the final historian, the final cultural avatar

There’s a plight being delivered. She has a fetish for being the final historian, the final cultural avatar, she feeds the need and hence must take the persona of goddess, a tragedian and cremator of worlds. In a world of diffracted male fact she becomes a curator of new worlds. It’s a heavy responsibility bearing distress, loneliness as well as good bourn. She builds using memory, imagination and exterior English, that is, a language that remains out of touch with both itself and her cerebral thoughts. The collection reads like a long message in a bottle, from someone who lives elsewhere, and knows more than what would be found in a normal message or letter.

Yes, Yes, Yes—After the Flood.

The texts are multidimensional throughout, leaping off the page, not nestling comfortably within the whiteness, ‘sculptures that looked nothing like words’ as Anonymous states or words that burn and dance as Tanya Zeifer intones. There is Blakean joy and mysticism in these works, fused with a synchronic understanding of language in the internet era.

Gods, birds, shit and plastic bins.

Octavio Paz knew something when he said poets were parachuting over the ‘post-babelic’ ruins somewhere off the main highway – or maybe that was the Chilean Vicente Huidobro’s Altazor. Negritude, existentialism, lettrisme, Dada, Oulipo, Fluxus, situationism, magical realism, feminism, post-colonialism are all creation stories and etiologies, defeating volcanos and assigning new destinies, eating new Gods. It’s a poetry Stewart Home would recognize as living now, dying later.

Triple Happiness

Red Temple and CREATRIX Magazine invite you to celebrate 3 new collections of poetry: “Birds of Equinox” by Jana Astanov, ( ) by Jeremy Slater, and “Hysterical Surrealism”, an anthology of prosetry edited by Tony Oats.


Performance art by Nikola Fornoni25th October 9:30Grace Exhibition Space182 Avenue C, New York, New York 11206 Dancing on nature is a collective performance that…

Literary sculptures of Jeremy D. Slater

It gives us something new and something important and most of all it gives us poems that look like literary sculptures, not just on the page, where they allow the page (and us) to breathe, but like four dimensional sculptures that bend through time in a kind of minimalist beauty.


Osmosis is a community-based performance series held in unconventional places usually not associated with performance art. We envision places like bars, storefronts, backyards or public spaces where performance art can reach an eclectic audience.