A R T E I D O L I A   P R E S S

J  U S T  R E L E A S E D

What happens when questioning how language is used and how significance is given become the primary lens by which the poetic word decides to express itself? When fragmentation and cohesion are both equally at odds but also in harmony? When assurance and certainty avoid being present, however cannot help peeking through the cracks and letting themselves occasionally be known? The result may just be petal / transport. Mesiti’s collection quickly becomes a sort of odd artifact that is unsure of itself and appears to hide behind what seems to be experiment but is also confident in the opportunity for poetic reflection it provides. Everything – from meaning to the space of the page itself – is up for grabs and intended to be explored.

“Reading James Mesiti, I am always overcome with the feeling that I have stumbled upon a trove of correspondence left on boulders, or under trees, gift-communiques between slightly mischievous nature spirits, fjallvættir scribbling to sjóvættir, which leave me feeling re-enchanted with the world.” – Jay Kirk

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U P C O M I N G

In Sofía Ruvira’s shining poetry collection Alalá we witness the birth pains of words from the womb of a great young Spanish poet from Galicia, who is experiencing the eternal pressure of a young artist’s life in New York City. “Just like a brick placed in the in-between of these languages”. She takes us on a confessional journey, moving from her post-migrant’s poetic melancholia to a newly baked, more joyful Yankee’s Alas. Ruvira’s poems, written in English, and interwoven with golden threads of Galician words, occasionally morph beautifully into crafted typographic Concrete Poetry. Her New-York-School-Of-The-Moment poetic observations and journal entries are her acid etchings onto the walls of The City, where the background counts as much as the writing on the surface.  – Frank Hentschker, The Graduate Center CUNY

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For more than half a century, Bernardo Palombo has juggled and bent languages to unite, teach, and inspire generations across the Americas. The lyrics of Palombo transcend page and stage while moving toward a loving testament for the global village to live a radical life of kindness and harmony. Palombo guides us to imagine a place far beyond this current world. In tender, dexterous verse, Palombo’s writing arranges an infinite circle that expands to make space and celebrate children, migrants, the forgotten, the Palomero, the earth, the water, each of us, the allness of the unknowable, and the beyond. These nuevapoemacanciones are heartwidening maps toward an existence of lightlove to birth a cosmos of memory, community, and assemble a future architecture of joy for others to follow. Read, sing, share this work. Join Palombo in the circle, he has already created room for you and me. – Anthony Cody

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R E C E N T   R E L E A S E S

Sharon Lopez Mooney’s Cantata for a desert poet is inspired by stories gifted to her by the Palestinian journalist, painter and poet Salam Khalili. “He laid his hope of sharing his truths in my hands, believing them the same struggles as so many affected by war.” Mooney intertwines Salam’s tellings with her own reflections into this cycle of poems that grew out a deep bond between the two poets.

“Salam had one of the biggest hearts and wisest minds of anyone I have met. He was a polymath, a peacemaker, an activist, a mathematician, a mystic and poet, a celebrated artist and an inspiration to many. He embodied and fostered the sweetness of profound love and brilliance. Salam and I became heart friends for life. We still are, and I honor you, Salam wherever you are now!”
– Jack Kornfield, Buddhist teacher and author

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an intervened cento // un centón intervenido
creado por // created by: EL L¡BROTORIO [¡!] PR!NT RUN + friends

a rhizomatic patchwork. uncentered. interfluxing. alive. a mixing of what we heard, what we read, what we said. a way to see what our language was (shaped by). or rather…something. some thing.

the “we” here, unfixed. though at the level of instigation, “we” meant (and still means) maryhope|whitehead|lee, claudia nuñez de ibieta, and ryan greene, the co-conspirators behind EL L¡BROTORIO [¡!] PR!NT RUN, a roving open-air book lab in the phoenix metro area which is a project of F*%K IF I KNOW//BOOKS. our instigation took the form of an invitation, and so naturally our “we” expanded.

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In a twisting and kinetic language, Multicene is a work of processing, of working through the various locations, affects, and experiences that materialize our overlapping interactions with climate change. It forms a poetry about a living and dying world, a planet of extraction and joy, and the earth that feels all of that. The circulation of experience and language is twisted into a work that is both exacting and slippery across every poem where the weather, landscapes, coal mines, idling cars, and flowers shape the world of Nicodemus’s work, and in Multicene we see the opening of new ways of encountering our climate presents, pasts, and futures.

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Endings are at the forefront of Jason Montgomery’s These Latest Apocalypses—ecological collapse, war, gentrification, addiction, aging. Sometimes it’s just a suggestion of an end, “the fraying hem of [his] cut-off jeans” that deftly alludes to the prevailing sense that we are coming to a conclusion. It’s there in the nonets, too, which balance precariously on a single last syllable. A timely book, urgent, though still hopeful. He has given us more than a eulogy for humanity. “Rage is hope,” Montgomery writes, after all. The reverberations of these incisive poems will stay with you long after you have finished reading.” – Catherine Weiss, poet

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T I T L E S

The poetry of Stephanie Sears is redolent with rich evocations of both the natural and made worlds. From Anaho Bay, Polynesia, to the Himalayas to the Adriatic Sea, she writes with a sensual love of place, in language as lush and abundant as the landscapes she inhabits. Her poems invite us to slow down, to look and see, to fully experience the world and its people, and remain open to the possibilities of love and beauty and desire.  – David Updike, author

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Wordslabs are the concrete stepping stones that lead through the wild and open landscapes otherwise too unstable and overwhelming to traverse. They guide into many directions > wise > funny > absurd > essential > alarming, yet from where you are right now, there is surprisingly only one sure next step that will ground you in the chaos.

                       – Franziska Lamprecht, artist & writer

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Neil Flory writes to put disorder into order, strenuously using language that mirrors the thought processes of the mind: innovative punctuation; non-linear progression of ideas and images; linking and enjambment of words, lines, and immediate syntactical constituents; controlling and mixed metaphors, obliteration of the lines between poetry and prose and music. These are poems about authentic and unvarnished truth. This bizarrely, beautifully conceived and executed work will reward the patient reader with glimpses of otherwise unavailable knowledge and possibly perceptions of silver whisperings in the night. – Thomas Penn Johnson

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maija mist considers notions of space, transparency, time, and the limitations of the language. She weaves non-linear narratives that allow her audience to float through visions and worlds while considering multi-dimensional realities.

mist writes “Listening to your own voice is distinct medicine,” and this book speaks distinctly as itself. It feels like weaving through the streets when no one is around, lighting fireworks with your friends then falling down high on a blanket, and leaving a party to sit alone outside. It’s beautiful, and the poems’ language is like dream speak. They invite you to play in mystery for a while.

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“Maze Poems” by David Harrison Horton blend Montaigne-esque essay with the surrealist practice of automatic writing. The thought and language of each fit within a visual maze format, literally the shape of that thought. Or rather, each thought fits the shape of its maze. The resulting pieces are part poetry, part essay, and part visual art.

The texts themselves delight with their refusal to conform to conventional categories of genre. Many of them read like meditations or ruminations on ideas that begin with a recognizable logic, but gradually slip their discursive leashes to stray into alien territory.

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Bassist Ubadah McConner recounts the evolution and history in the “African Omnidevelopment Space Complex We/New”, a home based educational, cultural and music center in Pontiac, Michigan outside Detroit. Embracing the 60s and 70s revolutionary spirit of Black artistic renaissance, he kept his door open to all each Friday for over 30 years for all night sessions of fire music and conversation, a community think tank and sanctuary for self awareness and reinvention.

“We never attempted to play any song,” he writes. “We just played as hard as we could, as long and as loud as we could and let the spirit take over.”

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“through time waves” by Marcia Arrieta gathers her parallel expressions in poetry and collage. While the poems, both deftly brief and pictorially suggestive, ripple aromas beyond the words themselves, her collages puzzle the incongruous combination with a celebratory feel for interconnection.

These texts & visuals sing & dance — singly, together — to create a delightful entity, reminding us that there is still magic & beauty in the world, &, fortunately, people with the ability to demonstrate it to us. Marcia Arrieta’s through time waves is ample evidence of that.

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“In An Attic Palace Beneath a Slaughtered Sky” by Brooklyn poet John Greiner is a collection of poetry from a twenty-five year journey beyond; beyond surfaces and stories told straight, beyond what the eyes see and the mind says. This is a step on the road of a tongue seeking strangulation and brilliant transcendence.

Greiner’s voice is largely the spoken voice, driven ahead by the momentum of its own rhythms as it spins monologues of inspired invention incorporating and mixing elements of the inner and outer worlds in both their empirical and fantasized forms.

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“As Within So Without” by double bassist, improviser and composer Daniel Barbiero is a wide ranging collection of twenty essays on music, visual art, poetry, dance that never surrenders the prospect of meaning in encounters with the inexplicable. Barbiero looks where we often don’t, and his astute insights are continuously exhilarating and inventive.

Daniel Barbiero affirms the value of much of the experimental work within twentieth century art, making it understood that there exist atopic situations, enigmatic residences toward which music, painting and art in general lead.

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“Ways & Sounds” by NYC composer & saxophonist patrick brennan is a series of essays that reimagines how we might think about the nature of music. What transforms sounds into music? What does it mean to compose from the inside out or the outside in? What would be a relational ecology of composing? How can we, as listeners, listen?

What we have here is a rumination on the construction of music, what it is, what it means, how it’s made, how one interacts with it either from the perspective of a listener, musician, and composer. brennan clearly and precisely articulates his thoughts on the topic.

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Arteidolia first launched its ongoing platform in 2013 for artists, musicians, & poets to re-approach, re-consider, re-think visual // sound // word. Since then we’ve been publishing essays, critical writing, interviews, conversations, art // music // book reviews, & anything in between. In 2018 we expanded with the literary journal swifts & slows: a quarterly of crisscrossings to feature poetry, collaborations, experimental engagements, translations & visual poetry. As one thing led to another, in 2021 Arteidolia Press evolved to focus primarily on giving voice to collections of poetry that push the gamut of possibilities.

Reviews of our books have appeared in Rain Taxi Review of Books, The Wire, Off course, The London Grip, Word For/Word, periodicities, Overheard, Sensitive Skin Magazine, Heavy Feather Review, Olean Times Herald, Otoliths, Maryland Literary Review, Burlington Writers Workshop, Point of Departure, La Banda de Fanfomas, Percorsi Musicali, Perfect Sound Forever, The Free Jazz Collective and Avant Music News.

If you would like to review any of our books, let us know and we can send you either a digital or hard copy.

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S U B M I S S I O N
G U I D E L I N E S

Arteidolia Press is a small artist-run press based out of Ridgewood, Queens with focus on publishing collections of poetry that create a place of intersections & fusions.  That are adventuresome & intriguing.  That are diverse & inventive.

Before you submit your work, spend some time with our books.  We have a look inside link for all of them.  Read the reviews. Get familiar with our style & approach. Does your manuscript speak to what we’re doing?

Submit your manuscript in a single Microsoft Word and/or PDF document with a cover letter and a short bio. Make sure your name is on your manuscript.  Authors retain all rights to their work.  We prefer publishing only black & white text and lean away from manuscripts that have any visual images in color.  Our books are 6 X 9, so be aware that manuscripts will have to be adapted to fit within these margins. We try and respond to all submissions, but it’s not always possible.

Let us know what you’re up to.

Randee Silv
Editor

arteidolia [at] arteidolia.com

YOU CAN ORDER ANY OF OUR BOOKS HERE →

Or directly from ARTEIDOLIA PRESS

You can also find specific titles at:

The Word is Change, Bed-Stuy, Brooklyn
Topos Bookstore Cafe, Ridgewood, Queens
Quimby’s Bookstore, Williamsburg, Brooklyn
Seitan’s Helper, Bushwick, Brooklyn
P.I.T., Williamsburg, Brooklyn
Downtown Music Gallery, NYC
Roberto Winds, NYC
Wild Heartist, Hilo, HI
Big Island Bookbuyers, Hilo, HI
Atomic Books, Baltimore, MD
Jamestown Community College Bookstore, Jamestown, NY
Berl’s Poetry Bookshop, Dumbo, Brooklyn
Vroman’s, Pasadena, CA
Broadside Books, Northampton, MA
Blue Moon Books, Easthampton, MA
Amherst Books, Amherst, MA
The Purple Couch, North Andover, MA

Read an interview with the editor on Cutback: University of Montana →

Read an interview with the editor of Arteidolia Press on Duotrope →