Eileen R. Tabios is a poet working in multiple genres and in-between. She also loves books by writing, reading, publishing, critiquing, romancing and advocating for them. This blog will feature her bibliophilic activities with posts on current book engagements and links to her books and projects related to books.

Wednesday, June 26, 2019


I'm grateful to Neil Leadbeater for reviewing ONE TWO THREE: Selected Hay(na)ku Poems in My Haiku Pond. You can see entire review HERE but here's an excerpt:
The longest poem in the hay(na)ku section, The Ineffability of Mushrooms, is described as a novella-in-verse. The first thing to notice about this is the title. The word “ineffability” stands out from all the other words and makes us stop in our tracks to consider its meaning before moving on to read the text. In its greater sense, ineffability is concerned with ideas that cannot or should not be expressed in spoken words (or language in general), often being in the form of a taboo or incomprehensible term. This property is commonly associated with philosophy, aspects of existence, and similar concepts that are inherently “too great”, complex or abstract to be communicated adequately but here, on a different level, it is also used in the sense of something that causes so much emotion, especially pleasure, that it cannot be described. Contrary to this notion, much is actually described about the actual art of foraging for mushrooms by man and beast, as well as their preparation and storage but, perhaps in keeping with the earlier definition of the word, the name of the speaker in the poem is not given, he is only referred to as “F”. Earlier and later references to “smoke” become ominous by the time we reach the final section of the poem:“…Later in / London, I / received //each Autumn one / precious single / bag // of dried mushrooms / and memories / then // lingering like smoke. / The last / arrived // in 1939, shortly / after the / outbreak // of war.”

Thursday, June 20, 2019


The long-awaited  “Extreme Texts” feature at Jacket2 edited by brilliant scholar-poet Divya Victor is out! And I’m pleased to be a part through MURDER DEATH RESURRECTION’s exploration of kapwa, transcolonialism, cubism/abstract expressionism, mathematics, subjectivity, weariness, a Pacita Abad painting, the illusion of the random, and, always-and-forever-for/from-me: Poetry. Here's my essay.

I heartily recommend reading through the entire issue as some of the most innovative work—innovative thinking—in contemporary poetry is presented here. Here’s link to the editor’s Preface with Table of Contents on the right side: http://jacket2.org/feature/extreme-texts

I am particularly heartened (I hadn’t expected it) that my work is presented in the same issue as a “Philippines Dossier”—as Angelo V. Suarez calls it with his intro, “Philippine literary production under fascism.” I am reminded of a leading Filipino poet who’d recently contacted me about publishing a book here in the U.S.—because while they normally would be able to publish it in the Philippines, it includes anti-Dut poems and that would make it difficult for such a publisher. (Relatedly, there are implications to how such a Dossier ends up being in Jacket2, a non-Filipino pub except for how cyberspace encompasses global of course)

Much to read. Much to consider. Do join me in perusing.

[Thanks to Carol Dorf and Leny Strobel and the Babaylan Files for their help with my essay. And Tom Beckett--I continue to give credit to the inspiration of your book DIPSTICK/DIPTYCH.]

Wednesday, June 19, 2019


As dubbed by the local post office, I'm the Media Mail Queen for Saint Helena. Media Mail is an inexpensive way to mail books and other select matter and as a publisher, writer, and critic, I beat out a local cookbook author for the title. But I guess certain folks try to take advantage of Media Mail for its lower-cost shipping rates and, today, I decided to open one of my packages and introduce them to the Miniature Book. Apparently, someone had been looking at my packages and doubting that a book really was inside. Well, they oohed and aaahed over the sample tiny book, a 1904 edition of Shakespeare's Antony and Cleopatra. "Learn something new everyday," Francisco (featured below) said. Indeed. And I retain my crown: Media Mail Queen.

Miniature Books are sized up to 3"x3" in the U.S.; internationally, the threshold can rise to 4". You are invited to visit what I call my "Tiny Book Library", as well as a Miniature Book exhibit I curated for North Fork Arts Projects.

(Local postman Francisco!)

Tuesday, June 18, 2019


Killian’s synesthetic insertion of a scent into several photographs is also genius; it moves from the on-point evocativeness of the referenced scent viz

       “Low cloud of violet fog blurring the bed’s four corners, almost like patchouli,” 

to (oh such a brilliant leap)

       “and underneath the heavy scent, the deeper scent of a woman thinking.”
--from review of EKSTASIS by Kevin Killian and Peter Valente

Of course Kevin Killian’s brilliant output also moved me to write reviews on his works. I emphasize that I don’t assign myself reviews—and no one else does. I simply try to read widely and whatever moves me to write a review ends up being what I review from the books of both friends and strangers. Kevin’s work moved me more than the two times I was able to (find the time to) review him:

EKSTASIS by Kevin Killian and Peter Valente

Kevin also was generous enough to review me on Amazon—he reviewed AMNESIA—it's heartbreaking to read his words now as it reminds of his generosity. I’d actually told him he didn’t have to review my work as I’d just wanted to support Belladonna who’d auctioned off a Kevin Killian review for one of their fundraisers. But of course Kevin went ahead with the review…

I notice that my review of his Amazon collection ends up with the words, “Stay healthy, Kevin Killian! We want more books from you!” Ach.


Alice Brody is a New York City-based artist and she just created an artist's book based on my poem "Kintsukuroi." I'm always so grateful to see a visual manifestation of one of my poems, especially as it's a "miniature book" sized at 2.5" x 3.5".

Here's poem from WITNESS IN THE CONVEX MIRROR (TinFish, 2019), and the book it inspired from Alice below.

What's not known about this poem--well, until you read about it here--is that it's a poem that surfaced when I was proofreading an earlier poetry book, MURDER DEATH RESURRECTION (MDR). In fact, I'm so grateful to its publisher Dos Madres Press for allowing me to insert it in the back of the book at the very last minute. I wanted it in MDR because the poem wouldn't exist without MDR. Afterwards, it slipped itself into WITNESS IN THE CONVEX MIRROR by donning the beret of a couple of lines from John Ashbery's "Self-Portrait in a Convex Mirror." So it's got a past, this poem. But don't all poems?

from KINTSUKUROI by Eileen R. Tabios
Designed and Created by Alice Brody

What also is interesting is that when Alice gave me the book, it came with a card featuring a Tiffany vase in the Metropolitan Museum of Art (NY)'s collection -- look at the colors!

And here's the book shelved! On a bench within my Tiny Book Library:

Sunday, June 16, 2019


I’ve been starting, then deleting, then starting all night. The sorrow over Kevin Killian’s passing goes deep. When I moved from NY to San Francisco, he introduced himself and then so swiftly brought me into the Bay Area poetry community. My debt is immense. My gratitude is immense. My sorrow is immense. Perhaps a regret is how I never told him just how meaningful a role he played in encouraging me to continue with this poetry life. Because it’s hard. But when you find light like his only in (or through) such an arduous landscape, you don’t depart the landscape. In progress: an encyclopedia-length list poem (or list) entitled “Dear Kevin, Thank You For Not Laughing”—here’s one line:
“Thank you for not laughing when I thought bringing a naked poet onstage must require dimming the lights."
I can only return to the poem where I have a chance of being articulate. Outside the poem, my sorrow mostly makes me speechless. For now, R.I.P. and “Thank you for…”, Kevin Killian. Love is a source of difficulty

Wednesday, June 5, 2019


I'm pleased to share my first poem translated into French. Fanny Garin's translation of "PilipinZ" is featured in On peut se permettre put out in Belgium.  I'm grateful, and here it is:

Here's the poem's lovely company:

“PilipinZ" seems to be a popular poem—it’s the first one of my poems to be quoted in a novel, Reine Arcache Melvin’s wonderful The Betrayed which I recommend.

You can see the English poem online (earlier version) as the last poem in the Moria Locofo chap Pilipinx accessible through HERE


I love when my projects have a long finish. Texas-based artist Matt Manalo has created a fabulous painting after one of the lines in my "MURDER DEATH RESURRECTION" project:

Acrylic paint, spray paint, duct tape, rice bags
60 x 54 inches

There's also a book coming out by Leny Strobel emanating from other lines.  If you'd care to look at the project's inventory of 1,167 lines, they're available in its official monograph, MURDER DEATH RESURRECTION: A Poetry Generator (Dos Madres Press, 2018).

Saturday, June 1, 2019


I'm moved and blessed to receive from g emil reutter a review of WITNESS IN THE CONVEX MIRROR. You can see entire review at North of Oxford; here's excerpt below:
The use of two of Ashbery’s lines to begin new poems is bold and courageous. Tabios has never been a poet to conform, she shatters the mirror. Its shards of images and words, both beautiful and harsh, of the comfortable and uncomfortable glitter like diamonds spilled out upon the floor.

Unfortunate typo in last excerpted poem. Last two lines should be:

read you, and you professed your entire life

that you are a poet. Damnation: I am a poet!

Wednesday, May 29, 2019


Two recent publications. The first in Bellingham Review is an excerpt of series inspired by an Anselm Berrigan line. The second is a poem in The Lantern Review; the poem also is part of my newest book Witnessed in the Convex Mirror. (As latter is online, here's link to it: http://lanternreview.com/issue7_2/toc.html ) Agyamanac.


Tuesday, May 21, 2019


Poet-Mom Michelle Bautista just shared she "survived" a hay(na)ku workshop for kindergartners at Glenview Elementary! The survivor said:
"They shared their poems then their classmates had to guess what they wrote about. For kids that needed extra help, wrote words on post it notes that they could move around."

The use of post-its was genius--it made the process like a manual version of those magnetic poetry kits!  This, of course, is ALSO what hay(na)ku is for -- to bring love to poetry and poetry to love!

Thanks Michelle! The sample poem:
Make dolphins you; 
whoosh wavy; 

Sounds great to me!!!

Monday, May 6, 2019


Deep gratitude to Erica Goss who reviews my Selected Hay(na)ku Poems at her Sticks & Stones Newsletter. Erica's newsletter features a variety of interesting readings--you can sign up for it HERE. Here's the current issue's contents:
  • REVIEW: One, Two, Three: Selected Hay(na)ku by Eileen Tabios
  • THE READING LIFE: A Closer Look with Karen Kelsay of Kelsay Books
  • RANDOM POEM FROM THE BOOKSHELF: "Everything” by Mary Oliver
  • QUOTE: William Stafford from "Writing and Literature, Some Opinions"
  • ARTICLE AT MOVING POEMS: "Wings of Desire is a Poetry Film"
  • VIDEO: An interview with poet Raymond Antrobus
           MY NEW BOOK, STONE empty chair

And here's my review!

REVIEW #30: One, Two, Three: Selected Hay(na)ku Poems by Eileen R. Tabios; Spanish translations by Rebeka Lembo

Paloma Press, 2018

In One, Two, Three: Selected Hay(na)ku Poems, Eileen R. Tabios, creator of the hay(na)ku, proves that she is not only adept at invention, but also at exposition. The collection contains hay(na)kus and variations of the form, as well its history, description, a selection of hay(na)kus written by Vince Gotera, and seven poets’ comments about the form. This book is part poetry collection, part manual, and an invitation to participate: at the end of the introduction, Tabios writes, “I hope this collection encourages readers to try their hand at the hay(na)ku!”

A hay(na)ku is a three-lined poem with one word on the first line, two words on the second, and three on the third. As Tabios writes in the chapter, “The History of Hay(na)ku,” the form started out as a “Filipino haiku;” eventually she renamed it “hay(na)ku,” and notes “’Hay naku’ is a common Filipino expression covering a variety of contexts—like the English word ‘Oh.’” The chapter includes a list of hay(na)ku variants: “ducktail,” “melting,” and “worm” are just a few. In creating this form, Tabios meant for it to become “a community-based poetic form; this fits with my own thoughts on the poem as a space for engagement.”

Deceptively simple – just six words, no rhyme, meter, or complex patterns – hay(na)ku creates resonances within its tight structure. Each hay(na)ku is a complete poem or a stanza in a longer series. For example, the first stanza of “Post-Ecstasy Mutations,” reminiscent of Emily Dickinson in its use of dashes and capital letters, seems complete:

            Thus, barter—
            Love requires haggling—

and the next stanza seems dropped in from another poem:

            forever excavates—
            Mahogany dining tables

but by the third a leaping intelligence begins to form within the six-word stanzas:

            to include
            despite royal lengths—

One, Two, Three includes a Spanish translation. Translating poetry is always a tricky proposition; hay(na)ku, however, with its emphasis on brief, pithy lines, forces a limit that seems to make word-for-word translation possible. Indeed, the translator, Rebeka Lembo, preserves the word-and-line structure in almost every poem. Consider “Maganda Begins” (“Comienza Maganda”), a reverse hay(na)ku. The Spanish and English poems appear side-by-side, Spanish on the left and English on the right. The poem’s beginning stanzas:

Amor mio: Si                             My love. If
hay palabras                              words can
que                                               reach

lleguen al mundo                      whatever world you
que sufres—                               suffer  in—   
escucha:                                     listen:                                                                                                                     

“Maganda,” Tagalog for “beautiful” and also, as the epigraph states, “the name of the first woman in a Filipino creation myth,” adds yet another language to the mix, emphasizing Tabios’s goal of creating inclusivity in poetry, and that poetry be a place for an ever-shifting mix of ideas, languages, and forms.

The variant, haybun, combines hay(na)ku poetry and prose similar to the traditional Japanese form haibun, which combines haiku and prose. In 147 Million Orphans (A Haybun), Tabios explores the experiences of orphans (147 million is an estimate of the number of orphans alive in the world). The prose paragraphs in each haybun expand on the words in its accompanying hay(na)ku. In “Haybun MMXII,” she writes

                        weekend weekday
                        reacquaint vessel insubordinate

          To learn his new language, the adoptee was
          charged with learning 25 new English words a
          week during the schoolyear…”Weekend,
          weekday” – such common terms…

Eileen R. Tabios is an imaginative and tireless experimenter with words and ideas. One, Two, Three: Selected Hay(na)ku Poems is not only an enjoyable read, but also inspiration: it’s almost impossible to resist writing one’s own hay(na)ku. Tabios’s project reminds us that words matter most in poetry, and that, surrounded by white space, six words have the power to move us in unexpected ways.

Eileen R. Tabios loves books and has released over 50 collections of poetry, fiction, essays, and experimental biographies from publishers in nine countries and cyberspace. Her 2018 poetry collections include HIRAETH: Tercents From the Last Archipelago; MURDER DEATH RESURRECTION: A Poetry Generator; and the bilingual edition of One, Two, Three: Selected Hay(na)ku Poems. With poems translated into seven languages, she also has edited, co-edited or conceptualized ten anthologies of poetry, fiction and essays in addition to serving as editor or guest editor for various literary journals. She maintains a biblioliphic blog, “Eileen Verbs Books“; edits Galatea Resurrects, a popular poetry review; steers the literary and arts publisher Meritage Press; and frequently curates thematic online poetry projects including LinkedIn Poetry Recommendations (a recommended list of contemporary poetry books). More information is available at http://eileenrtabios.com.

One, Two, Three: Selected Hay(na)ku Poems is available from Paloma PressLulu, and Amazon

Saturday, May 4, 2019


I’m grateful to Jeffrey Side for interviewing me for The Argotist (given that Jeffrey is the author of this article, I’m also honored he asked to interview me). This is the latest of a series of stellar Argotist interviews. You can see my interview HERE but here’s an excerpt…which I’m highlighting for myself because not caring who reads my poem is a privileged position which, at the time of the interview, I didn’t get into (one must maximize self-awareness). Ah well, next interview! 

JS: In an interview for the Asian Pacific American Journal, you said: ‘In poetry, I try to create an emotion that transcends the dictionary sense of what words mean or what they typically evoke in the current cultural context. There are words that are beautiful outside their meaning, like azure or jasmine or cobalt... For me, this is partly the place of abstract poetry, in addition to what’s happening in that space between, words, lines, sentences and paragraphs’. I agree with this approach very much. How much resistance (if any) have you had to such an approach from critics or publishers? 

ERT:  I’m glad the approach resonates with you, Jeffrey! It’s an approach I’d created in a vacuum (mostly from my love of abstract expressionist art) so it’s always good to hear it validated by another writer.

As regards critical response, …those poems can be seen through my first U.S.-published book, Reproductions of the Empty Flagpole (Marsh Hawk), that sold out its first printing in about six months or so (granted, it’s a small press’ first printing but, still!) And I wouldn’t be surprised if that book has sold more than all of my other books combined. Those poems were also picked up in my selected prose poem collection, The Thorn Rosary (Marsh Hawk). In this sense, the poems seem to have received favorable responses (before they were published in books, many of course were published in literary journals). …

Having said all that, in terms of critical reception—and I would include academia here—my approach takes me outside discernible identity-related poetics and so my books are not go-to publications for those invested in Filipino, Pilipinx, Asian American and related-other literature. I think it’s because linkages with those concerns would not be obvious from the narrative content of the majority of my poems (though some exist). But if I’m disappointed, it’s because I feel there is a 100% linkage with those concerns through the approach to language. For instance, abstraction is one means to disrupt the historical use of English as communication for colonial purposes. But it requires more thought, a deeper thought, to address poems and language in this manner. It’s easier if the text itself is saying the obvious…

But having said all that again, I’m fairly clear in what I’m looking for in a poetry audience. It’s not to have a big audience but an open-minded audience really interested in poetry. So, ultimately, I am totally accepting of the kind of readership I have and the limits to expanding such readership. I don’t need to push my poems on anyone.

Full interview HERE.

Monday, April 29, 2019


I'm grateful to Neil Leadbeater for his review of THE GREAT AMERICAN NOVEL. You can see the entire review at the just-released issue of the ever-outstanding Otoliths, but here's an excerpt:
“Mooring After Loss” (2016) demonstrates the close association that can sometimes be present between the word “image” and the word “imagination”. A camera has been positioned in such a way as to photograph someone walking across a floor. In the photograph we see the floor and a left foot (the one that is in the act of striding forward). The right foot is not to be seen but an outline of it has been drawn on a blank piece of white paper and placed on the floor beside the left foot. At first, I misread the title as “Mourning After Loss” and thought that the blank outline of the right foot represented the departed one but then I reread the title and recognized how important it is in a time of loss that we still keep ourselves anchored to the ground, even if it is only with one foot, so that we can keep moving on, one foot at a time. The soul of the departed one is always close to us, closer than we think, in our daily walk through life. 

In this collection Tabios, always at the vanguard of poetic expression and invention, offers up a thoughtful fusion of text and image that is at once multilayered, satisfying and visual. Beneath the surface of her strikingly original artistry, she speaks out courageously against the horrors of injustice and makes a plea for all that is beautiful and tender in our fragile world. Fully recommended.

Saturday, April 13, 2019


Dear Friends,

My latest book, WITNESS IN THE CONVEX MIRROR, is now officially released and available through me or the following spaces:

I hope you check out this book where much of what I've learned about the poem over the past two-plus decades culminates. Here's a description:

TinFish Book Description
When John Ashbery died in September, 2017, all the obituaries noted that he had been a member of the New York School of poets, that his roots were in western New York and that, despite living for a decade in Paris, his career had unfolded over many decades in the City. Ashbery was, indeed, something of a local poet, constantly using references from the places he had lived. Lost in the very local memorials, however, was the fact that Ashbery’s work also influenced writers in the Pacific, including writers of color. Eileen Tabios has taken up Ashbery’s influence and engaged in a project of “the browning of John Ashbery,” as she told Tinfish’s editor once. Using one or two lines at a time from Ashbery’s “Self-Portrait in a Convex Mirror,” (1976), Tabios inhabits Ashbery’s mode, while moving our focus of attention many thousands of miles west of New York City. Tabios, who grew up in the Philippines, studied and worked in New York City, and has lived in California for many years, appropriates Ashbery to her own ends. These include cultural appropriation, genocide, militarism, sexual and racial violence, art history, and many other interests she shared—or did not share—with the older white male poet. Witness in the Convex Mirror is a tense act of homage, one that draws Ashbery away from the region that is most comfortable with him, and into a place where the discomfort is palpable, but extremely generative.

“You don’t write poems like he does,” the speaker says in Eileen Tabios’ poem  “Tense Past Tense.”  We, the readers, immediately notice the vertigo, the  joie de vivre  of a playful but incisive sense of the text.   She does not write like Stephane Mallarme but   you can hear the sounds of his dice rolling in the poems. She does not write like John Ashbery and yet the complexity and opacity tumbles in tune to the music of those sentences. WITNESS IN THE CONVEX MIRROR is Eileen Tabios’  modus opus  and it should find a place in every public or private library.
— Nick Carbó, author of Secret Asian Man and editor of Returning the Borrowed Tongue

Eileen Tabios cracks open Ashbery’s convex mirror to reveal a secret history of our times.   Her virtuoso riffs on Ashbery’s masterwork are no mere exercise, but open up into unexpected vistas—these poems “say ‘convex’ for widening / the gaze.”  That gaze is directed both inward and outward, offering glimpses of the quotidian life of those who find “mortality gazing back / at us from the bathroom mirror,” but also pulling back for a wide-angle view of a planet in crisis, chronicling “the body’s deterioration, ours and earth’s.”  These pages, like Ashbery’s, are filled with the pleasures of poetry, but Tabios resists the “preening that / negates the subject matter,” unafraid to peer behind the scenes of our lives in “the dim shadows / of a movie forged from the margins / of capitalism.”  The swerve of the convex mirror, allowing us a (brief) respite from confronting ourselves, is gradually replaced with an awareness of our complicity in the world reflected in the poem: “No one is / innocent in empire.”  What’s left to the poet is to be “the spy / in the house,” as Tabios’s formal inventions dig behind enemy lines to open up, however briefly, a space of plentitude: “I came into being, capacious and singing.” 
— Timothy Yu, author of Race and the Avant-garde: Experimental and Asian American Poetry Since 1965 

To read Eileen R. Tabios’ WITNESS IN THE CONVEX MIRROR is “to Ashbery,” which,  to paraphrase John Ashbery—arguably the greatest American poet of the 20th century—means to “imitate the way knowledge comes, by fits and starts and by indirection.” Ms. Tabios begins each poem with 1-2 lines from Mr. Ashbery’s oeuvre, before pivoting to Asia and Asian themes: “It happened while you were inside, asleep. / The penguins now grieve over the escalation / of silt in their bath. A mother begs a child, / “Let go. I won’t survive, but you can!” But…” In her new book, Ms. Tabios addresses super typhoons and modern-day slavery, and homonyms and reduplicative words such as wagwag and pagpag, with aplomb and intense imagination, permanently and expertly connecting these with the hermetic nature in John Ashbery’s poetry. Read these poems as through a fish eye mirror, where the field of view is ever more expansive, and objects are always closer than they appear.
— Aileen Ibardaloza Cassinetto, San Mateo Poet Laureate and author of The Pink House of Purple Yam Preserves & Other Poems

Thursday, March 28, 2019


The Strip Hay(na)ku Project.  A collaborative experiment in sequential graphic poetics

Edited by Ernesto Priego

With contributions by John Bloomberg-Rissman, Sam Bloomberg-Rissman, Amy Bernier, lola bola (Jane Ogilvie), Horacio Castillo, Ira Franco, Ernesto Priego, and Ginger Stickney.

Foreword by Eileen R. Tabios
Introduction by Ernesto Priego

ISBN 978-1-934299-13-5
Release Date: April 2019
Page Count: 48 pages, full colour.
Price: US$14.00 or equivalent 
For more information: meritagepress@gmail.com

Meritage Press and Laughing/Ouch/Cube/Publications are pleased to announce the release of The Strip Hay(na)ku Project, a collection of hay(na)ku poems in comic strip form, edited and co-created by Ernesto Priego with contributors John Bloomberg-Rissman, Sam Bloomberg-Rissman, Amy Bernier, lola bola (Jane Ogilvie), Horacio Castillo, Ira Franco, Ernesto Priego, and Ginger Stickney.

"Hay naku" is a common Filipino expression covering a variety of contexts—like the word "Oh." The "hay(na)ku" is a 21st century poetic form invented by Eileen R. Tabios. It is a six-word tercet with the first line being one word, the second line being two words, and the third line being three words. Poets around the world have used the form and have created text and visual variations of the form, including the “chained hay(na)ku” which strings together more than one tercet as well as the reverse hay(na)ku where the word count is reversed. Ernesto Priego started co-creating "strip hay(na)ku" poems in 2008, inspired by examples of Slovenian "strip haiku".

About The Strip Hay(na)ku Project:
"Hay(na)ku, a 21st century fixed verse form, has inherited haiku-sensibility (with its caesuras or paradigm shifts) and added to it a new kind of game, with 1, 2, and 3 words, perfect for the special needs of alphabetical writings. The inventive collaborators of this book successfully transplanted hay(na)ku – not only its basic form but its spirit as well – into the field of visual writing, and what we get is new and exciting. The book contains real comic strips but almost as soon as I started reading/watching the panels I had the strong impression that instead of the usual multitude of voices, speakers, actors etc. we have only two "heroes", so to speak, inside and outside, and even they are not so different, to say the least. There is no comic strip without a story, and this time we are told and shown (but the texts and images don’t explain each other, their connection is inspiringly dissociative), how those heroes or perspectives keep changing places. It happens gently, almost invisibly…"
-Márton Koppány

Ernesto Priego is a lecturer at the Centre for Human-Computer Interaction Design, City, University of London. He is the founder and editor in chief of The Comics Grid: Journal of Comics Scholarship. He co-curated, with Ivy Alvarez, John Bloomberg-Rissman and Eileen R. Tabios, The Chained Hay(na)ku Project (Meritage Press and xPress(ed) 2010). He is also the author of Not Even Dogs. Hay(na)ku Poems (Meritage Press, 2006); the amazing adventures of Gravity & Grace (Otoliths 2008); The Present Day. The Mañana Poems (Leafe Press 2010); Ahí donde no estás. De nombres propios y otros fantasmas (Instituto Veracruzano de Cultura 2013); and, with Simon Grennan and Peter Wilkins, the non-fiction comic Parables of Care. Creative Responses to Dementia Care (City, University of London, University of Chester and Douglas College, 2017). He posts things online whenever he is able to at his blog, epriego.blog, and on Twitter @ernestopriego.

Eileen R. Tabios has released over 50 collections of poetry, fiction, essays, and experimental biographies from publishers in nine countries and cyberspace. Her books include a form-based "Selected Poems" series: The In(ter)vention of the Hay(na)ku: Selected Tercets 1996-2019; THE GREAT AMERICAN NOVEL: Selected Visual Poetry (2001-2009); INVENT(ST)ORY: Selected Catalog Poems & new 1996-2015, and THE THORN ROSARY: Selected Prose Poems and New 1998-2010. Recent poetry collections include HIRAETH: Tercets From the Last Archipelago, MURDER DEATH RESURRECTION: A Poetry Generator, TANKA: Vol. 1, and ONE TWO THREE: Selected Hay(na)ku Poems which is a bilingual English-Spanish edition with translator Rebeka Lembo. Forthcoming is WITNESS IN A CONVEX MIRROR which will inaugurate Tinfish Press’s ”Pacific response to John Ashbery.” She also invented the poetry form “hay(na)ku” whose 15-year anniversary in 2018 is celebrated at the San Francisco and Saint Helena Public Libraries. More information about her works is available at http://eileenrtabios.com.

Monday, March 18, 2019



This is a Call for Poets for participation in Meritage Press' latest' project:

Secrets Among Poets

You email (meritagepress at gmail dot com) me a secret. I write it in a book that will not be read by anyone but me as I create your book. Your book will only be shelved in my Tiny Books Library!

And of course I won't reveal your secrets!

[Caveat: Your book may be read by others after we are all dead because I don't burn books.] 

Please include a short-ish poem with your secret. (Though I won't reveal your secret, if you wish me to post an image of your poem in the book, I can do so.)

Deadline: April 30, 2019

If chosen and published, you will receive a poetry book in exchange.

The Physical Book Objects:
Your secret and accompanying poem will be inscribed by me -- and possibly illustrated with one of my drawings -- in one of these tiny blank books originally made in Nepal (for as long as supplies last):

For more information: contact me at meritagepress at gmail dot com