Cabala Girl.

Katherine Mansfield.   "I love the rain. I want the feeling of it on my face."











il pleut des voix de femmes.






































































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Reading at the EOAGH issue four launch at Unnameable Books in Brooklyn.

Thank you, Tim Peterson, for all the work that you did in editing this issue, and thank you for inviting me to read.




































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Sightings & Hearings. Crag Hill & Geof Huth at Stain Bar, Brooklyn. Friday, November 16, 2007.































I'm so happy to have been able to make it to this reading and performance. I've known both Crag and Geof for years via our correspondence and this was my first opportunity to meet them in person. Back in 1993 Crag's SCORE Press published a unique edition of my Go poems (that first edition is a collector's item now and is offered online by booksellers). And back in 1994 Geof's pdqb took one from my Ekphrasis series for the Alabama Dogshoe Moustache.

























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EOAGH ISSUE FOUR LAUNCH

SUNDAY, NOVEMBER 18, at 5 PM at Unnameable Books

A Poetry Reading Celebrating the Launch of EOAGH: A Journal of the Arts Issue 4

Unnameable Books
456 Bergen Street
Brooklyn, NY

FREE

Featuring: Gilbert Adair, Cara Benson, Joel Chace (read St. Thomasino on Joel Chace), James Cook, Alan Davies, Thom Donovan, Joanna Fuhrman, Rebecca Gopoian, Dan Hoy, Sara Marcus, Stephen Paul Miller, Nick Piombino (St. Thomasino interviews Nick Piombino), Tim Peterson , Evelyn Reilly, Edwin Rodriguez, Gregory Vincent St Thomasino (read my EOAGH poem, Banjo), Shelly Taylor, Adam Tobin, Lynn Xu

EOAGH Issue 4, Edited by Tim Peterson

will be available at http://chax.org/eoagh prior to this event -- more info soon.

***The editors of Time Out New York have appointed Unnameable Books as one of NYC's 50 Essential Secrets.***

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From a review of Go (from Sidereality v.2, #2) by Lewis LaCook:

"The Go poems strike me as a carefully reconstructed mirror turned on language itself. In his introduction, St. Thomasino makes clear his concern with the eidetic, the visual, qualities of every poem. Here he's quite masterfully crafted a reading experience radically different from any experience those who have never encountered visual poetry would expect. One doesn't read these poems line-by-line; one wades into them, drawn on by the sonic and visual reverberations St. Thomasino has hung there on the page. A linear reading is impossible here; instead, the reader must tune herself to the simultaneity of disparate linguistic elements. The closest live experience to these poems would be walking through an international airport, catching snatches of conversation in a number of different languages, 'understanding' some of them, simply marveling in the phenomenal beauty of the rest. These poems capture language as it is lived."

Go is now included in the e-chap Six Comets Are Coming available from E·ratio Editions.


From Florent Fajole, editor of Manglar out of Marseille, France:

"The chosen way, with space-time, fragments and constellation dynamisms, including also elements of unfixed syntax, is really convincing. Among other things, this poetic situation belongs certainly to a complexity well known by all the persons that use several languages: semantical and syntaxical complementarity, but also hiatus, structural incompatibilities, and therefore conflicts of many kinds. It’s an expanding language which develops new meanings and makes comprehensive what can be language placed far from unilateral ways of thinking and representing articulations, relationships but also solitude: the beginning of an open entity, identity, and on the other hand the end of closed identity."



Two of my Go poems have inspired the poet and composer Jukka-Pekka Kervinen to compose musical compositions: "Go six" as "Reflections I" and "Go eleven" as "Reflections II".  I like the title, "Reflections." It's a form of "mirroring."

Edward Gorey’s covers for Five Short Novels of Stendhal and Stendhal: On Love.

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A plate from the photocollage novel, Free Fall, by Nick Piombino.

Free Fall is published by Otoliths.

See more plates from Free Fall, here, and, here, at the e·ratio gallery.

Read my interview with Nick Piombino, here, at The Argotist Online.














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Two poems, Tops and Tilting, in Italian translation.

Cime e Inclinandosi, traduzione di Gherardo Bortolotti.

online at G A M M M

a noun sing e·ratio 9


with poetry by: louis armand, bill lavender, jeff harrison, brian zimmer, jon cone, alifair skebe, nicole mauro, michelle cahill, kristy bowen, julie waugh, robyn alter bielawa, jack foley, ivan arguelles, jake berry, jonathan minton, scott wilkerson, and amy grier



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Poet and Docent (for sooth)



































































































































































































































































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Intents and Purposes

For Gregory Vincent St. Thomasino
On the occasion of his public reading


A structure and, to be sure, it seems clear
or moving thus toward some end point
arcs of charge and yes those convictions
were said to be deeply felt or held or in any case
You will know how to read it
as from the first reflex to build is
certain places on rubrics, a further, a letter.

Then and purely a matter of last, it seems clear
if such is keep or can be seen as sequence
parts of larger and pressed to legible perceptions
particle theory of paper or else the wave
You will know how to read it
plural integer to thread and still this
retrieve where mapping downtown from what a face is


Poem by Scott Wilkerson

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"From a bottle Cézanne makes a cylinder, whereas I begin with a cylinder to create an individual item of a particular type; from a cylinder I make a bottle, a particular bottle. Cézanne tends toward architecture, I, on the other hand, begin with it. That is why I compose with abstract elements (colors) and arrange the objective elements only when the colors have become objects. I compose e.g. with a white and a black and come only to arrangement if this white has become a paper and that black a shadow. With this I want to say: I arrange the white in such a way as to let it become a paper. This painting relates to past painting as poetry does to prose."

—Juan Gris, in the journal, L'Esprit Nouveau, in February, 1921.


"The constructive spirit is as necessary for the creation of a picture or a poem as it is for the building of a bridge."

—Amédée Ozenfant & Charles-Edouard Jeanneret, the editors of L'Esprit Nouveau (Paris, 1920-1925, 29 issues).

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E·ratio 8 is online

With poetry by: Anne Gorrick, Marci Nelligan, Donald Wellman, Jody Porter, Nicholas Manning, Chad Sweeney, Christine Hamm, MTC Cronin, Amanda Laughtland, David Chikhladze, Jonathan Minton, and Scott Wilkerson


"Though we are continually being hurt owing to the narrowness of the reality in which we dwell, we blame life, and do not see the necessity of finding absolutely new standpoints." --Maurice Nicoll


To all the contributors for issue 8, I thank you so for sending and for your patience. I am so honored to have you.