SAT 5/8 Come hear Austin Alexis live @BGSQD @LGBTCenterNYC 208 W 13 St Rm 210, NY, NY 10011 http://on.fb.me/1bEVG2G
Saturday, May 9, 2015
SAT 5/9 Come Hear Austin Alexis Live, Greenwich Village, NYC, 7PM
Poets Wear Prada
@pradapoet
2 minutes ago
Wednesday, April 29, 2015
Poets Wear Prada at Sunday's Hoboken Arts & Music Festival
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| HOBOKEN ARTS & MUSIC FESTIVAL Sunday, May 3, 2015 11AM - 6PM Washington Street from City Hall to 7th Street, Hoboken, NJ |
Join Poets Wear Prada in our hometown, the birthplace of Frank Sinatra and professional baseball, Hoboken, New Jersey, Sunday, May 3, 2015 from 11AM to 6PM for a day of FREE LIVE MUSIC, GOOD EATS, an OUTDOOR ART SHOW, and many, many SMALL BUSINESS VENDORS. We will be selling our beautiful poetry books and launching our new line of poetry greeting cards. There will also be a sneak preview of Roxanne Hoffman's upcoming July art show at the Hoboken Library. Meet author, recording artist and performance poet, Tantra-zawadi who will be signing her books and CD's at our table all day at the event.
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| POETRY GREETING CARDS FROM POETS WEAR PRADA |
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| POETRY BOOKS FROM POETS WEAR PRADA |
Tuesday, April 21, 2015
Tuliptree Online Features 2 Poems by Hilary Sideris
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| TULIP TREE REVIEW |
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| Hilary Sideris |
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| Tulip Tree Publications T-Shirt |
Emotive Fruition Features Geer Austin's Work Wednesday April 22, 2015 in NYC at 7:30pm
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| EMOTIVE FRUITION: A RADICAL POETRY READING |
The poetry of poet and writer Geer Austin, author of Cloverleaf (Poets Wear Prada, 2014), will be featured Emotive Fruition's celebration of April is National Poetry Month, at Botanic Lab, Wednesday, April 22, at 7:30pm in New York City.
Take the F or M train to Essex street. About a 4-minute walk from the station.
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| Geer Austin |
CELEBRATE NATIONAL POETRY MONTH!
Wednesday, April 22 @ 7:30pm
Botanic Lab
86 Orchard Street (at Broome)
New York, NY 10002
Emotive Fruition: Cel-e-brate Good Rhymes, C’mon!
Curated, directed and hosted by Thomas Dooley.
$10 at the door. The performance runs an hour.
Get a beverage, drink in the poems.
The actors: Helene Yorke, Pearl Sun, and Lucas Hall
Monday, April 20, 2015
Poets Wear Prada at the 2015 Rainbow Book Fair in New York
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| Authors Rosalie Calabrese and Austin Alexis The 2015 Rainbow Book Fair Holiday Inn - Midtown, NYC
Sat., April 18, 2015
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Our authors Joel Allegretti (THRUM, EUROPA/NIPPON/NEW YORK: Poems/Not-Poems), Michael Montlack (The Slip), Austin Alexis (Lovers and Drag Queens, For Lincoln & Other Poems), Jee Leong Koh (PAYDAY LOANS), Chocolate Waters (The Woman Who Wouldn't Shake Hands, and Geer Austin (Cloverleaf) read at the event's Poetry Salon hosted by Nathaniel Siegel.
Here's a little clip of Geer Austin reading at the event:
Sunday, March 1, 2015
Linda Lerner reviews Most Likely to Die by Hilary Sideris for SPR
#1 SurvivorMost Likely to Die By Hilary Sideris. 2014; 52 pp; $12.00. Poets Wear Prada, 533 Bloomfield Street, Hoboken, N.J. 07030. |
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Ok, so you know nothing about
Keith Richards except that he is a
member of the rock band the Rolling Stones, heard his “[Ain’t Got No]
Satisfaction” and saw his lined face
and skinny boy’s body on TV. Then
you come to this collection, and can
almost hear the first guitar string
vibrate, images so sharp you feel as
if you could pick out each note
played as you listen to his gravelly
voice.
Divided into four parts, each poem is written in couplets with one
line flowing effortlessly into the other taking us from his life in prewar
London, to his parents ... "riding
through air raids/ with (him) in the
baby seat, puking ... to fame and
surviving being 'number one' on 'a
most-likely-to-die list.” Music was
there from the very beginning, as
was Mick, whom he met in primary
school and who had every 45
Chuck Berry ever made. His admiration for Berry remains consistent: “It flew/ off the needle the first
time / I put his record on./ It made
me love the man, / let me put up
with him in years/ to come ... the
only bastard / I didn’t punch back.”
(“Hail Hail”)
It wasn’t enough for him to love
the blues, to learn to play it; he
needed to get down to its very soul.
“Blues don’t go / straight. There’s
something / wrong, mixed up,
flicked / back, suspended like a
boy / from school, no rules. It’s
dark / down here. You feel your
way / around ...” (“Learning The
Blues”) One of the best definitions
of the blues I’ve also come across.
We learn about “the holy house of
Chess / the shrine where every
song / we loved was cut” to their
first song, “The Last Time.” With
fame comes acid, seeing “a flock of
yellow birds” who gave me / the eye,
as if to say, 'try this' and the downers he took, “not for pleasure / but
to shift from shitty fame / to busy
lull, till I discovered / speedballs:
cocaine, & heroin/ to take you up,
bring you back/ down.” He could
never understand why Scotland
Yard bothered to tap their phones,
“plant acid / in their cars,” and chase “a band / of tripping
troubadours.” (“Acid” & “Speedballs”)
In the last part, he talks about
his children: “What can / a father
do? Mum’s a junkie, / Dad’s on
permanent tour.” There’s the son
who died of crib death ... something
“We never spoke of ... / Every lovely
one of us should leave / this world,
all in the natural order, / dad,
mum. But seeing a baby off? / You
just go numb.” (“Tara”)
The collection concludes with
comments on both music and fame:
“The moment you tune / your guitar
to one chord / you have to learn
where not / to put your fingers,
what to / leave alone ... The same
train takes you / from the Delta to
Detroit. / the human heartbeat.”
(“The Drone”) As for fame, “You
don’t negotiate, / you nod your
head, stick / to the road you’re on.”
Leaving is not an option. It’s a calling. “The great ones ... / Muddy,
Robert Johnson ... / sold their solid-duty souls. / Why would the
likes / of us not follow them / to the
crossroads.”
What Hilary Sideris has accomplished is an amazing feat; she
doesn’t so much as write about
Keith Richards as inhabit his very
being. I listened rather than read
these poems, that drove me straight
to his music and a “blue acoustic”
few hours listening to what is really, quite “Somethin’ Else.”
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KIRKUS Reviews CULLING: New & Selected Nature Poems by George Held
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| Culling: New & Selected Nature Poems by George Held Poets Wear Prada, 2014 |
Reprinted from KIRKUS,
KIRKUS REVIEW
Held’s (Neighbors:
The Yard Critters Too, 2013, etc.) poetry collection praises the natural
world and issues a dark warning about climate change.
Beginning with winter, Held takes the reader through the changes of the season and divides his collection accordingly. In poems such as “The Snow” and “Crow(s),” Held speaks simply but precisely of the reliable darkness and quiet of the winter months. In “The Waning Moon,” he voices a late-winter feeling that the season will never end, wondering, “Will life renew in spring?” Like Henry David Thoreau in “Walden,” the author meditates appreciatively on nature. For example, in “April,” Held recalls his springtime chores and rituals that leave him with sore shoulders and splinters, but which he longs for in the late winter. In “Green Again,” he recalls the restorative nature of spring, comparing a tree’s transformation to art—“leaves uncurling along every twig, / like daubs of paint in a Monet.” The ruminations also contain crucial warnings about climate change. For example, the apocalyptically titled “Glacial Warning” begins with sobering statistics about the rapid rate at which Norway’s glaciers are melting. In “Sad Birds,” Held mourns the results of the BP oil spill while darkly satirizing the thought of a BP executive lost in the wreckage. Held also looks beyond the hurricane season, examining the wreckage that such weather leaves behind while considering “the cost / of putting stakes down near the coast.” Throughout, Held includes a few one-off poems that are not as strong or poignant as the others. In one, Held makes light of a tick latching onto a hiker, writing, “her blood will require a regime / of Penicillin to combat her Lyme.” Overall, the work is strong and strikes a fine balance between meditative appreciation and concern, capturing nature’s splendor while noting its impermanence.
A closely observed collection on nature and environmentalism.
Beginning with winter, Held takes the reader through the changes of the season and divides his collection accordingly. In poems such as “The Snow” and “Crow(s),” Held speaks simply but precisely of the reliable darkness and quiet of the winter months. In “The Waning Moon,” he voices a late-winter feeling that the season will never end, wondering, “Will life renew in spring?” Like Henry David Thoreau in “Walden,” the author meditates appreciatively on nature. For example, in “April,” Held recalls his springtime chores and rituals that leave him with sore shoulders and splinters, but which he longs for in the late winter. In “Green Again,” he recalls the restorative nature of spring, comparing a tree’s transformation to art—“leaves uncurling along every twig, / like daubs of paint in a Monet.” The ruminations also contain crucial warnings about climate change. For example, the apocalyptically titled “Glacial Warning” begins with sobering statistics about the rapid rate at which Norway’s glaciers are melting. In “Sad Birds,” Held mourns the results of the BP oil spill while darkly satirizing the thought of a BP executive lost in the wreckage. Held also looks beyond the hurricane season, examining the wreckage that such weather leaves behind while considering “the cost / of putting stakes down near the coast.” Throughout, Held includes a few one-off poems that are not as strong or poignant as the others. In one, Held makes light of a tick latching onto a hiker, writing, “her blood will require a regime / of Penicillin to combat her Lyme.” Overall, the work is strong and strikes a fine balance between meditative appreciation and concern, capturing nature’s splendor while noting its impermanence.
A closely observed collection on nature and environmentalism.
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