YOU ARE ALL INVITED!
I'll also read a brief excerpt from DOVELION!
See registration information below:
I am THRILLED over my reading du jour: a long-overdue and historic anthology on "Women Making Visual Poetry" edited by one of my perennial favorite vizpo artists, Amanda Earl, and published by the visionary Timglaset/Joakim Norling. The last image below presents my favorite discovery from the book, Viviane Rombaldi Seppey. The book lists 1881 women making vizpo so it'd be difficult to include images from everyone; but what I love about that list is the power it presents for debunking the notion that not many women make vizpo (and I'm happy to be included!). It also allows me to make discoveries even without images--for example, I didn't know Mary Ruefle made vizpo, did you? I present the list here because I recommend you check them/us out, too. (Click on images to enlarge.)
It's been a while since I so relished a bit of Oulipian writing: I'm grateful to Philip Terry's novel, BONE, out from stellar Grand Iota. I found the writing charismatic -- seemingly effortless as it transcends its constraints, which is also what we want from constraint-based writing. The story's inspiration is interesting, but the story's unfolding flew impressively far from its root source -- a testament to the author's own intellect.
I was blessed to participate in a Brooklyn Rail-sponsored Conversation with Josiah McElheny and present two poems inspired by some of his artworks. I invite you now to peruse the YouTube Video. I thought his chat with Charlotte Kent is wonderful and interesting. And at about 1:34:10 of video, I present my poems. Here's info:
I release poems into the world and step back--I let the poems make their own way, or not. So I'm blessed now to share news of my first French book made possible by my poem's own words versus anything I did. I'm so glad they moved a reader who would end up being my translator--THANK YOU Samuel Rochery! And thanks, too, to Serie Discrete who is making elegant letterpress editions (not captured, I'm sure, by the reproduced cover image). You honor me by making my work your first published book of translation.
Serie Discrete is based in Bordeaux so from now on whenever I drink from my husband's Bordeaux collection I shall toast my newly-beloved French publisher!
From the Publisher:
Première traduction française d’un texte d’Eileen R. Tabios, La Vie érotique de l’artest un long poème qui retrace les aventures et les mésaventures sexuelles de quelques-uns des plus grands artistes de l’histoire de la peinture. S’insinue dans les couplets le fantôme du poète et médecin William Carlos Williams. De Goya à Pollock, en passant par Renoir, Seurat, Picasso, qu’est-ce que le sexe a fait à leur art ? Et, que le poème de leurs expériences soit ici celui d’une femme, en quoi cela peut-il changer le rapport de l’art – défini en majorité par des hommes – à l’érotisme ?"
True to most fairy tales, the novel opens with the traditional phrase “once upon a time” but there is nothing traditional about this novel which is at once inventive and experimental. How many times, for example, can a writer get away with describing a young woman approaching a threshold and pressing a button on an intercom to gain entry to Apartment 3J? The answer is again and again and again. Each time the reader is given a little bit more information and each time the reader is kept in suspense. There is something portentous, if not symbolic, about crossing a threshold. Tabios takes this to new heights by exploring the threshold of pain: how much a human being can withstand pain through living with actions that can have long-lasting repercussions. The repetitive, formulaic patterns seen in Part I recur in Part II “leaving darkness for light” and in other chapters where “a dictator made me an orphan. To be an orphan is to be unsure” and in Part III “Once upon a time I woke up and I was old…” These mantras punctuate multiple arrivals. The use of repetition applied in different forms throughout the novel is akin to the musical equivalent of a set of variations on a theme.
In the same issue, Ayo Gutierrez shares some of the "posters" she is making from her favorite lines in the novel. Here are two below; you can see the rest HERE.
I am curating a "Hashtag DoveLion Travels" series on Facebook. If you would like to participate by sending me a photo/s (jpeg) of my novel in your home or resident area (any setting, with or without you), please feel free to email it to me at galateaten at gmail dot com. Information about DOVELION is at this link: https://eileenrtabios.com/fiction/dovelion-a-fairy-tale-for-our-times/
Oh, wait. You need to get a copy first? You can get yours at
Meanwhile, here's two examples from DoveLion Travels:
YOU ARE ALL MOST DEFINITELY INVITED to the Zoom-based Book Launch of my novel, DOVELION: A FAIRY TALE FOR OUR TIMES! I put details below but you can also go HERE for more information.
Additional Book information at its Book Page.
My miniature book, the 2-3 inch WHAT COUNTS unexpectedly get its first review and I’m delighted as it’s from miniature book expert/collector/publisher Todd Sommerfeld of Booksby Press. I appreciate it as O Henry’s story is a long-time favorite and what a treat to have written a short story likened to “The Gift of the Magi”!!
I'm guest-editor for this just-released issue of Marsh Hawk Review. You're welcome to read the lovely poems of 42 poets encompassing a wide variety of styles:
Marsh Hawk Press is delighted to release the Spring 2021 issue of Marsh Hawk Review, edited by Eileen R. Tabios. You are welcome to go HERE.
Gratitude to Contributors to Marsh Hawk Press, Spring 2021:
is also an exercise in poeticizing autofiction. Autofiction is much on my mind because of forthcoming novel DOVELION (AC Books, New York, March-April 2021). Anyway, here's my first poem at Moss Trill:
I dedicate it to those who, as the poem cites, "still believe in ethics."
Remember my 2020 Anti-Tsundoku Project to read through and cut down on the To-Read piles stacked all over the house? Well, the wildfire did a better job of eliminating those piles than my reading efforts. As you can see by list below, the Glass Fire, which began in September, drastically reduced my reading:
January 2020 (65 books)
February 2020 (71 books)
March 2020 (32 books)
April 2020 (48 books)
May 2020 (59 books)
June 2020 (56 books)
August 2020 (26 books)
September 2020 (10 books)
October 2020 (10 books)
November 2020 (13 books)
December 2020 (13 books)
Total books read in 2020: a paltry (for me) 403 books. Not all books were “read” from beginning to end. The intent of Anti-Tsundoku was to go through the To-Read piles and either read or conclude not worth reading, in which case the latter were donated. Still, it wasn’t my reading that shortened those stacks—it was the wildfire which decimated them.
That’s okay. New beginnings, new year, etc. But I can mark today, January 1, with the shortest ever To-Read pile in my house. Three books—ta da! But you know me, I shall have to ramp up the book acquisitions and readings again as 2021 ends my book-buying constraints. Here is the shortest To-Read Stack I've had in my life: