c/o J. Katko
Queens' College
Cambridge CB3 9ET UK
jnkatko[at]gmail[dot]com
Please send an email to the above address for discounts on multi-item purchases
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Songs for One Occasion
by Justin Katko
Array One
by Ian Heames
Kaloki Poems
by Jefferson Toal
Invocation
by Jo L. Walton
St. Beaumont Conservative Club
by Mahmoud Elbarasi
Superior City Song
by M. Sword & T. Skullface
We Are Real: A History
by C. Hind & P. Mildew
KAZOO DREAMBOATS
or, On What There Is
by J.H. Prynne
INSTAR ZERO
by Mike Wallace-Hadrill
International Egg and Poultry Review (Friends Magazine 2)
by Various authors
City Break Weekend Songs
by Posie Rider
GLOSS TO CARRIERS
by Ian Heames
COMMITMENT
by Marianne Morris
THAT MERCILESS AND MERCENARY GANG... (Friends Magazine 1)
by Various authors
FINITE LOVE
by The Two Brothers
All Our Futile Grief
by Billy Simms & Keith Tuma
CONTRANIGHT ESCHA BLACK
by Josh Stanley
DING DING
by Ryan Dobran
THE PARIS HILTON
by Keith Tuma
Xena Warrior Princess: The 7 Curses
by Francis Crot (& Nrou Mrobaak)
A Discourse on Vegetation & Motion
by Frances Kruk
Let Baby Fall
by Tom Raworth
INVISIBLY TIGHT INSTITUTIONAL OUTER FLANKS...
by Various authors
wild ascending lisp
by Sara Crangle
Plantarchy 4
by Various authors
the church - the school - the beer
by cris cheek
Poétique des codes sur le réseau informatique: une investigation critique
by Camille Paloque-Bergés
Plantarchy 2
by Various authors
BEAR$BAREBEAR$
by Coupons-Coupons
Register For More
by 405-12-3456
She's Not a Manager
by 405-12-3456
Plantarchy 1
by Various authors
Realizing the Utopian Longing of Experimental Poetry
by Justin Katko
Holiday in Tikrit
by Keith Tuma & Justin Katko
Pre-order discount price: £3 / €5 / $8
20 pp; 14.81×10.51cm
ISBN 978-0-9791411-8-8
Composed 2011; Published June 2013
PRE-ORDER
£3 €5 $8 The author writes: “Some New Growth” was composed in November 2011, in a Koganecho room of a metre by a metre.* Its light was blinking red. At some point during composition, atmospheric pressure burst the bulb and turned the room into an installation. Red lights rinsed for Yokohama biennale. Dirts that got turned out that day breed themselves upon this sheet, in a Koganecho room squared twice over to sixteen stanzas.
After two years of festering, here’s a peek into windows thirteen to sixteen:
On cue, sung to the tip. Pin it there,
a wing on solidary perspective, a painted
vocab of relative relation. The hand crawls
along the track, tries to gather broke off fai te
kai since pecked up, but home’s long shelled.
Cross section of tiles, stairs, wallets, cavus
retreat, corner cache, work-surface scar, four
walls resortless. Their outline calls.
Wrist wacked, the approach comes
necessary. Plaster fell. Try to patch
but praevia fall. Come at you, a plafond
takes no pause. Scramble for lead
(where no lead, placoid) coat. Your side,
Nomiya flattens. Only bed to dent beside
but remain. . . .
* Once one of Japan’s most famed post-war red light districts, Koganecho (Yokohama), was gentrified by the artists of the nation some time in the early naughties. Previous inhabitants were routed, outed, and replaced by projections and pastries which can be liberally enjoyed anytime of year.