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, October 31, 2018


...  and I continue to work on an installation project named "Cloudygenous", which also is a word I'd invented for Counter-Desecration: A Glossary for Writing Within the Anthropocene. You invent a word, and then you create physical embodiments -- that, too, is poetry.

I'm happy to see "Cloudygenous Ars Poetica" in the new issue of Otoliths, dedicated to compadre Felino A. Soriano as well as to Paul T. Lambert.

This wide-ranging issue also contains much stellar work by the following poets and artists:  Nico VassilakisAlyson Miller, David A. Welch, Brandstifter, Texas Fontanella, David Lohrey, Nick Nelson, Jake Berry, Jeff Bagato, Jim Leftwich, Steve Dalachinsky, Dylan Harris, Sven Heuchert, David Felix, Sanjeev Sethi, Seth Howard, Daniel de Culla, Richard Kostelanetz, Mark Cunningham, Cecelia Chapman, Maralena Howard, Peter Bakowski & Ken Bolton, Jürgen Schneider, dan raphael, JD Rage, John W. Sexton, Elaine Woo, Joseph Salvatore Aversano, John M. Bennett, Thomas M. Cassidy, osvaldo cibils, Gregory Kimbrell, Carol Stetser, Stephen C. Middleton, Volodymyr Bilyk, Brad Vogler, Howie Good, Olivier Schopfer, Lynn Strongin, Eileen R. Tabios, Olchar Lindsann, Sacha Archer, Andrew Topel, Billy Mavreas, Jami Macarty, Ficus strangulensis, Christopher Barnes, Brendan Slater, Joel Chace, J.J. Campbell, Francisco Aprile, Crank Sturgeon, Daniel f Bradley, Vernon Frazer, Bob Heman, Jake Marmer, Jim Meirose, Joe Balaz, John Levy, Mike Callaghan, Clara B. Jones, Rich Murphy, Jack Galmitz, hiromi suzuki, Kirk Marshall, Bill Wolak, Yoko Danno, Obododimma  Oha, Sean Singer, Isabel Gómez de Diego, Timothy Pilgrim, Kyle Hemmings, Johannes S. H. Bjerg, Tom Beckett, Joshua Medsker, Toby Fitch, Willie Smith, Michael Gottlieb, Jeff Harrison, Susan Gangel, gobscure, Joseph Beuhler, Jim McCrary, Tim Murphy, Xe M. Sánchez, Gareth Morgan, Keith Nunes, Andrew Brenza, Marilyn Stablein, Tom Montag, Tony Beyer, Dawn Nelson Wardrope, Michael O'Brien, Anna Cates, Pete Spence, Siham Karani, Stephen Nelson, AG Davis, Jesse Glass, Erik Fuhrer, Marcia Arrieta, Owen Bullock, Edward Kulemin, Miro Sandev, Gavin Yates, David Kjellin, Joyce Parkes, Michael Orr, Connor Stratman, Tim Youngs, Michael Brandonisio, Natsuko Hirata, Jake Goetz, Meryl Stuart Phair, Tess Ridgway, J. D. Nelson, Martin Edmond, Katrinka Moore, Penelope Weiss, John Pursch, Shloka Shankar, Olivia Macassey, nick-e melville, & Cherie Hunter Day.

As ever, much thanks to founding editor Mark Young!

Tuesday, October 30, 2018



Galatea Resurrects will be taking a sabbatical as of Jan. 1, 2019. Two deadlines remain before that sabbatical: Nov. 20 and Dec. 20, 2018.

ATTN. PUBLISHERS: Due to this forthcoming sabbatical, poetry publishers might wish to hold off on sending review copies (especially if you're the type of poetry publisher that has limited copies).

Should you choose to keep sending review copies, a few of those copies may end up being reviewed by me, to be published on this blog EILEEN VERBS BOOKS.  Since I will be the only one writing reviews, the likelihood of review will become even more slim under this option.

Please email me at galateaten@aol.com if you have questions or if you're interested in doing a review for 2018's remaining two issues!

Thanks for your interest!

Eileen Tabios

Monday, October 29, 2018


Hm. This must rank as the most interesting response from a reviewee to one of my reviews. I don't know why I've never thought about the class implications of the profanity before ... it seems so obvious once it was pointed out to me. But, here, let me share it (with his permission)--this note from Olchar E LIndsann regarding my review of his profanity poems. Read it and then perhaps go to link for the profanity-filled review.
Hi Eileen
Thanks for this – I must say that one of my favourite lines written yet about my work is "At this point, if this publication were longer than the slim chap that it is, I’d have shut it down and moved on to the next publication calling itself poetry." I laughed aloud. For what it's worth, the genesis of that series for me was two-fold: On one level, I'd just moved back to the States after two years in the UK and was reflecting on the subtle ways in which people treated language in everyday conversation there, which seemed encapsulated in how profanity's employed (more of it, more profanity and gradation, less association with the supposed-meaning of words which meant fewer words that are actually taboo, much more colourful figurative language interlaced with it, etc. – in a word, more playfully). The class implications of profanity (in English it's the anglo-saxon version of the word spoken by serfs that's profane, and the franco-norman version of the aristocracy that is acceptable, pretty much across the board) are much closer to the surface there. Secondly, profanity fascinates me because it tends to detach itself from so many of the rules of language – words are used as nouns, adjectives, verbs and exclamations interchangeably; they're combined in all kinds of conjunctions with other words to create phrases that are apparently nonsense, and in fact carry no semantic content, and yet definitely mean something (they just don't say it); in moments of lost control, they come out in long strings that had almost might as well be glossolalia; words are only rarely used in accordance with their literal meanings, yet those literal meanings are what make them taboo, yet breaking the taboo they impose is their only reason for being.
I'm enjoying the other engagements posted here too – thanks again,

Sunday, October 28, 2018


The world is ablaze. The world is red. Such was emphasized by recently receiving my copy of TRIPWIRE's Red Issue. TRIPWIRE had excerpted my poem "Red Joy" which you can see in full HERE through my engagement with Dona Mayoora's visual poetry collection, RED. But I post these images from TRIPWIRE as it discusses how the red poem was made ... The world is ablaze and I see red. I am determined not to let the idiots weaken my hold with poetry.

Saturday, October 27, 2018


... is it enough to look at them and be satiated when no eating occurred?

So I continue to work on an installation project named "Cloudygenous", which also is a word I'd invented for Counter-Desecration: A Glossary for Writing Within the Anthropocene. You invent a word, and then you create physical embodiments -- that, too, is poetry.

Thus, I'm grateful to RIGOROUS for publishing my "Cloudygenous Chocolates" series. You can see it HERE, but here's the first image which also sets up the definition for cloudygenous:

Friday, October 26, 2018


I'm delighted to release the October issue of Galatea Resurrects! You can see it HERE. I'll also paste below the Contents for convenience:

Lost Sonnets by Catherine Vidler
Engaged by Eileen Tabios (10/26)

Pidgin Levitations by Ricardo M. de Ungria
Reviewed by Aloysiusi Polintan (10/25)

Left Hand Dharma: New and Selected Poems by Belinda Subraman
Engaged by Eileen Tabios (10/24)

Virgin by Analicia Sotelo
Reviewed by Aloysiusi Polintan (10/23)

profanity poems by Olchar E. Lindsann
Engaged by Eileen Tabios (10/22)

A Handbook of Disappointed Fate by Anne Boyer, S/ 2004 N1 by James Yeary, and THE MONSTER’S TOPIC SENTENCE a chaotic murmur by Maryrose Larkin
Engaged by Jim McCrary (10/21)


Listening to Red by Dona Mayoora
Engaged by Eileen Tabios (10/19)

Thursday, October 25, 2018


I just returned from Japan where I attended a friend's wedding. The requisite lengthy plane ride allows me to present this review:

Book 3 of Karl Ove Knausgaard's MY STRUGGLE may have been his struggle but it was my torture. That's why I can only read his books during long plane rides when I'm literally a captive audience. If I were to read it, say, at home, it'd be too expensive as I'd undoubtedly fling the book at the walls too often, miss too often, and smash a window too often. Too often because after each flinging, I'd nevertheless be compelled to go outside and pick up the book, return into the house, and continue reading it until I flung it again to smash yet more glass.

I don't fling himself's STRUGGLE at the airplane windows as I want to live and, living, don't want to be arrested when the plane lands. Anyway, two take-aways from this Book 3:

1)  First, thanks to Knausgaard for explaining why the area around a toilet is usually damp after male usage. See, I'd always assumed it was because men miss as they aim their telescopes at the urinals. But no, Eileen. As Knausgaard reveals, it doesn't happen during the actual pissing. It's when men shake their telescopes afterwards that the pee goes spraying outside the urinal boundaries. I never thought about that before. Why would I think about that? Why would Knausgaard write about that? Because that is his strength, isn't it? The guy's vision doesn't miss anything. Such lucidity must be often painful--I hope it occasions him as much pain as it does the reader who must experience every teeeeeeny-tiiiiiny detail or banality that his sight uncovers.

2) The fact that each volume is so long -- Book 3 goes for 427 pages -- highlights the brilliance of his endings. I'm debating with myself as to whether Book 3 is his weakest or strongest ending among the first 3 volumes. It's probably equal to (though different from) the strong endings of the first two volumes. It's just that the strength of Book 3's endings lies in its last six words and so one can relish it only for as long as six words ... whereas, if memory serves me correctly, the radiant endings of the first two volumes were longer and thus could be relished for a longer time.

427 pages and I don't get even the t-shirt, just the above 2 take-aways. Seems paltry when I talk about it. But what's so brilliant about his STRUGGLE is not what others say -- you need to read every word to get the paradoxically intense yet light balance he achieves between. every. single. word. AND MAINTAINS over a lengthy span of pages.

Actually, there is a third take-away: I'd be remiss if I didn't note this third facet that stuck: the abusiveness of his Dad and how Knausgaard takes it as among if not his greatest achievements that his children will never live in fear of him. Yes, that's notable ...]

Okay, off to Book 4. It surely can't be as odious as Book 3's narrative that I find quite painful for being of so little interest to me. Jeffrey Eugenides' review also makes me look forward to Book 4 (UPDATE: I’ve since ordered it).

Ultimately, I adore how I both loathe and admire Knausgaard--the only contemporary writer for me that elicits, nay, wrings out this pleasurable dysfunction. So, with both a long-suffering sigh and yet no small amount of anticipation: Onward...

Tuesday, October 16, 2018


I was busy with blurbs since I last posted this list of recent books and wine drunk, to wit:

Elmer Omar Bascos Pizo’s “Identity” posits to be one “wiggling in the beak of a maya bird, / … the desperate earthworm / struggling to be free.” It’s an apt metaphor for the Philippines beset by corruption, poverty, hunger, and a “common people / pining for a genuine people-serving government.” Yet the beauty of these poems make them like “the gardenias, ylang-ylang, waling-waling, / sampaguitas, and camellias [with] coveted nectars.” With their unforgettable imagery that can elicit empathy from a wide variety of readers, these powerful poems become like bagoong “smelling like a mouse / rotting in a pool of brackish water” and yet that remains a “favorite dipping sauce.” Dip into these poems for an important read. I’ve been aware of Pizo’s poetry for years, and LEAVING THE SHADOWS BEHIND US is a long-overdue debut: “where blood / drains in its purest state.”

SYNONYM FOR HOME by Michelle Murphy
Quite often, rain camouflages. Rain can blow objects across your vision that may (partially) mask what’s before you, or make you tilt your head to the detriment of direct sight. Then there are the raindrops themselves: to see through them is to look as if through a gauze, a shimmer, a veil…. But there are those who can, to paraphrase the lucid artist Agnes Martin, look between raindrops.  That’s why Michelle Murphy’s poems grieve, because they see beneath desire to  understand the world is not fixed: “you say what you mean to say, still the stories crack then leak.”  It’s perhaps a miracle then that this book also contains so many “flashes of grace when least expected”—so that Home remains ever a possibility, despite and against all odds.

OCEAN PLASTIC by Orchid Tierney
Each iteration ends with a last word: respectively, petromonster stomachs stomachs flesh filters gyres stomachs sympathy sympathy gyres gyres gyres gyres gyres nylon-riots. Which is to say, begin with the petromonster and the inevitable interconnection of all things will give even Buddha a stomach ache. One hopes we will riot against feeding the monster like nylon metaphorically protests against itself strangling the planet. For this poem, while powerful (and moving when chanted out loud), isn’t worth its root source.

Speaking of publications, here's my latest Relished W(h)ines update of recently imbibed books and wines.  As ever, please note that in the Publications section, if you see an asterisk before the title, that means a review copy is available for Galatea Resurrects!  More info on that HERE

LEAVING THE SHADOWS BEHIND US, poems by Elmer Omar Bascos Pizo (in manuscript; see above blurb)

SYNONYM FOR HOME, poems by Michelle Murphy (in manuscript; see above blurb)

OCEAN PLASTIC, poems by Orchid Tierney (in manuscript; see above blurb)

LISTENING TO RED, visual poetry by Dona Mayoora (fabulous! LinkedInPoetry Recommendations #285)

LETTERS FROM THE UNDERWORLD, poems by Alan Baker (timely and eternal at the same time. Wonderful contemporary lyrics)

TO THE BREAK OF DAWN, poems by Oscar Bermeo (moving and wonderful)

THE HEARKENING EYE, poems by Hildegarde Flanner (poems that stand the test of time; a satisfying read)

WOEMAN, poems by T. De Los Reyes (powerful)

* NOS, poems by Aby Kaupang and Matthew Cooperman

*  QUARTET, poems by C. Violet Eaton

*  XOETEOX, poems by Edwin Torres

* SOMETHING FOR EVERYBODY, poems by Anselm Berrigan

*  FOR HUNGER, poems by Margaret Ronda

*  THE IDENTITY THIEF, poems by Derek Mong

* ALPHABET FOR THE ENTRANTS, poems by Vasilisk Gnedov

* CRUEL FICTION, poems by Wendy Trevino

* GLIMMERGLASS GIRL, poems by Holly Lyn Walrath

* LYCANTHROPY by Petrus Borel, Trans. by Joseph Carter, Olchar E. Lindsann, Raymond E. Andre III and W.J. Robertson

* FLYOVER COUNTRY, poems by Austin Smith

* ON A TRAIN AT NIGHT, poems by Norman Fischer

* THE TRYST OF THETICA ZORG, poems by Daniel Y. Harris

* THE SEAS ARE DOLPHINS’ TEARS, poems by Djelloul Marbrook

* TALES RETOLD, poems by Paula Bonnell

* STET, poems by Dora Malech

* BABY, I DON’T CARE, poems by Chelsey Minnis

*  BLUE BIRDS AND RED HORSES, poems by Inna Kabysh, Trans. by Katherine E. Young

*  HOUSES / STRIPPED, poems by Paola Loreto, Trans. by Lawrence Venuti

DECLIVITIES, poems by Irene Koronas

* FLUNG THRONE, poems by Code-Rose Clevidence

* THE SPIDERS, poems by Jody Gladding

* A**A*A*A, poems by Heidi Lynn Staples

* SWOLE, poems by Jerika Marchan


* PERMAFROST, poems by Michael Dec

* SOUND RITUALS, poems by Jim Leftwich & billy bob beamer

BEAUTY REFRACTED, poems by Carol Moldaw

FAWNING, poems by Edric Mesmer

UNDERSCORE, poems by K.S. Ernst and Sheila E. Murphy

WAR ZONES, poems by Zvi A. Sesling

UNFRAGMENTED, poems by Janet C. Mendoza Stickmon

SELECTED POEMS by Merlie M. Alunan

*  ALL WE HAVE IS OUR VOICE, poems by Carole Stone

*  THE SYNDICATE OF WATER & LIGHT, poems by Marc Vincenz

* DISTANCE TRAVELED by Michael Chin (review copy a pdf)

* REASON’S DREAM, poems by Roger Mitchell

* LEFT HAND DHARMA, poems by Belinda Subraman

* FEED ME WEIRD THINGS, poems by Lisa Rogal

* I HAVE NEVER BEEN ABLE TO SING, poems by Alexis Almeida

* PROFANITY POEMS by Olchar E. Lindsann

* DEFINITIONS OF OBSCURITY, poems by Vernon Frazer & Michelle Greenblatt

* ANCHOR WHAT, visual poetry by Vernon Frazer

NAME AMEN, visual poetry by Aditya Bahl

DIKTER PA SVENSKA, poems by Claude Nguyen

REHEARSAL, poems by Irene Willis

OLAS CURSIS, poems by John M. Bennett


THISTLES, poems and illustrations by Jack Cassinetto

BAPTISM, MARRIAGE…, introductions by Simon “The Mapah” Ganneau

LANGUAGE DEATH NIGHT OUTSIDE, “poem/novel” by Peter Waterhouse, Translated by Rosmarie Waldrop



RECOLLECTION 1081: CLEAR AND PRESENT DANGER: VISUAL DISSENT ON MARTIAL RULE, exhibition monograph 2012, with excerpts from the writings of Allice Guillermo

BOOK OF CURSES (Asian American Literary Review) edited by Lawrence-Minh Bui Davis and Gerald Maa

HOW TO SEE, art writings by David Salle

HERIDAS DE LA LENGUA, art monograph by Manuel Ocampo

FEAR OF A KITSCH EXPERIENCE (1989-2017), art monograph by Manuel Ocampo edited by Menene Gras Balaguer

MEL VERA CRUZ 2001-2007, art monograph by Mel Vera Cruz

WHO’S AFRAID OF CONTEMPORARY ART? By Kyung An and Jessica Cerasi


ARTISTS LIVING WITH ART, interior decoration by Stacey Goergen and Amanda Benchley with photography by Oberto Gili

AT HOME WITH PICTURES, interior decoration by Paige Gilchrist



THE ITALIAN TEACHER, novel by Tom Rachman

THE GIRL IN THE MOON, novel by Terry Goodkind

INVISIBLE, novel by James Patterson & David Ellis

THE FLIGHT ATTENDANT, novel by Chris Bohjalian

THE DEFENSE, novel by Steve Cavanagh

LIE TO ME, novel by J.T. Ellison

SHATTERED MIRROR, novel by Iris Johannsen

BRING ME BACK, novel by B.A. Paris

AFTER ANNA, novel by Lisa Scottoline

2015 Domain Druhin Dundee Hills Pinot Noir Oregon
2015 Patz & Hall Pinot Noir Sonoma Coast
2010 Roulot Meursault Luchets
1961 Chateau Ducru Beaucaillou
1990 Chateau Rayas
1989 Chateau d'Yquem
2006 Domaine Jean Francois Ganevat Cotes du Jura Les Vignes de Mon Pere
1997 Dalla Valle Maya
1990 Haut Brion
2010 Morlet La Proportion Doree
2015 Sina Qua Non Entre chien et loup white wine
2015 Oremus Furmit Mandolas
2007 Scarecrow
1996 G. Conterno Monfortino
2003 Peter Jacob Kuhn Oestrich Lenchen Riesling Trockenbeerenauslese
Michel Gonet Champagne Brut
2000 Bruno Giacosa Asili Reserva (Red Label) Barbaresco
2012 Chimney Rock Galaxy
2005 Molly Dooker The Boxer
Tra Vigne house Cabernet
Mumm Napa Valley sparkling wine
Jacqueson et Fils Cuvee Perfection Special Edition Indepandance des Philippines
2010 Altamura Negroamaro
2010 Kenefick Ranch petite sirah Calistoga NV
2014 Seavey Merlot NV
2009 Seavey Caravina cabernet NV
2014 Seavey Caravina NV
2013 Seavey cabernet NV
1994 Dow
2007 Rombauer merlot Carneros
2009 Archaval Ferrer Finca Bella Vista (Argentinian malbec)
Graham’s Special River Quintas Edition “Six Grapes”
2014 Sierra Cantabria Tempranillo Crianza Rioja
2014 Argiolas “Perdera” Sardinia
2000 Krug
1990 Krug
1966 Dom Ruinart Blanc de Blancs
1994 Bonneau du Martray Corton Charlemagne
2002 Chateau d’Yquem “Y”
2001 Domaine Ramonet Batard-Montrachet
2014 Jaboulet La Chapelle Blanc
1994 Chapoutier Ermitage de L’Oree Blanc
2002 Comte Lafon Meursault-Perrieres (oxidized)
1985 Georges Lignier Clos de la Roche
2012 William Fevre Les Clos Chablis
2010 Bonneau du Martray Corton-Charlemagne
2004 Harlan
1986 Chateau Margaux
1986 Chateau d’Yquem
2015 Walter Hansel “Cuvee Alyce” Chardonnay
1999 Judd’s Hill Cabernet Sauvignon (Double Magnum)
1999 Behrens & Hitchcock Cuvee Lola (Double Magnum)
2005 Donnhoff Niederhauser Hermannshohle Riesling Auslese