Parker approaches my work a little differently from other reviewers, digging deep into the poems with more referential qualities and experiencing “fun” while trying to interpret them. For most of my writing life, I've believed that literature could be fun, that play can be an enjoyable way of moving in a direction with serious implications. Perhaps I read Catch-22 before I was too old to become somber. I'd like to thank Parker for his review. I'd also like to thank him for introducing me to Michael Harold's Red Moon, a cross-genre work that fuses binary theory, poetry and fiction with undeniable brilliance and originality. My discussion with Parker about Harold's work led me, in turn, to contact painter Harvey Bialy, a highly-regarded painter who drummed in a memorable free form jam session I played bass in forty years ago in Connecticut, at a time when free jazz players were hard to find in the area. While introducing me to a writer whose work seems geared to future generations, Parker also put me in touch with my distant past.
Sometimes the world is even smaller than we think.
In my attempt to enlarge my audience, I've just published a print edition of * on Lulu.com, for those who would like a hard copy:
Those who want to browse or just have a free read can find the online edition of * at:
Several months ago, Chalk Editions published THREE LONGPOEMS, which I wrote during my "transitional period" in 1999-2000. FREE FALL originally appeared as a Potes & Poets Press chapbook. Note that I wrote GROUND ZERO at least a year before the World Trade Center site acquired the name after the 9/11 attack. In this poem, Ground Zero refers to the nuclear testing grounds in the southwestern United Stales and to trumpeter Bill Dixon's approach to free improvisation. You can read them at:
Ganick has also published several batches of my strictly textual poetry in his experiential-experimental-literature blogzine:
Odds Against Today, my most recent collection of textual poetry, is now available through Argotist Ebooks:
Its cover ranks as one of my personal favorites among the covers of my books. The blurb seems a fair description of the content:
“In Odds Against Today Vernon Frazer's linguistic techniques force language beyond semantic limitations to produce poems that become events rather than meanings, although his lexical admixtures do not necessarily preclude perceiving or experiencing meaning.”
My textual poems have appeared in a number of other magazines as well:
RED CEILINGS has published “Switch and Bait:
and “Over Time and Over:”
Although my experience with RED CEILINGS has been limited, I find that I'm keeping good company with Felino A. Soriano's work published as a Red Ceiling Chapbook.
BLUE AND YELLOW DOG has published my texto-visual poems, “Stasis Quo” and “Anchor What” at:
OTOLITHS has also published my poem, "Parchment Grudge:"
My visual poetry represented me, after a fashion, during National Poetry Month, when P 667 Series C of PANELS FROM IMPROVISATIONS became part of the Angel House NationalPoetryMonth.ca at:
The poem appeared April 14. But a look at the calendar will reveal a new page of visual poetry every day from such artists as Camille Martin, Matthew Stolte, Reed Altemus, Satu Kaikkonen, mIEKAL aND, andrew topel, Bob Grumman, Joel Lipman, Gary Barwin, John M. Bennett, Geof Huth, and Sheila E. Murphy, among others. Amanda Earl deserves high praise for assembling this impressive and innovative commemoration of National Poetry Month.
In addition, Jim Leftwich's TEXTIMAGE POEM has published a batch of my visual poetry:
Aficionado Transfers: http://www.flickr.com/photos/textimagepoetry/5331135871/
Pentatonic Scaling: http://www.flickr.com/photos/textimagepoetry/5331135813/
Since I consider Leftwich one of our most diverse and innovative writers, I'm always honored when my work appears in one of his publications.
When I started this update, I wanted to explain that I'd been slow to post because I've been taking a vacation from writing and publishing in recent months, trying to rest after getting a significant portion of my backlog of work published and to recharge my verbal batteries. If this is my idea of a vacation, the thought of seeing myself at work might exhaust me.
Back to the mirror.