Aside from the pages of little magazines and those of certain, indulgent anthologies, by poems really first made their way in the world in the form of chapbooks. I hadn’t yet published a full-length trade edition, when I went on a “European tour” in 1996, reading in Munich (twice), Heidelberg, and Amsterdam, two self-published chapbooks, Gloze (1995) and On the Phantom Air Ship Mystery (1995), my calling cards.

Joachim Utz, the sponsor of my reading at Heidelberg University’s Anglistiches Seminar, observed that my chapbooks reminded him of William Blake’s. This new category of post takes its inspiration from his remark. “Hell’s Printing House” will showcase my chapbooks, describing them, detailing their contents, linking poems that have already been published at Poeta Doctus, and presenting a new recording of one of their poems.

It is hoped these posts fill the lacunae between full-length collections, assuring those (apparently) few (and valued) readers who follow my production with interest that I am hard at work, going my own direction, at my own pace, trusting those intrigued might be charmed enough to tarry along….

The first five chapbooks I’d bound were made to collect and “publish” work otherwise unpublished in periodical or book form. Luffere & Oþere marked a departure, as it was the first chapbook that collated the poems I was to perform at a reading. At the time, Ilona Martonfi organized (among many other events) an annual Valentine’s Day reading, “Lovers and Others,” and kindly invited me to read. I don’t remember exactly what reasons I gave myself at the time, but it seemed somehow appropriate to have the poems I would read ready in print-form for interested parties, a good opportunity to issue a new chapbook, a practice I was to maintain for many years. Luffere & Oþere are the oldest forms of the words ‘lovers’ and ‘others’ in English.

Not only was this chapbook the first made for a reading, but it is also the first with original artwork (in this case, two collages) for the flyleaf, outer and inner:

However much amor is one of the great poetic themes, it’s not one I have often dared (except for one poem, known only to my closest friends). However, at the time, I had written a poetic sequence, an extension of the concerns motivating X Ore Assays and Seventh Column, that was to be published years later in 2011 by Book*hug, March End Prill. This sequence, compositionally, adhered to a resolutely Surrealist poetic (“the dictation of thought in the absence of all control exercised by reason and outside all moral or aesthetic concerns”), informed as much by Breton as by ethnopoetics:

Songs are thoughts, sung out with the breath when people are moved by great forces & ordinary speech no longer suffices. Man is moved just like the ice floe sailing here and there in the current. His thoughts are driven by a flowing force when he feels joy, when he feels fear, when he feels sorry. Thoughts can wash over him like a flood, making his breath come gasps & his heart throb. Something like an abatement in the weather will keep him thawed up. And then it will happen that we, who always think we are small, will feel smaller still. And we will fear to use words. But it will happen that the words we need will come of themselves. When the words we want to use shoot up of themselves—we get a new song.—Orpingalik

At any rate, I combed through March End Prill and abstracted a sample of, if not all, the poems defensibly “erotic.” The titles are their first lines or the first words thereof:

Contents

• falling asleep
• she was coming for supper
• durée
• dear Wife
• we must really be out of touch
• Can’t wait for you
• mornings spooned
• When I get the chance
• my old friend dumped his
• Godammit! Love’s
• Bedrock

Here’s a new recording of these poems, for those who missed the reading!

Next month: For a Few Golden Ears (2004).