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A C K N O W L E D G M E N T S & N O T E S Thanks to the editors & staff of periodicals, anthologies, presses & websites where some of this work has appeared or is forthcoming: 外国文学; 580 Split; Alaska Quarterly Review’s 30th Anniversary Issue; American Scientist; The Arcadia Project: North American Postmodern Pastoral; Bay Nature; Berkeley Poetry Review; The Best American Poetry 2012; Bombay Gin; Borderlands:Texas Poetry Review; Boston Review; The Bruised Peach Press; Catch-Up; Chicago Review; Clade Song; Colorado Review; Columbia Poetry Review; Connotation Press: An Online Artifact; CURA: A Literary Magazine of Art & Action; death hums; ecopoetics; The Ecopoetry Anthology; Eleven Eleven; esque; Evening Will Come; A Fiery Flying Roule; Gulf Coast: A Journal of Literature and Fine Arts; The Hide-and-Seek Muse: Annotations of Contemporary Poetry; Ink Node; Interim; Intersection (s); Inquiring Mind; ISLE: Interdisciplinary Studies in Literature and Environment; The Journal; The Kenyon Review; KR Online; Lana Turner: A Journal of Poetry and Opinion; Lethologica; Locuspoint; Mrs. Maybe; The New American Poetry of Engagement : A 21st Century Anthology; The NewYorker; NPM Daily Tumblr; Oakland Commune Poetry; Occupy SF: poems from the movement; Plume; Poecology; Poetry International ; Poets.org (Academy of American Poets); Puerto del Sol: A Journal of New Literature; Quarter After Eight; Quarterly West; Qui Parle; www.rabbitlightmovies.com; Red White & Blue: Poets on Politics (www.poetrysociety.org); Saint Mary’s Magazine; Silverfish Review Press; Slate; The Sonnets:Translating and Rewriting Shakespeare; Squaw Valley Review 2010 & 2011; Tears in the Fence; Utopias; Viz. Inter-Arts; Waterstone Review . Thanks to Camille Dungy, Jules Evens, David Lukas, Laura Mullen, Ron Olowin, Jed Rasula, Doug Richstone, Jim Sauerberg, Evie Shockley, Christopher Sindt, Jonathan Skinner, Brian Teare, & Anne Waldman for facts & fieldwork; to Anna Gates Ha, Gillian Hamel & Kelsay Myers for assistance; to Frances Lerner, Bob Hass & Geoffrey G. O’Brien for early readings; to Blue Flower Arts, Quemadura, Wesleyan University Press, & to family, friends, colleagues & students during the period of this writing. Thank you to Atlantic Center for the Arts, to staff at Napa Valley Writers Conferences & at Squaw Valley Community of Writers. Photo credits: The anti-drone demonstration photos taken by Kat Factor & Janet Weil; “Report on Visiting the District Office” by Karen Tedford; diamond planet from blogs.discovermagazine.com/80beats/2011/08/26/former-sun-like-staris -now-a-diamond-planet. 1 0 7 Notes & quotes: The Vallejo quote is from Rebecca Seiferle’s translation. The title “A Halting Probability” is from Gregory Chaitin: “a place in pure math where God seems to play dice”; the piece was written in response to text scores by Casey Anderson , Douglas Barrett & Michael Winter & was performed by Hope Mohr Dance Company. “Don’t let her fall in sequins”—Marilyn Abildskov. “Bodies without organs ” (“A Spiral Tries to Free Itself”)—Gilles Deleuze. The thing of it is is that—Becca Sanchez. “Objects that strike you as beautiful you cannot name”—Hope Mohr. The Hölderlin quote in “To the Writing Students” is from the Maxine Chernoff/Paul Hoover translation. “A Short Walk During Late Capitalism” makes reference to Frederic Jameson’s title. The poems in “Smart Galaxies Work with Our Mother” owe a debt to Naomi Schwartz’s poem “Housekeeping,” and reference three texts: “She sweeps with many-colored Brooms—” (Emily Dickinson); “Act promptly when a fabric is stained”(On Removing Stains from Fabrics, Home & Garden Bulletin No. 62), & Psalm 139. 1 0 8 ...

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