poetry book

Eating Raw Meat and Other Nuances of Life by g emil reutter

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Eating Raw Meat and Other Nuances of Life has just been released by Alien Buddha Press.

What Others Say About Eating Raw Meat and Other Nuances of Life 

“g emil reutter writes the poem the way I like it – sharp, detailed imagery, paintings in black ink carved into the page – the minutiae of life under the microscope. There’s clarity and depth here in this book but there’s power too – the power to move the mind and the soul. These words are fine words. My kind of poems. They should be yours too.” -Adrian Manning- Poet and Publisher at Concrete Meat Press

“Beneath dark shadows of maples, this watcher observes unnamed strangers and lovers beneath a generous moon, sympathetically and precisely with the eye of an oil painter.  The night turns to day, the seasons change, and the cycles renew.  A fine collection for any palate”. – Russell Streur –  Editor, The Plum Tree Tavern

In Eating Raw Meat, g emil reutter proclaims, “I stand on the rubble that is left / of the American dream”; looking out from that prospect, he tells us, “I think of the hard working class.”  Yet, even as these poems show us hard labor and trashed dreams, reutter affirms how close attention to those lives and to the natural world serves to redeem us on this “beautiful brutal blue planet.”  “I work the / garden the way I work a poem,” he tells us; and, centered among existences, “I … listen to what they say, watch what they do and write what I can.” This attention results in poems of integrity and of beauty: “rhythm / of rain, cadence of thunder, lyrical / hissing of wind.”

-Nathalie F. Anderson – Alexander Griswold Cummins Professor of English Literature and Director of the Program in Creative Writing – Swarthmore College

Check out the book here: Eating Raw Meat and Other Nuances of Life

https://gereutter.wordpress.com/about/

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The Salty River Bleeds by Stephen Page

salty
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By g emil reutter
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Stephen Page provides the reader a look into an unfamiliar life in this fictional account of life on the ranch. He tells us in The Legend of Wood:
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We all have our stories to tell.
The weak and the strong, the rich
And the poor, the old and the young.
Which story do you have to tell, and
From which point-of-view do you wish to person?
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Page has a poetic story to tell. He captures the beauty of nature, violence of the ranch, love of a spouse and of course his muse. These beautiful images are from the first two stanzas of this poem:
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Muse in Different Forms:
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I see you walking through Wood,
though your image is ephemeral:
yellow eyes and blood-blonde hair,
linen robe and leather sandals dissolve
as I enter the tree line then solve as suns.
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One day as Teresa and I drive through
Santa Ana’s gates, we see Old Man
shimmering upon the dirt road wearing
a tattered coat, and as we approach him
his unshaven face and he disappear.
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Here we have the beautiful muse, ephemeral, linen robe and dissolving leather sandals, of the old man shimmering upon the dirt road. Simply beautiful writing.
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In the poem Fauna he captures the beauty of nature in the third and fifth stanza with fresh images of rosemary, sough of Delphi’s cloud, bumblebee with red clover tongue and Artemis with sunburnt face and parched lips:
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Rosemary outside my matera window
Scents the sough of Delphi’s cloud
Buzzed northerly by the bumblebee
Brandishing his long red clover tongue.
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And never touching barefoot Delos
Artemis leaned over fresh cut grass
With sunburnt face and parchment lips.
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Page does not shy away from the violence of the ranch as in the excerpt from Cattle Rustler:
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In the shade of the trees next to the chute
you glared at us and unsheathed
your silver facón and sharpened it,
then shaved a calf’s hindquarter
looking for the brand
you knew was not there.
You were calm and meticulous in your shaving
but when Notary whispered to Advisor
that that calf and the other ten
were much fatter than the other calves on the ranch
you jerked your hand,
slicing the calf’s flank, cutting off
any denial.
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He captures the calmness of the shade tree coupled with impending violence of the silver facón, the cutting of the meat of the innocent in a calm and meticulous manner. Yet, here it is without any denial. He returns to nature in the first stanza of the poem, Satellites:
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The tree frogs called the rain last night,
but the rain did not answer.
The intermittent croaking, about
every hour or so, was followed by
a gust of wind and the scent
of water, but no sprinkle, no pour.
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The image of tree frogs calling the rain is not one we think of often, but a rancher might. Yet there was no rain, just a gust of wind and scent of water. Hope for rejuvenation.
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In this collection, Page captures ranch life and the woodlands that surround the ranch. In the midst of nature, man’s violence, of rustlers, tattler’s, of gaucho’s he writes of the queen of his kingdom in this beautiful poem:
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Teresa: Translator
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You are the translator of my day.
I fall into your graphite eyes
When we transmute,
I find your hands
The hands of a maker:
Soft and crafting.
I want to caress the curve
Of your lip,
Speak to your breasts.
Become my left ear
And I shall remain my right—
Where we meet we will middle.
The spider feasts
In the web of my thoughts,
And pastures modern
The corners of your culture—
Remove the weeds
Of your socialization.
Idiom me,
Invite me into the woods of your words,
Seat me at your banquet table.
You are the coffee of my mornings,
The mate of my afternoons.
Why do you hide your syllables
Under your tongue?
Don’t you ever question
The power of words,
The meaning of sleep?
Yes, I know you do,
In nightmares—
And in this I second your revival.
The grass grows at night,
And in the heat of mosquitoes,
So let the windflowers grow.
Language me inside Wood,
Ranch me where the city
Has not yet encroached.
Marsh me where the ranch cannot reach.
You are the queen of my kingdom,
That I have so temporally created.
You are the singer of my verse.
Interpret my dreams.
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The Salty River Bleeds is a collection of poetry built in harsh realism, myth, nature and love. Page is a master of his surroundings as he is a rancher. His powerful use of images blended with the reality of ranch life marinates throughout the collection. Get the book, you will be better for it.
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g emil reutter is a writer of stories and poems. His latest release is: Stale Bread and Coffee

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Witness in the Convex Mirror by Eileen R. Tabios

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By g emil reutter
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Eillen Tabios is a prolific poet and editor, with over 50 collections notched on her belt, she continues to inspire with her ability to cast new light into the world of poetry. This past May, TinFish released the collection, Witness in the Convex Mirror. The concept to create poems beginning with the first two lines in each poem from Ashbery’s poem, Self-Portrait in a Convex Mirror.
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This was no small task. We are fortunate that this project was developed by a poet like Tabios. She is the ultimate crafted poet whose hard work, insight and passion for the written word flows throughout these 135 pages of poetry. She begins the collection with The Song of Space.
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We set out to accomplish and wanted so desperately
to see come into being our corralled chords
disciplined into the sublime—it is otherwise impossible
to heighten cathedrals into a space where supplicants
will feel their smallness, thus, comprehend they are not
gods.
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Later in the poem she writes:
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I opened my eyes to
a rainbow settling itself upon my chest. I looked at this
odd light and whispered, “I’m no pot of gold, dear
Parmigianino”.
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The images of the heightened cathedral, smallness, comprehending they are not gods and then the fresh image of a rainbow settling itself upon my chest, simply beautiful.
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In the poem Civilization and Inheritance she tells us, like yellowing leaves on shrubs tentative/ before marauding birds. One’s beak/ flashed open to reveal a dangling worm— / surely imagination need not be radicalized/to fortell the fodder’s fate.
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In the poem, Integrity, she opens once again with two Ashbery lines and then brings us to unexpected places:
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The surprise, the tension are in the concept
rather than its realization. In this way, integrity
is possible as, like Picasso, we break into
irreparable fragments the image that assumes
it bespeaks the reality of psychology. To see
that woman sleeping amidst laundry piled up
in the corner of a room, her fingers trapped
in the pose of folding her master’s shirt, must
be to become broken witness—if not, integrity
becomes a dream trapped in a mirror. Only
the broken can muster the ability to howl
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The use of two of Ashbery’s lines to begin new poems is bold and courageous. Tabios has never been a poet to conform, she shatters the mirror. Its shards of images and words, both beautiful and harsh, of the comfortable and uncomfortable glitter like diamonds spilled out upon the floor. The book is divided into five sections. Abstract Expressions, The Sheriff’s Advice, Cubism of Color, Scars and Excavated Tankas. Each section is an honest reflection of the world we live in.
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Euphemisms for Mortality
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And swerving easily away, as though to protect
what it advertises, the gaze bypasses the age
of beams and leaded panes—no one wishes
to look at the old unless they can be elevated
by euphemisms. Say, “antique.” Say, “powerful”
Say, billionaire.” Say, “convex” for widening
the gaze when focus means the revelation of
mortality. You wake up one morning and, unlike
yesterday, the hand is spotted with dark spots,
the jowls hang, the breath catches on the third
step, and the prodigal child is at the door
with hand stretched for any inheritance. From
that point onward, everything you muster on
the piano shall be nostalgic and poignant. For
novels, you return to the Russians—at least
they live again when your trembling fingers
open their books. But you suspect no one will
read you, and you professed your entire life
that you are a poet. Damnation: I am a poet!
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You can get the book here: Witness in the Convex Mirror
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g emil reutter is a writer of poems and stories. His most recent collection is Stale Bread and Coffee
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New Release from Poet Stephen Page

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Congratulations to North of Oxford contributor Stephen Page on the release of his new book, The Salty River Bleeds ! 

The Salty River Bleeds by Stephen Page

Praise for The Salty River Bleeds

The Salty River Bleeds is a juicy tale in verse that draws us into the teeming world of a large Argentinian ranch. This world is populated by herds of horses and cows, nefarious ranch hands, foxes, bees, bats, parrots, carnivorous ants, Andean flamingoes, cattle rustlers, horse thieves, to name but a few of its many denizens. The narrative reveals the complicated web of woes in the life of a land manager, the tyranny of weather patterns, and one man’s battle against the encroachment of pesticides. In this world, nature’s staggering beauty and naked brutality are constantly in evidence. A stallion “learns the phases of grass.” Trucks struggle through “the butter of mud.” Cows can explode with bloat, and rain that the narrator prays will be called down from the sky by the croaking of tree frogs can make or break you. As its title suggests, The Salty River Bleeds is packed with the drama of birth, death and eternal conflict.

–Amy Gerstler, author of Bitter Angel

The Salty River Bleeds is ambitious in its scope and its execution, with a relevance to contemporary environmental issues. Stephen Page deftly combines poetry, prose, and letters…and relies on highly refined, compressed imagistic language and strong character development to tell his tale.

–Jim Daniels, author of Places Everyone

The Salty River Bleeds is a continuation of the story of Jonathan and Teresa that Stephen Page began in A Ranch Bordering the Salty River.  These poems speak of the visceral life of farming on a fictional ranch in Argentina.  Page’s narrative is a journey of perseverance through a physical and psychological wilderness where loveliness and brutality abide together.  Here, the likes of a raw and wet “afterbirth slopped into a steamy pile” leads to the mother straining to “stare at her calf until breath raised its ribs.” Page walks us through vulture-ravaged carcasses into pastures and wood and marsh; walks us into the solace of bees, mockingbirds and “a flock of black ibis” that “lift/and cloud away.” This is poetry told with an unflinching, yet reverent eye.

–Carolyn Welch, author of The Garden of Fragile Beings

The Salty River Bleeds is equal parts parable and fable, examining humankind’s destructive and self-defeating tendencies, particularly with regard to caring for the land human beings and animals rely on. Here where the Salty River bleeds, you will find that Myth swims, Old Man lingers on your peripheral vision only to disappear, and Black Dog follows you into the mythic Wood. On the ranch, you will encounter Tattler, Excuse Maker, and Bad Guy, archetypal figures standing in for all those whose motives are to be questioned. By turns imaginative and inventive, gritty and grisly, gorgeous and ephemeral, this is a book that will linger long after you have finished. There are inherent truths laid bare here that we would all do well to pay heed.

–Cati Porter, author of Seven Floors Up

In Stephen Page’s The Salty River Bleeds, the spiritual journey of Jonathan continues from A Ranch Bordering the Salty River. Looking for a story to explain his life, Jonathan meditates on nature, in particular Wood, a place of testing, a place of mysteries ripe to be discovered, and the people who work his land without reverence.  With an observant eye for detail, Page brings together striking images of the elements of earth and human life that become both obstacles to and medium through which the speaker of these poems understands his world.

–Caroline Malone, author of Dark Roots

Stephen Page’s The Salty River Bleeds is a pastoral and violent account of ranch life. His poetic collection blends agricultural and rustic contention with eco-rural insight and directness. His delivery is candid and un-floral, thus bestowing the music of his perception an energy of seized quotidian acuity. These poems dare the readers to care about the animals, the daily activities of surviving rurally, and the grammar of the land exploited by genetic modified commerce and industrialization. The work invites the geography of natural breeding life to marry the perennial charm of ranch hardship. There, in his work, exists the sensual preservation of humanity, but also diurnal desires. Page’s bucolic poems “may take you to an unlit alley at night” or “sound like buckets of water being poured on the corrugated roof.” Regardless of the rustic tempo his work imbues you, through Page’s percipient, omniscient eyes, we see and hear everything he observes and feels and yearns. Like sheep hides “salted in the transit room” – Page’s work is designed to ambush us, not with the forcefulness or melancholy of existence, but, as seen here, with the authoritative authenticity of his persistent fervor.

–Vi Khi Nao, author of Fish in Exile 

Stephen Page’s The Salty River Bleeds is a collection of connections. Page explores relationships, ethics, and economy through environmental images that ooze the intricacies of farm life. His thoughtful, sensory-rich prose and varied expressions of poetic form delve into the inner workings of losses and discoveries.

–Savannah Slone, Author of Hearing the Underwater 

Stephen Page is a true poetic chronicler of the complex business of ranching, that mythic journey. The Salty River Bleeds is iconic storytelling; a hybrid of poems, letters, and prose. Filled with rich images, “wood walks” and myth finding. “Life takes you into some unplanned territory.” Follow Page and we are “wading into wheat” and “working all week to save the corn.”  The tractor is broken, the fences need mending, but still we are watching and waiting for Old Man walking by the side of the road, the one who never stops. Follow Page into his dreamscape of visceral reality to satisfy a curiosity, an unspoken desire.

–Elaine Fletcher Chapman, author of Hunger for Salt

In The Salty River Bleeds, Stephen Page poetically and unapologetically reveals the real, harsh truths of running a ranch in Argentina. Johnathan’s daily stressors, created by unreliable employees, weather, and Teresa’s greedy son, Damien, find us anxiously watching him “run across pastures with my sword / Raised, looking for someone to decapitate.” Page softens Johnathan’s persona by peppering the pages with love, beauty, mate, and the whimsy of Wood and Myth as “A wooddove pops / its wings as it departs eucalypti mist auraed by / a vanilla sunrise.” The juxtaposition of the hard and the soft leaves us with a longing to know how Jonathan and Teresa’s story ends. The Fauna of this collection proves to be a mesmerizing sequel to the Flora of the initial introduction of Johnathan and Teresa in his earlier collection, A Ranch Bordering the Salty River.

–Laurie Higi, author of The Universe of Little Beaver Lake

The Salty River Bleeds by Stephen Page

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Stale Bread and Coffee Now Available

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Alien Buddha Press has just released, Stale Bread and Coffee, by contributing editor, g emil reutter.   The book is available for purchase at this link:

https://www.amazon.com/Stale-Bread-Coffee-Poems-reutter/dp/1093326018/ref=sr_1_fkmrnull_1?keywords=g+emil+reutter&qid=1555018379&s=books&sr=1-1-fkmrnull

“As always g emil reutter has the ability to pull us into his world where he conjures up images of late night streets, broken relationships, and men who are on the edge of life and lost in America’s backwaters.” – James D Quinton, (1977-2012), Open Wide Magazine

“The colloquial voice of g emil reutter rises from the valley, circles back through years of close observation with a steady eye. There’s nothing trumped up in these poems, nothing inflated into transcendence. Here life is as it is for the line worker, the waitress, the cop, the perp or the barroom guys. These are the common folk who live in the service alleys of any Camelot, sketched in a subdued cadence whose unadornment honors their lives and does not weary of seeing their glimmer through the tarnish.” – Poet J.C. Todd – What Space This Body

https://www.amazon.com/Stale-Bread-Coffee-Poems-reutter/dp/1093326018/ref=sr_1_fkmrnull_1?keywords=g+emil+reutter&qid=1555018379&s=books&sr=1-1-fkmrnull

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Beauty and the Unrequited Landscape by John Goode

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By Lynette G. Espositio

John Goode’s Beauty and the Unrequited Landscape published by Rain Mountain Press is an image-laden delight of poems that visualize, conceptualize and realize perception from different but common landscapes.

Bill Yarrow, author of Blasphemer and The Vig of Love says “John Goode’s poems are—all things wild and wonderful.”  The reader can see this clearly in his poem When My Father Took His Chainsaw into the Forest on page 30.
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                    the television died. 
                   Cartoons crawled across the carpet
                   and begged for more cereal. 
                   
                   The small angel of my life curled up
                    inside me. 
 
                   The sun dragged a generator across the sky
                   and the grass turned brown.
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The visual is so clear the reader wants to hug the narrator.  The poem continues with this sharp visualization of the setting, tone and timbre to reality-based images that set time and place into emotion.
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                   When my father took his chainsaw into the forest,
                    he cut the opossum
                   out of the encyclopedia 
 
                    He turned comic books
                    into woodchips and stone.
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This clear evaluation of a father by his young son depicted in the images chosen reveals a landscape of detail and emotion.

This continues on through the four parts of the 104 pages of poems followed by an interview with Goode where he discusses motivation and technique.

Goode continues to visualize and conceptualize his poems even in the titles from as simple as Unemployed to Elegy for a Tree in a Poem Written by a Young Woman Sitting at the Bar.  His poems, like his titles, vary in length. Some are one stanza and some are several pages. I find this detail of form gives support to the themes.  Most are free verse/blank verse in narrative form.  In the five stanza poem The Riot of Waitresses, the first lines set a contemporary situation: The girls at work are giving birth to televisions without doctors.  From page 87 to page 94, the narrator discusses the thwarted plans of women with their breasts trapped in their boyfriends’ hands like pigeons. Goode juxtaposes common images with an unorthodox landscape.  Breasts, boyfriends, pigeons…I love it.

The reader begins through the visualization to realize something special is happening.  Goode is able to make a point or points by choosing common understandings that expand out to fresh perceptions on how life works in suggestive images that conjure many interpretations.

The poems are consistently both interesting and surprising.  In A Note From My Boss on page 95, Goode uses the letter format and uses the salutary Dear Jude to make a point.

The first line gives real sarcastic attitude please wipe up the Lysol carcasses.  This memo to the boss ends with authority: Thank-you and no signature.  How impersonal is this as a reference to real life workers and how effective in a poem.  Thank-you, John….Yours Lynette.

Beauty and the Unrequited Landscape is available from www.rainmountainpress.com

Lynette G. Esposito has been an Adjunct Professor at Rowan University,  Burlington County and Camden County Colleges. She has taught creative writing and conducted workshops in New Jersey and Pennsylvania.  Mrs. Esposito holds a BA in English from the University of Illinois and an MA in Creative Writing and English Literature from Rutgers University.  Her articles have appeared in the national publication, Teaching for Success; regionally in South Jersey Magazine, SJ Magazine. Delaware Valley Magazine, and her essays have appeared in Reader’s Digest and The Philadelphia Inquirer. Her poetry has appeared in US1, SRN Review, The Fox Chase Review and other literary magazines. She has critiqued poetry for local and regional writer’s conferences and served as a panelist and speaker at local and national writer’s conferences.  She lives with her husband, Attilio, in Mount Laurel, NJ.