Sean Singer

Tonight in the taxi I picked up two women at Bellevue just after their friend died in an accident. He was skateboarding and hitched a ride on the passenger side of a garbage truck and lost his balance when the truck changed lanes. He was crushed by the rear tires.

There were no heroes and no monsters, and there was silence. They loved him, and they wanted something else, and they wanted cigarettes.

I imagined some vibrations, the outlines of bones—dark things—the way the song moves. The last kind words I could think of were take care, but they were inadequate, and the shadows kicked over the wind’s cathedral.

from the book TODAY IN THE TAXI / Tupelo Press
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The car was like a rolling confessional. From the driver’s seat, I watched and listened through little windows onto other people’s lives. The anonymity and private-public space of a taxi means that the world and all its strange celebration and confrontation passes through all day long. The driver becomes something other than a person: I was able to silently observe and witness a full range of human experience. In some ways the character of the driver is the person I invented who could write the poems. 

Sean Singer on "Look to the Side"
Composite of photographs of David Omar Bearden and Alan Batjer Russo
"The Margins of Midcentury Greatness"

Astra Beck, publisher at Rosace Publications, is bringing out editions of the work of two lesser-known poets, David Omer Bearden and Alan Bätjer Russo. "For students of mid-20th-century American poetry, the books offer an expanded view of milieus remembered for figureheads like Beat poet Allen Ginsberg and Ted Berrigan, a leading voice of the New York School."
 
via LITHUB
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Cover of the 50th anniversary edition of Gary Snyder's "Riprap and Cold Mountain Poems"
What Sparks Poetry:
Eric Pankey on Gary Snyder's Riprap and Cold Mountain Poems


"Stevens, one could say, shows us his work as he offers the proof of his equation. Snyder, on the other hand, allows each line, each image to stand alone, distinct, separate, and yet each is set to vibrating by the line or image next to it. Each thing is discrete yet part of a whole. I had yet to read Ezra Pound, to have explained to me the ideogrammic method, yet here it is enacted, embodied in this flawless ten-line poem."
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