A collection of 18 writers including Susan Howe, Lyn Hejinian and Carla Harryman, Jerry Estrin, Laura Moriarty, Eileen Myles, Aaron Shurin, Robert Grenier, and Norma Cole, juxtaposing their writings as shapes of our history and inner sensibility to a selection of younger poets including Jena Osman, Milton Apache, A. A. Hedge Coke, John D. Greb, Randall Potts, Laynie Browne, Lori Lubeski, Lizbeth Keiley, and George Albon. Included are color poems drawn superimposed on each other as if a mirror of the collection, by Robert Grenier.
Praise for O Four / Subliminal Time
Laynie Browne’s writing is “The function of a knee; for wading into subliminal time.” Jena Osman is making a relational proximity of a man beaten on camera and her memory. Lori Lubeski’s no world comes from a strong boyhood dream. There’s no uniform subject in Carla Harryman’s and Lyn Hejinian’s dual memory. Randall Potts’ writing is a double sight where images are absent: “Each body alone in the clearing pierced.” Eileen Myles prefigures the deaths of others in her being her name. Jerry Estrin draws crowds to them retreiving them backward, George Albon’s “skins inside the image.” To John D. Greb retreat is sublimation. Linear thought is incomprehensible. Milton Apache hallucinates in nature. Aaron Shurin hallucinates nature, as if it were blind. A. A. Hedge Coke’s delineating history compares to Robert Grenier’s “poems” drawn superimposed on each other so that their meaning and reading are the same in that imposition, as its own absent image which has to be seen. Lizbeth Keiley makes the blind self be nature. Writing a real past is dilated present even minutia in Susan Howe’s, Norma Cole’s and Laura Moriarty’s writing.
— Leslie Scalapino