Tuesday, May 29, 2012


Paperback, 244 Pages

Price: $15.00

Short text and mantra blocks by John M. Bennett, mostly in English, with some in Spanish and other languages. Each tightly coiled poem contains Bennett’s signature textual inventiveness and compression, humor, bizarre and surrealist metaphor, and intense lyricism. These works could be described as “haiku” on steroids: “locksmith wobbled in/the afterbreath...)))dirt/whistle ,corncob and g/ravel...)))” or “los anos tantos años/alejados como una tos/tada en el traspa tio lo/que veo muje y el/sueño del conejo tengo”. 
Preview & order here:

Thursday, May 24, 2012

Jim Leftwich & John M. Bennett

Sheila E. Murphy, John M. Bennett, Al Ackerman


rent truster an the dogger
led the ,leg counts ,blew a
crunk yr sam shirter ,est
nur plendy la corona nad
aficante la palabra “the” a
toda madre y la puerta se
alquila .don Luis ahogada en
su mar avec les bergères my
wallet vacant with a
bag of rice of worms of
gravel sparkling in the
alley O yr sucking hat
O ~ ~ )loosing blood )wal
k away )the shingled mO on
/ / O\\


siempre rutil ante mano ,soco
rrido no me sismo you but t
akes the rlabbit sppluttters
cake against the glass un tr
ueno es .pues hombre ,fus
ilánime ,sudorificante como n
ada ,nodding ,nadante en
la tazajante cafetero .me
vi la palabrisa inescrita ,al
go en la palma ,algas sin
sentido que entendía lo que
supe ,sé .say or .sp
read whirrled writ the
nube nexo the lomo a
hogado con sus caras in
finitas derretidas y los
dedos desintegr antes que
me asen a toda muerte


nada había ni ,una lluvia frágil
,nube de concreto ,o de concreto
nube ,numbered ,necked my
shadow ,louder ladder c
rashed into the glass my
restive leather contur
bado seats and skies the
,shiny splinters con mis
reflejos surely ,yes a
something hair ,nuca nu
nca mas ,an ear an air
.field cloud ,gnat luck
,dog piled and ,forma tu
erca ,y puerca mi
cara o calle o ,climbed
,up an out ,the strips of
shadow laid out in rows
,and ffluttterredd d d d d d


Thursday, May 17, 2012

Mighty Swift

My glasses climb up my
ass so I saw the knife
normally unfit for
prey such as this
the lenses black and
speckled with red
candy you forced on me
you leaking thumb lint
tousled with garlic
your heart little better than
a jujubee sticky with
cathair under the setee

Blaster Al Ackerman &
John M. Bennett
May 15, 2012


dik dik ,¿dónde? tornillo in
ttonso rest ahead chow slottt
.tttthe slacks bile y puse
el lomo ,plattttto de hule
,lo singular ni gula es res
tttittutiva mi cáscara ,ttt
ttttrueno 4 the raucous
ttttimerfartttt shape re
amer ,“amargo el aire” ins
ttttanttttáneo mi Túnel
liberado yr mmutttturd
leg g g ¡ay ,mi gritttto o
grifo! ))surely the shirtttt
was coughing in the sttreett((


toot luck ,Rinse ,so
ot ,sock ,tore the
,rootmaster lunchy in
my throat my ,last top
yawn ,beast ,loomer ,lur
ks ,never missed nor ,p
lot fog ,luster net em
drinko loom ,born to
,sky shout ,tree the
,borers spitting ,the
lunchers growled my
day shutter fire
bloomed an heavy l
ike ,was plunder
,stinking in my
,windy fist


sneezefield what my doggy
blouse blew to revelation
fraught with horns and
fantods banged against the
fence my )sleeping pool( my
))stinking rock(( my )))ash
tunnel((( walking toward your
door a single arf a ))))shoe((((
)))))peeled bees((((( buttons
named with blood your ))))))w
ristless hair(((((( a book sm
oulders in yr hat but wh
at spattered saw was born
was died was transformation
in the black oiled weeds

Tuesday, May 15, 2012

Laugh It Off

Dearer than a bucket of
french fries and wigs
closing in on your great
earlobe where the pencil
dangles far enough away
to dribble on my shirt
and say I realize what
folder rubbers are
and why you are such
wrinkly innertube smoke
no different than a commie
named Red-Head Jap your
short hairs twinkling like
the TV you threw in the tub
and called it Be Smoke
first then call it Afterbirth

Blaster Al Ackerman & John M. Bennett
May 14, 2012


shoulder water an my wave re
petition the soggy blade my
leg remeats my repe
tition where my your po
cket cheese finds the rep
etition scrawls the nu
mber same the numb r
epetition ur swallow off
the elbow juice repetit
ion nods all closet
treasure repetition dust an
gritty sock repetitio
n ease yr fading b
ones yr repetiti
on itching like a g
nat repeats repeated
in yr r ear no wonder
they call you King of the World

for Blaster “All Different All the Same”
Al Ackerman (with tiny addition
by Blaster Al Ackerman)


the crawling cream ev
actuation nest the s
wirling bowl your
shirred cloud sacktion
divvies up dawdles
down denser sid
eways peripherectic
chopoff when the cei
ling falls your cup
with plaster fills o
hissing in the ears be
fore the handle sh
ake !

))ni lago ni cloaca((

Monday, May 7, 2012


wind-germ empire sand
hisses Urpayhuachac furiosa
lo persiguió includes snow
shadows layer logic una
gran peña hizo crecer marks
fish seen encolerizado los
arrojó todos al mar fork
deluge light travelled tone
clocks huacas locales slippery
business clothes sabiendo
que el mar soon disappears
reality if decisions iba a
desbordar their square
window que se ennegreció
nearby events trajectory las
piedras indeterminate trans
formations se golpearon unas
memories con otras raw
multiplicity no hacían otra
cosa social contrast que
guerrear haphazard time
restric cinco huevos un solo
hombre permax rectional
means effecting unspoken
subió al cerro manifestation
discourse ephemeral structure
allí se adormeció here to
gether downspout una ser
piente vive encima reflect
body rarity cultural artifacts
por haber fingido emblematic
ser dios abandoned se puso
furioso collapses revolutionary
agency interior spiral un
sapo con dos cabezas
homeopathic history la mujer
gritó hears nothing decorated
the cave change space el
viento no había aparecido
delivers a belief room te
echarás a volar across the
privacy la tierra tembló
without amplification laws
never begins al día siguiente
sin sentido such as rots se
convirtió en piedra like a
horse blazing flea re
ligion la colocó boca
abajo en el suelo
sweat and fingernails había
de ser comida rejection
para los hombres poetry
parking mientras bailaban
una cachua memory pro
tocol shopping los arras
traron foam milk eyes
hacia el mar restless
swerve destruction solía
comerse a los hombres
violent absurd cloud
barrage flmuddle sighit
matarte también power
controls changing socks
para regar las chacras
horizontal mi maicita
unimaginable la acequia
bluish fires flux
Huarochirí tactile shoe
convulsion creeds suits
arts vulture a es
condidas una granizada
stem narrative apparatus
phony commitment desire ¿a
dónde vas llorando así?
icon book en el primer
capítulo dimensional
games solía comer
shifts serpes pyramid
carne humana wrapped
el aliento cardboard
salía de su boca

John M. Bennett
May 7, 2012

From Jim Leftwich’s
Six Months Aint No Sentence, Book 20, 2012
Ritos y Tradiciones de Huarochirí, [ca. 1609],
versión [de] Gerald Taylor, Lima: Instituto de
Estudios Peruanos, 1987.

Thursday, May 3, 2012

sót ano

sp read the tu be me at my
dog ,steamed ,heart dust the ,c
age of lunchmeat staring
at my p late induct
ion coil oozing on your s
tool )the padlock gaze(
clinckk file ,rusty d
rawers in the mildewed
base meant to take a
brea th but slaept a
gainst the walll clo
sed my eyes at the
sticky sill _o o_ )saw
the sky slant a
w a y


pondo )) grammatic ))) see uh
)))) coughing lake ‘O’ sand
throat streaming wa,s,n’t ,I
,mindimbécil surely saw the
higher foot ,stepped into the
sloshing clause my shoe a
grapefruit rotting in the dum
pster [O] saw lame saw rind s
aw full the pockets of my
shirtjac sez leaf sez t
ime sez ,plenty putrid
still was stood and cou
nting the pencil )))))
,miles to scrawl ,per
sistant light around the
cor ner [ [ [ [

mo ol
-for Andy Gricevich

bal loom af fects im
bo ca flacr ante este lencgua
pod rida ntic iflation h
uff in versal ffu h I
slebpt )in tonso( plu vi
oso eye exp losion in em
blook ))g runty p age((
)))labro sig nage((( sieze
dungs hirt ))))leg in((((
ovulation change your
shoe )))))fork sammich
f o a m i n g in the
sun((((( ))))))it
ch(((((( the barking
cloud )))))))twisted
((((((( ]in your lap[


should shovel sh ould g ame
instructrix c hop t own
,drib bling pole ah cl
angging bannersnot dry
ing in the stif fened
breeze caged hog
face trytrying to forget
c rushed heads s
tinking at the base the
less ons rot l earned
leaned against the spi
ttty wall reek ,ch
oke ,d rop the sp
lintered han dle like
yr arm yr billetera
atestada de cerotes

Sole Dadas chunk 28
Transduced from Góngora's Soledades 1614

Low cake degraded mass sea determined’s
dull brief isolate, and occupies such fortune,
the extreme exhaust and daily misery’s
moderating. On the plank loss receives
the pattering of dust, emulates cane’s
dull sacked Nereo, no yak dance
porked all the paired skulls’ vibe,
porked in the mirror’s presiding monarch
all exercized miniscus, quantum
porn siezed hills, porn siezed dying balls,
where dull ceilings spume and dull mirrors strayed.
Cocked the pestered con’s urbane still,
and to’s sub voice, which the junk obeyed,
splays hill’s soiled candid sea flayed,
what’s enraged constructied and stained the heel.
The hurtled clay’s fried oysters, too keen and double,
in the sea’s purple rose, the lily’s knee.
Day’s garden cult seethes in fingered grunt
and salted all labradors’ previous improv
of crystals uncertain, to the scene
or to the cake’s corvid leaves the fundament:
urn of Aquarius the imitated pain,
lo beast unclotted, and if conned gross pie’s
paired in the fugal peel, nubbins pissed,
in’s burlaped low moan’s the past’s massed jute.
The vista’s salted pork means
dull hustle’s admired
and lost not liquid pearls, which all moments
at’s last cortext junk (poured in vents the cake
nuts less hail than day, bean cake dreamt)
the canner’s remittance noduled,
and of Bertrand all terminus’ the labor’s
brief hair, coiled corvid dental
and lost plants was’s whee mordant cultics.

Wednesday, May 2, 2012


John M. Bennett's LIBER X is a tour-de-force of poetry, mixing textual, visual, oral,typographic, and linguistic procedures to create a unique and inexhaustible work. A delight to the eye, the mind, the ear, and to one's imagination. At 226 pages, the poems vary in size from filling the page, to minimalist "haiku"; from English to Spanish (and occasional other languages) to everything in between. Bennett's signature lyrical surrealism and intelligence, his intense textual visuality and musicality, and his wild metaphorical and imagistic power are all on full display in this major new work in his canon.