reino, 1987), Xalapa, Veracruz: Editorial Universidad Veracruzana, 2006); Carece de Causa (Buenos Aires: Ediciones Último Reino, 1988), (Buenos Aires: Tse-Tsé, 2004);  De donde Oscilan los seres en sus Proprciones (Tenerife, Canary Islands: H.A. Editor, 1990), Santiago de Chile: Ediciones del Temple, 2007); Los Paréntesis (selected by Roberto Echavarren) (México, D.F.: El Tucán de Virginia, 1995); AAA1144 (México, D.F.: Editorial Verdehalago, 1997); Réplicas (selected by Victor Fowler) (Matanzas, Cuba: Ediciones Vigia, 1997); La Maquinaria Ilimitada (México, D.F.: Editorial Sin Nobre, 1998); Dípticos (Madrid: Bartleby Editores, 1998); Farándula (México, D.F.: Editorial Ditoria, 1999); Al Traste (México, D.F.: Trilce Ediciones, 1999); Rupestres (Curitiba, Brazil: Editorial Tigre de Espelho, 2001); No Buscan reflejarse (Havana, Cuba: Editorial Letras Cubanas, 2001); Bajo este cien y otras poemas (Barcelona: El Bardo Editoria, 2002);  Rosa Cúbica (Buenos Aires: Eidtorial Tse Tsé, 2002); Ánima (México, D.F.: Fondo de Cultura Económica, 2002); Madame Chu y outros poemas (Curitiba, Brazil: Editorial Faxinal de Céu, 2002); Un Caso llamado FK (México, D.F.: Ediciones sin Nombre, 2002), (Miami, Florida: Editorial Strumento, 2002); Ogi no mato (México, D.F.: Editorial Universidad Autónoma de la Cuidad de Méixco, 2005);  Y del Esparto la invariabilidad (Madrid: España, 2005); Íbis Amarelo sobre fundo negro (Curitiba, Brazil: Travessa dos Editores: 2006);  Trasvasando (Caracas, Venezuela: Monte Ávila Eidtores, 2006); De donde son los poemas (México, D.F., 2007); Práctica (México, D.F.: Ediciones sin nobre, 2007); Mueca la Muerte  (Santiago de Chile: Editorial Norma, 2007); Ocambo (Santiago de Chile, Editorial Animita Caronera, 2007); 22 Poemas (México, D.F.: Editorial Ditoria, 2007); En Feldafring las Cornejas (México, D.F.: Editorial Aldus, 2007); Trazas (Spuren) [in Spanish and German) ((Zurich, Switzerland: Teamart Verlag, 2007); Semovientes (Havana, Cuba: Editorial Torre de Letras, 2007); Figuardo y literal (Aregquipa, Peru: Editorial Casahuesos, 2009); ACTA (México, D.F.: Editorial Aldus, 2010); Actividad del Azogue (São Paulo, Brazil, 2011);  Tokonoma (Madrid: Spain: Editorial Literal, 2011); Índole (Matanzas, Cuba: Ediciones Matanzas, 2013); Autorretrato en Tránsito (Ciudad de Guatemla, Guatemala: Catafixia Editorial, 2013); Despliegues, en Kozer + Carrión (Ciudad de Guatemla, Guatemala: Despliegues, 2013); Naïf (Madrid: El Sastre de Apollinaire Editorial, 2013); BBBBB160 (Havana, Cuba: Editorial Letras Cubanas y Editorial Torre de Letras, 2013);  Acta est Fabula (México, D.F.: Fondo de Cultura Económica, 2013); Partículas en expansión [anthology] (Santiago, Childe: Consejo Nacional de la Cultura y las Artes, 2014); Para que no imagines (Madrid: Editorial Amargord, 2014); Lindes [anthology] (Santiago, Chile: Lom Ediciones, 2014); Una huella destartalada (México, D.F.: Artigas Editores, 2014); Indicios (Madrid: Editorial Verbum, 2014); Suite Guadalupe (Brazil: Lumme Editor, 2015) [bilingual]; Un Asterisco Polonia (Guayaquil, Ecuador: El Quirófano Ediciones, 2015), (Buenos Aires: Audisea Editores, 2016); Parlamentos del nonagenario (Isla de San Borondón, Spain: Ediciones Liliputienses, 2016); Pareja Inmortal (Paraguay: Editorial Yiyi Jambo Cartonera, 2016)

ENGLISH LANGUAGE TRANSLATIONS

STET (Selected Poems) (trans. by Mark Weiss) (New York: Junction Press, 2006); Ánima (Exeter, England: Shearsman Books) [bilingual]; Tokonoma (trans. by Peter Boyle) (Bristol, England: Shearsman Books, 2014); Three Friends Carrusel (Taos, New Mexico: Editorial Rancho Press, 2016)

Armando Romero (Columbia) 1944

Armando Romero (Colombia)

1944

Born in Cali, Colombia on the 28 December in 1944, Armando Romero, was, during his youth, part of Vanguard Movement (El Nadaísmo), led by Gonzalo Arango. Among the group was Jaime Jaramillo, Eduardo Escobar Jotamario, Humberto Navarro, Fanny Buitrago, Amílcar Osorio, and many others.

      After leaving Colombia in 1967, Romero lived in Mexico and Venezuela. Years later, he received his Ph.D. from the University of Pittsburgh in 1983, where he wrote his doctoral dissertation on Colombian poetry.

   His literary and critical work has been translated into English, Italian, Greek, Rumanian, French, German, Arabic and Portuguese. Romero's critical text Las palabras están en situación: Un estudio de la poesía colombiana de 1940 a 1960 (1985) is considered by Colombian critics to be one of the most important books on Latin American poetry published in the twentieth century. Along with El Nadaísmo colombiano, o, La búsqueda de una vanguardia perdida (1988), it has been widely adopted in Colombian universities. 

      More recently Romero recently published two critical anthologies of Latin American poetry, Una gravedad alegre (2008) and Antología del Nadaísmo (2009). 

      Romero's novel La rueda de Chicago (2004) won the 2005 Latino Book Award for Best Adventure Novel at the New York Book Festival. In 2011 Romero won the Concejo de Siero International Award (Spain) for his fiction Cajambre. 

     Romero's numerous books of poetry include A vista del tiempo, selected poetry 1961-2004 (2005) and Versi liberi per Venezia (2010). 

      He has been invited to read internationally, and received an honorary doctoral degree from the National and Kapodstrain University Athens.

     He has also written numerous books of short stories and other fictions, and has written seven books of poetry.

      He currently lives in Cincinnati, where he is a Charles Phelps Taft Professor in Latin American literature at the University of Cincinnati. 

BOOKS OF POETRY

El dominio y sum mano (Caracas: Monte Avila Editores, 1975); Los móviles del sveño (Mérida: Ediociones de la gobernación del estado, 1975); El poeta de vidrio  (Caracas: Editorial Fundarte, 1979); Las combinaciones debidas (Buenos Aires :  Ediciones Último Reino,  1989); A rìenda suelta (with an introduction by Gonzalo Rojas) (Buenos Aires:  Ultimo Reino,  1991); Hagion oros – El monte santo Caracas:  Editores Pegueña Venecia,  2002); y Cuatro Líneas (México, 2002); De noche el sol (Medellín:  Eafit Publishing House,  2004)

Johannes Kühn (Germany) 1934

Johannes Kühn (Germany)
1934

Born in Bergweiler, in the Saarland area of Germany, on February 3, 1934, Johannes Kühn begin working as a workman in his brother’s building company. Because of an illness, Kühn didn’t speak for years, then began writing poetry in his late fifties, while acting, from 1955 to 1958, at the actors’ studio in Saarbrüken. He soon started writing dramas, fairy tales, and poetry, but had little success in this efforts. 

      After several years of wandering throughout the country, he published his collected impressions into poems and stories, and begin to attain national attention, particularly in the 1980s when he published the collections of poetry, Salzgeschmack (1984) and Am Fenster der Verheißungen (1989), and Ich Winkelgast (1989), as well as the fairy tales, Zugvögel haben mir berichtet (1988). He has also written several volumes of stories and fiction.

       However, Kühn ceased writing in the late 1980s, and did not return to writing poetry until 1992, a period when he has now won many awards, including the Horst-Bienek-Preis für Lyrik in 1995, the Christian-Wagner-Preis the following year, the Stefan-Andres-Preis in 1998, and again in 2004 for his volume Noon Bells in the Field.

       Today he lives in Hasborn, Germany.

BOOKS OF POETRY

Stimmen der Stille (Saarbrücken: Verlag “Der Mitte,” 1970); Salzgeschmack (Saarbrücken: Verlag “Der Mitte,” 1984); Am Fenster der Verheißungen (München: Carl Hanser Verlag, 1989); Ich Winelgast (München: Carl Hanser Verlag, 1989); Meine Wanderkreise ((Saarbrücken: Verlag “Der Mitte,” 1990); Blas aus de Sterne (Warmbronn: Verlag U. Keicher, 1991); Gelehant an Luft (München: Carl Hanser Verlag, 1992); Wenn de Hexe Flöte spielt (Warmbronn: Verlage U. Keicher, 1994);  Leuchtspur (München: Carl Hanser Verlag, 1995); Lerchenautsteig (Warmbronn: Verlag U. Keicher, 1996); Wasser genügt nicht (München: Carl Hanser Verlag, 1997); Habein Aug mit mir (Krüger Verlag, 1998); Mit den Raben am Tisch (München: Carl Hanser Verlag, 2000); Nie verließ ich den Hüelring (Blieskastel: Gollenstein-Verlag, 2002); Ich muß nicht reisen (Warmbronn: Verlag U. Keicher, 2004); Ganz ungetröstet bin ich nicht (München: Carl Hanser Verlag, 2007); Und hab am Gras mein Leben gemessen (München: Carl Hanser Verlag, 2014)

Noon Bells in the Field

—translated from the German by Elizabeth Oehlkers Wright

 On the cliff ledge of the quarry 

  the sound of the bell leaps

  like a ball, light, 

  overshoots the forests

  and reaches

  the plough

  the farmer,

  so he knows:

  It’s noon.

In the swamp

 sounding towards the sunken bell,

 it wakens, I believe the way children do,

 echo.

Playing,

 echo dives

 into the ravine

 where the pastured horses walk.

It falls

 on full kettles

 of berry-pickers,

 who pause, surprised

 it’s so late already.

Tin of tea,

 bacon slabs on bread

 the peaceful man eats and drinks,

 the vagrant

 in the narrow pass

 he’s finished begging

 and begins to chew

 his fine lunch

 by the fresh note of the church bell

 he knows other prayers too.

How loud the ringing of the anvil is,

 the locomotive roars

 the waterfowl screech

 the wagons rattle

 the village siren wails,

 and; trumping them all

 the old church, in all gravity,

 what many rejoice.

(Reprinted from Agni Review)

Kit Robinson (USA) 1949

Kit Robinson [USA]

1949

Born in Evanston, Illinois, on May 17, 1949, Kit Robinson attended high school in Cincinnati and graduated from Yale, where he met fellow poets Steve Benson, Alan Bernheimer, and Michael Waltuch, and studied with visiting poets Peter Schjeldahl and Ted Berrigan, as well as philosophers Robert Fogelin and Karsten Harries.

 

    In San Francisco he published the one-shot poetry magazine Streets and Roads (1974). In the late 70s and early 80s he produced "In the American Tree: New Writing by Poets," a weekly radio program of live readings and interviews on KPFA radio in Berkeley with Lyn Hejinian; curated the Tassajara Bakery poetry reading series with Tom Mandel; and performed with San Francisco Poets Theater under the direction of his brother Nick Robinson. He taught for seven years with California Poets in the Schools and was director of the Tenderloin Writers Workshop in San Francisco. In the mid-90s he was literature director at NewLangtonArts.

      In the 70s, Robinson worked as a cab driver, teacher’s aide, postal clerk, and legal reporter, as well as doing film delivery and repair for filmmaker D.A. Pennebaker and proofreading for publisher Maurice Girodias. Since the 80s, he has made his living as a marketing person for tech companies. A sometime musician, he plays the Cuban tres guitar in the charanga sextet Calle Ocho and lives with his wife Ahni in Berkeley, California.

      Robinson has written extensively on the work of his contemporaries including Ted Greenwald, Lyn Hejinian, Anne Tardos, Bob Perelman, Carla Harryman, Rae Armantrout, Barrett Watten, Larry Eigner, Clark Coolidge, Michael Gizzi, John Yau, Anselm Hollo, Tom Raworth, and Bob Cobbing. He is a co-author of The Grand Piano: An Experiment in Collective Autobiography, San Francisco, 1975-1980 (Detroit: Mode A, 2006-2010).

    Robinson’s play Collateral was produced at Poets Theater in 1982 and appears in The Kenning Anthology of Poets Theater (Chicago: Kenning Editions, 2010). His play Creative Floors was performed by members of the audience at Intersection in San Francisco in 1987. His translation from the Russian of Ilya Kutik’s Ode on Visiting the Belosaraisk Spit on the Sea of Azov was published by Alef Books in 1995. Performances with musicians have included the Glenn Spearman Trio (1996) and Drew Gardner’s Poetics Orchestra (2015).

      Awards and honors include the National Endowment for the Arts creative writing fellowship (1979); the California Arts Council artist in community fellowship (1982); a U.S. State Department (USIA) sponsored tour of Stockholm, Helsinki and Leningrad (1990); and the Fund for Poetry prize (1995). Robinson’s poetry has been translated into Italian, French, Swedish, Finnish, and Russian.

    In a statement on Elective Affinities. a cooperative anthology of contemporary U.S. poetry, Robinson wrote, “Poetry is the heart of language. It’s what’s left after everything else has been taken away. All the instrumental uses of language are completely necessary. We use language to invite people over, order food, build cities, etc. Take all of it away and you are left with poetry. Poetry is language on a holiday. Free to go where it will. But it is not jobless. The job of poetry is to continue, despite everything that is pitted against it.”

BOOKS OF POETRY

Chinatown of Cheyenne (Iowa City: Whale Cloth, 1974); The Dolch Stanzas (San Francisco: This, 1976), Down and Back  (Berkeley, California: The Figures, 1978); Tribute to Nervous (Berkeley: Tuumba, 1980); Riddle Road (Berkeley, California: Tuumba, 1982); Windows (Amherst, Massachusetts: Whale Cloth, 1985); A Day Off (Oakland: State One, 1985); Ice Cubs (New York: Roof, 1987); Individuals (with Lyn Hejinian, Tucson: Chax Press, 1988); Covers (Great Barrington, Massachusetss: The Figures, 1988); The Champagne of Concrete (Elmwood, Connecticut: Potes & Poets, 1991); Counter Meditation (Tenerife, Spain: Zasterle, 1991); Balance Sheet (New York: Roof, 1993); Democracy Boulevard (New York: Roof, 1999); Cloud Eight (with Alan Bernheimer, Lowestoft, United Kingdon: The Sound & Language, 1999); The Crave (Berkeley, California: Atelos, 2002); 9:45 (Sausalito, California: The Post-Apollo Press, 2003); The Messianic Trees: Selected Poems, 1976-2003 (New York: Adventures in Poetry, 2009); Train I Ride (Toronto: BookThug, 2009); Determination (Victoria, Texas: Cuneiform Press, 2010); Takeaway (with Ted Greenwald, Portlan: c_L Books, 2013); A Mammal of Style (with Ted Greenwald, New York: Roof Books, 2013); Catalan Passages (Berkeley, California: Streets and Roads, 2015); Marine Lover (Buffalo: BlazeVOX, 2015); Leaves of Class (Victoria, Texas: Chax, 2016) For recordings of readings by Kit Robinson, click here: http://writing.upenn.edu/pennsound/x/Robinson.php

Peter Inman (USA) 1947

Peter Inman (USA)

1947

Born in Bronxville, New York in 1947, and began writing poetry in the early 1970s. He graduated from Georgetown University, and for years worked at the Library of Congress while married to fellow poet Tina Darragh, who together raised their son Jack. Inman has also been involved with Unions.

 

     Focused on an anti-representational linguistic system, Inman’s poems centered more on sound that literal meaning, although often his works betrayed traces of narrative.

     His first book, What happens next? was published in 1974, with P. Inman U.S.A. following in 1975, and Sun and Moon Press’ Platin in 1979.

    Since there is he published numerous other books, including the long summary volume, Written 1976-2013 published in 2014.

     His poems have also been included in several anthologies, including None of the Above (Crossing Press, 1976); In the AmericanTree (National Poetry Foundation, 1986); “Language” Poetries (New Directions, 1987); La lingua radical (Gramma Poesia, 1992); From the Other Side of the Century (Sun and Moon Press, 1994); and Other Room Anthology (Other Room Press, 2010).

BOOKS OF POETRY

What Happens Next? (Washington, D.C.: Some of Us Press, 1974); P. Inman U.S.A. (Washington, D.C.); (Dry Imager, 1975); Platin (College Park, Maryland: Sun & Moon Press, 1979); Ocker (Tuumba, 1982); Uneven Development (Jimmy & Lucy, 1984); Think of One (Elmwood, Connecticut: Potes & Poets, 1986); Red Shift (New York: Roof Books, 1988); criss cross (New York: Roof Books, 1994); vel (Oakland: O Books, 1995); ply (Elmwood, Connecticut: Potes & Poets, 1997); at. least.; (Krupskaya Collective, 1999); amounts. to. (Elmwood, Connecticut: Potes & Poets, 2000); now/time (Bronze Skull, 2006); Ad finitum (Manchester, England: if p then q, 2008); per se (Providence, Rhode Island: Burning Deck, 2012); Written 1976-2013 (Manchester, England: if p then q, 2014)

Tina Darragh (USA) 1950

Tina Darragh [USA]

1950

Tina Darragh was born and raised in Pittsburgh and grew up the suburban community of McDonald, Pennsylvania. She began writing in 1968 and studied poetry in Washington, D.C. at Trinity University from 1970-1972. Between 1975 and 1976, she worked with Some of Us Press and at the Mass Transit community bookstore and writing workshop. She now lives in Greenbelt, Maryland with her husband Peter Inman. They have a son, Jack. 

      She started writing poetry in college after taking a course with the poet Michael Lally, and has been included in several L=A=N=G=U=A=G=E-based poetry anthologies including Ron Silliman’s In the American Tree (National Poetry Foundation 1986) and Douglas Messerli’s  From the Other Side of the Century (Sun & Moon Press, 1994). Darragh makes her living as a librarian. 

       Darragh has written many works of poetry, as while as an early play, My First Play (1974). Among her several books of poetry are Living (with Tim Dlugos) (1974), my hands   to  myself (1975); Pi in the Skye (1980), on the corner   to   off the corner (Sun and Moon Press, 1981), exposed faces (1984), and another play, Opposable Dumbs (2002).

 

         Tina Darragh with her husband Peter Inman and their son Jack

      Part of the poetic group surrounding Washington, D.C.’s 1970s Folio Books meetings, she and her husband have continued to play an important role in Washington’s poetic scene.

BOOKS OF POETRY

Living  (with Tim Dlugos) Washington, D.C.: Dry Imager Press, 1975; my hands   to   myself  (Washington, D.C.: Dry Imager Press, 1975); Pi in the Skye (New York: Direct Press-Modern Litho, 1980); on the corner   to   off the corner (College Park, Maryland: Sun and Moon Press, 1981); exposed faces (Elmwood, Connecticut: Potes & Poets Press, 1984); a(gain)²st the odds Elmwood, Connecticut: Potes & Poets Press, 1989); Striking Resemblance: Work, 1980-1986 (Providence, Rhode Island: Burning Deck, 1989); adv. fans: the 1968 series (Buffalo, New York: Leave Books, 1992); 6tpf/6tyn (Elmwood, Connecticut: Potes & Poets Press, 1997); in Etruscan Reader #8: Tina Darragh, Douglas Oliver, Randolph Healy (Buckfastleigh, United Kingdom: Etruscan, 1998); dream rim instructions (New York: Drogue Press, 1999);  in Belladonna Elders Series #8: Jane Sprague, Diane Ward, Tina Darragh (Brooklyn, New York: Belladonna Books, 2009); Deep eco pré (with Marcella Durand) (Austin, Texas: Little Red Leaves e-editions, 2009)

Charles North (USA) 1941

Charles North [USA]
1941

Charles North was born in Brooklyn in 1941 and grew up in and near New York City.  A classical clarinetist in his youth, he played with his first orchestra at thirteen and spent summers in the music program in Interlochen, Michigan. For a time he was going to make music his career.
       He studied English and philosophy at Tufts (where he met his wife, Paula; they have two grown children, Jill and Michael) and English at Columbia, and then spent six weeks at Harvard Law School before dropping out.  In his mid-twenties, while copy-editing for a publishing company, he began writing poems and found his way to Kenneth Koch’s poetry workshop at The New School, which he credits with changing his life.  Soon after, he was hired to teach English at (then) Pace College, where he eventually became the University’s first Poet-in-Residence. 

 

     The newly formed Poetry Project in New York City was central to North’s development as a poet.  He went to numerous readings, published in Project magazines, served on the Advisory Board, and befriended other poets of his generation, including two who would become close colleagues, Tony Towle and Paul Violi. 

      North’s first poetry collection, the innovative Lineups (1972), was featured in two New York Post sports columns and reprinted in several anthologies. Since Lineups, he has published nine books of poems; collaborations with the poet Tony Towle (Gemini; Putnam Valley, NY: Swollen Magpie, 1981) and the artists Trevor Winkfield (Tulips; New Haven: Phylum, 2002) and Paula North (Translation; Brooklyn: The Song Cave, 2014); and two books of essays: No Other Way: Selected Prose (Brooklyn: Hanging Loose, 1998); and Ode to Asparagus, Peonies and Manet (The Song Cave, 2010). In the mid-70s he wrote for Art in America and briefly taught in the Poets-in-the Schools program. With James Schuyler, he edited the poet/painter anthology Broadway in 1979, and subsequently Broadway 2, and with Violi he ran the Swollen Magpie Press from 1976-1982.

      In 2017 North published States of the Art: Selected Essays, Interviews and Other Prose 1975-2014 (Brooklyn: Pressed Wafer). 

BOOKS OF POETRY

Lineups (privately printed, 1972); Elizabethan and Nova Scotian Music (New York: Adventures in Poetry, 1974); Six Buildings (Putnam Valley, NY: Swollen Magpie, 1977); Leap Year (New York: Kulchur, 1978); The Year of the Olive Oil (Brooklyn: Hanging Loose, 1989); New and Selected Poems (Los Angeles: Sun and Moon, 1999); The Nearness of the Way You Look Tonight (New York: Adventures in Poetry, 2000; rev. ed, 2001); Cadenza (Brooklyn: Hanging Loose, 2007); Complete Lineups (Brooklyn: Hanging Loose, 2009); What It Is Like: New and Selected Poems (New York/Brooklyn: Turtle Point/Hanging Loose Press, 2011); Elevenses (with Trevor Winkfield) (New York: Granary, 2017); North of Charles: Early and Uncollected Poems (Brooklyn: Hanging Loose Press, 2018).