Another massive installment of Otoliths, something of a journal of record for the international avant garde lit scene, was just released yesterday. This is Issue 57, for Southern Autumn 2020 (as it’s edited in Australia). Tons of new visual poetry, text work, poetry, poetics, etc (all the unclassifiable stuff) for passing the quarantined time and sharing with your socially isolated friends.
I’m very pleased to be part of this issue “Sparkle Plenty,” a long poem based on a restricted vocabulary drawn from American magical thinking in a form that could be some programming sent from one Artificial Intelligence to another. Only 2 of 12 stanzas are represented below. Also, ten pieces of visual poetry with asemic calligraphy, part of a much larger set of work that may comprise the log book of a human colony on an extraterrestrial world. You can check it out here.
Just got the new issue of Chiron Review, #118 Spring 2020, in the mail, a bit in advance of the official release date. Lots of great work in this print-only poetry journal, one of the best of its kind remaining in the under-the-mainstream scene. I’m very pleased to be included with one of my poems, “Reaching for the Sun.” It’s another installment in a series about an imaginary relationship between the narrator and a woman named Billie. You can purchase copies of the issue from the Chiron Review website when it’s released.
Online poetry journal Rat’s Ass Review just released its Summer 2020 issue, crammed with loads of great poetry, much with that straightforward, real life focus found in the best outlaw work. I’m pleased to be represented with two poems, “Keeping It Forever” and “Holding On Tight.” These pieces are from a series about an imaginary relationship between the narrator and a girl named Billie. You can read the complete issue here.
The new issue of Utsanga (#23, March 2020) was released today, packed with visual poetry, asemic writing, text work and poetics to help us while away the quarantined hours. It’s one of the the major journals documenting the international literary avant garde, and a quick glance of this one reveals interesting work by John Bennett/Texas Fontanella, Mark Young, Judith Pauly-Bender, Axel Calatayud, Francesco Aprile…well, it will take a while to check it all out. I’m pleased that the issue includes ten of my visual poems from a series incorporating tape samples (from Chinese newspapers) and asemic writing. You can check it out here.
Danse Macabre du Jour posts dark and atmospheric fiction and poetry on a daily basis as an adjunct to the periodical Danse Macabre. I’m very pleased that my short science fiction story “The Spider That Laughed at the Sea” appeared today. You can read it here.
In the story, a dysfunctional family lands on an unfamiliar planet, hoping to find a suitable place to set up a home. Their search for food leads them to a a cluster of giant spiders on the beach of a milk white sea. Lured by the temporary paradise they find there, the family becomes part of their new world.
Online poetry issue just released its first issue of 2020 on New Year’s Day, including a wide variety of work centered on the theme of “Co-evolution and Adaptation.” Three of my poems appear in this one: “A Bleeding Screen of Need,” “The Pieces Fail to Fit,” and “Salamander Tides.”
The editor wrote a nice introduction to the pieces, noting: “In Jeff Bagato’s poetry, speakers resist oblivion in various ways: creating digital identities, building objects as a distraction, even lashing together sticks to form a raft in a rushing current.” You can read the poems here.
An online journal for experimental writing and visuals, Word For/Word has emerged with snazzy new site design for its Winter 2020 issue, number 34. Big contributor’s list with many familiar names from across the international avant garde (see above). You can view the issue here.
It’s great to be part of this one with four visual poems I created by “sampling” newspapers with cellophane tape. My favorite of that whole batch is the one in the image above. My contributions can be viewed here.