Extended version of the posthumanist manifesto

Earlier this year, I wrote a manifesto for too little beast, a revised & posthuman version of the shorter antinatalist manifesto for too much human, a chapbook that I had written a few years previously. Now this present text is an addendum, an extension, & a clarification of parts of that earlier manifesto. I shall not supply a list of references, & I do not think that footnotes are very appropriate in a book of poems; they are fine in novels, not poems, but I have used them anyway in case the reader wants to find out more about the subject. Basically, what I add here boils down to the observation that posthumanism, allied to new materialism, is an extension of the liberatory effect of feminism that adds the whole relational context of animal & vegetable being to the agents & patients to be taken into account in discourse.

By "posthuman", I do not want to lead the reader to thoughts of artificial intelligence, cyborgs, whatever, which are a part of transhumanism, since I myself am inclined to interpret posthumanism as more of a focus on the nonhuman after the end of humanism, which has very much overstayed its welcome. In Francesca Ferrando's terminology,¹ I would probably count as belonging to the post-anthropocentric wing of the posthuman, which is actually, according to Ferrando, more radical. As she points out, transhumanism is a sort of ultra-humanism. Posthumanism, on the other hand, originated in feminist discourse in the eighties & nineties; it is opposed to speciesism, it is opposed to exceptionalism, & it is anti-exclusionary. There is a metahumanism that bases itself on the writings of Deleuze, & that emphasizes the significations of relational embodiment, but I shall not discuss this further here

In general posthumanism is a rethinking of what humanity & humanism's place, if any, should be in the world. Here, as elsewhere, I always mean "world" as something very much like Welt in Heidegger, as opposed to Erde, or "earth". The world is the framework of meaning & definitions by which we who use language understand things in the world; it is human & verbal. The earth is being as such, presencing, & it sustains, shelters, & protects. It cannot be grasped or exhausted by the world, it is pre-verbal:

The world grounds itself on the earth and the earth juts through the world. …The world, in resting upon the earth, strives to raise the earth completely [into the light]. As self-opening, the world cannot endure anything closed. The earth, however, as sheltering and concealing, tends always to draw the world into itself and keep it there.
(Heidegger, The Origin of the Work of Art)²

The earth in all of my books for Emma, & in this one too, is something sacred given by goddess, the fire & love at the heart of being, it is beast who lives there alone, poor in world.

Now Heidegger was an opponent of humanism, as a relic of essentialist metaphysics, & his work has been seen as eminently suitable to ground a deep ecological understanding of the predicament we now face.³ Both Arne Naess, who founded deep ecology, & the later Heidegger argue that ethics, the world around us, & human beings must be understood in new ways in order to save the environment. The natural environment should be seen as a value in itself, not just as framework for resources.⁴ Mankind is not the sovereign, at best a shepherd of being for Heidegger, a subject who must widen & deepen her narrow isolation to become the deep self for Naess, & in both cases what is called for is a radical transmutation. There is a releasement for Heidegger & Naess, there is a becoming & a conversion for me.

In all cases a surrender to the self-giving of poiesis, both as phusis & through our techne, which waits respectfully for what is given us, takes place. Cost benefit analysis will never get us there. Part of respecting deep ecology or earth, however, is a posthuman perspective. So I see the Heidegger/Naess deep ecological perspective as a natural way of applying this posthumanist perspective, an allied philosophy that calls for a transformation & a questioning of how subjectivity is understood.

Now, as noted, many people understand posthumanism as something to do with AI or robotics, whatever, some form of transhumanism, an extension of the human. I am not espousing this. Far from it, I instead would refer the reader to Lyotard, & the case of his postmodernism, understood as a detachment from the grand narratives of modernism. Postmodernism is also something that precedes modernism, it's a crisis state of modernism itself, & the "post" should not be taken as implying a strict & sequential evolution from modernism to postmodernism, the latter understood as a successor state to the less developed former state.

For me, posthumanism also implies a de-evolution, a reevaluation of evolutionary "priorities", & a variegated becoming-beast. As in Deleuze & Guattari & becoming-animal, it is a real becoming that does not necessarily involve an actual end state with some physical animal body. Now it just so happens that I am a shapeshifter, Emma made this start, it is she who first made this change happen in me, & I might have inadvertently scared other people on occasion by changing at heightened or excited moments. It is not, however, the case that becoming beast necessarily involves this actual change. I would, however, advocate it; we are not all permitted to evolve, but it is possible to switch allegiance, to identify as something better, to not let whatever it is that screams our passion & desire be stifled & restricted any more by our genetic identity than it should be by an outdated set of gender roles.

Now valuing the beast is not to be misunderstood as idealizing the cute animal, or ignoring the savagery & violence of nature. I do not have issues with pain, violence, predators predating. I myself am a vegan for moral & ecological reasons, but that is another issue, I'm just not biologically a carnivore. Wolves or cats predating is not a moral issue, they are moral patients, not moral agents. Me eating meat would be a moral issue, & for a great number of reasons. The complaint of the carnist is a disgusting echo of the past: "Don't worry about slaves." "Don't worry about women." "Don't worry about animals."

As i said in the earlier manifesto, humanism used to have a point. It was a grand narrative or meta-narrative that established science & empiricism, broke away from the religious control of everything. This was because theology was the principal enemy then, & the proper study of mankind, according to humanism, was "man".

As I wrote in the first manifesto: "Posthumanism does not only or necessarily involve hybrids & AI. It can be a return to a prehuman animal identity, as the postmodern precedes the modern. The beast precedes the human both in the order of chronology &, now, let's be realistic, in the order of priority. I am animal: not subhuman or superhuman, just different." We need to shake off the old identifications, as well as the belief that the earth that shelters & protects us is of any less value than the cultural worlds that goddam humans inflict upon that earth.

Language has been granted too much power. The linguistic turn, the semiotic turn, the interpretive turn, the cultural turn: it seems that at every turn lately, every "thing " - even materiality - is turned into a matter of language or some other form of cultural representation.⁵

Barad is a new materialist. For new materialism, there is no clear line between matter & culture. As biology is mediated by culture, so is culture a product of biological organisms. The problem with radical constructivism is that, as Barad points out, one pays attention to everything but nature & matter. "the only thing that does not seem to matter anymore is matter."⁶ To posthumanism & new materialism, it all matters. Ferrando describes the work of Butler as creating a lack of balance, where only language & culture was recognized. Butler's Bodies that Matter does not recognize the influence of the actual matter in the body, & how socially constructed biology is reciprocally constructed by the matter that Butler sometimes seems to think does not matter.⁷

I shall here quote the end of the last manifesto:

The Anthropocene is leaving terrible scars on this planet, on this Earth that shelters & protects. It is a relic of an obsolete humanism to pretend that the human race deserves any special consideration compared to other sentient beings, & even worse to believe with the religions of the disgusting book that any god has given humanity the right or duty to consume the flesh of animals & possess them as chattels. The only beast, mankind, with a whole history of being scumbags, polluting everything else with their dreadful excess.

There is too little beast. There is too much human.

We have to see that all sentient life is of value. Compassion for all sentient beings, & respect for the ecosystems of the earth that they need to flourish, shows us that deep ecology, based on evaluating all aspects of animal & plant life positively since it all fits together & nature functions as a whole, should lead to a reduction, at the very least, of the drastic human overpopulation. The reduction should be probably be very large. Not only sentient life, but all life, is morally significant, at least in part because all sentient life is part of the whole earth & relies on non-sentient life to sustain it.

There is certainly something that Ferrando would describe as an antihumanist tendency that is discernible in my work, but this is, as she points out, not really part of posthumanism, which is about the deconstruction of the humanist ideal rather than a destructive declaration of the "death of man" in any Foucauldian or Nietzschean sense. In the same way, my antinatalism does not extend to total pessimism & a desire for the total extinction of humanity, just much more restraint in reproduction.

More nature, more animals, more beast; less human, fewer humans. As Ferrando says close to the end of her piece:

As the anthropocene marks the extent of the impact of human activities on a planetary level, the posthuman focuses on de-centering the human from the primary focus of the discourse. In tune with antihumanism, posthumanism stresses the urgency for humans to become aware of pertaining to an ecosystem which, when damaged, negatively affects the human condition as well. In such a framework, the human is not approached as an autonomous agent, but is located within an extensive system of relations.⁸

Goddess gave us earth. Stop fucking it up. She put other creatures there to share it with "us". Stop driving them to extinction. No species is more important than any other. Even bugs that might gross me out have a goddess-given right to live. Posthumanism is not denying anything; we're just pointing out that a lot of other things are equally important. You can have ten million people in Sweden but you can't have twenty thousand wolves like Spain does? Get over yourselves, humans.

1I lied about footnotes. Francesca Ferrando (2013) "Posthumanism, Transhumanism, Antihumanism, Metahumanism, and New Materialisms Differences and Relations". Existens Volume 8, No 2, Fall 2013

2Martin Heidegger (1971) Poetry, Language, Thought. A. Hofstadter, trans. New York: Harper & Row.

3Matthew Antolick (2002) "Deep Ecology and Heideggerian Phenomenology" Graduate Theses and Dissertations. https://scholarcommons.usf.edu/etd/1326

4Martin Heidegger (1997) The Question Concerning Technology (New York, Harper and Row; Arne Naess (1995) “The Deep Ecological Movement: Some Philosophical Aspects.” Deep Ecology for the 21st Century. (Boston, Shambhala Press)

5Karen Barad, "Posthumanist Performativity: Toward an Understanding of How Matter Comes to Matter," Signs: Journal of Women in Culture and Society, 28/3 (2003), pp. 801-31.

6Op. cit.

7Judith Butler (1993). Bodies that Matter: On the Discursive Limits of Sex, New York: Routledge

8Ferrando 2013

Urban Mustang again

A huge shout out to Linnet Phoenix for this copy of Urban Mustang.

My review of this book is further down the blog at this link.

It is on Amazon here. Here is her Amazon Author Page. Wait for a new & awesome full length collection by Linnet, if that even is her real name, from Posthuman Poetry & Prose, if that even is its real name.

Tanya Rakh's Amazon Author Page sorted out

OK, Tanya now has her Amazon author page ready, though I imagine more media will be added, with her books in their new approved updated versions. Here is the link.

Now, naturally, we prefer you to use Lulu & buy direct there, since Tanya gets paid way more that way, & way quicker, but if you need Prime or whatever, then buy from Amazon. Maybe you like that some of the drivers are forced to piss in bottles, you like supporting billionaires, & you hate trade unions, I dunno. But, anyway, feel free to use Amazon.

Here are the book covers:

reading from "Wildflower Hell" by Tanya Rakh

Here is a video of Tanya reading from Wildflower Hell at midnight in Texas.  Here is the book. It is also here at Amazon now.

The book is coming to Amazon soon. 

 

"Wildflower Hell", by Tanya Rakh

It is with great pleasure that we at Posthuman Poetry & Prose hereby announce that Tanya Rakh has now seen & approved the proof copy of her wonderful poetry collection Wildflower Hell, which is therefore now officially released & on sale at this link.

There is a brief manifesto/introduction by me in this book, at Tanya's request, & that appears in a post further down in this blog, which I link here too.

Both this book & Hydrogen Sofi are now also approved for the Amazon website, & both should appear there soon. The links will follow, naturally, because I shall update this post in due course when they are on sale there. EDIT: Here is the update & here is the link.

& here is the cover. Huge thanks to Rob Plath for kindly allowing us to use his awesome photograph. It's a birbcore illustration for a birbcore book.

Review of Urban Mustang, by Linnet Phoenix

I no longer like to do reviews, unless I particularly want to, so here is one, of Urban Mustang, the first full length poetry collection by Linnet Phoenix, from Impspired.  

Review of Urban Mustang
by Linnet Phoenix
published by Impspired
Urban Mustang on Amazon.

This new collection by English poet Linnet Phoenix, her first full-length anthology, is centered around poems that relate as much to nature as they do to her life, & many poems have as their setting the United States of America; hence the title, which also relates to her interest in horses. It shows the poet encountering the USA, an awareness of its nature, as part of the same nature as is the England depicted elsewhere in the book, & perhaps a heightened sense of her own import & value.

The poet uses a singularly attractive voice in this volume, not only describing the interpersonal world but the natural earth & its animals, frequently resorting to artfully & unusually matched pairs of words that she hyphenates, creating an effect that reminds me of Gerard Manley-Hopkins. This in itself makes Linnet superior to the vast majority of her contemporaries. (Manley-Hopkins went to my old college, by the way, which sort of compensates one for BoJo. Swinburne did too, so Balliol attracts the deviants.)

I feel a laughter,
a grip-growl
touch of gymnast,
hand-standing tall
about to let go.

(From “Lightning Bugs”)

The poems reveal a keen sense of nature, as noted, & there are many poems that do not have anything beyond this awareness & observation of the natural world as their apparent surface theme. There are, however, many that instead appear to have a romantic interest as their underlying theme.

Since Linnet is an equestrian, as noted above, horses provide a focus for her interest, even in the title of the book, & this is part of the American mythology, which relates the focus on the natural to the broadly American setting for much of the book.

The poems that relate to the interpersonal aspect are powerful though, with things generally seen in retrospect & depicted in a bitter-sweet fashion.

Beneath the northern stars
we danced in your snow
in my night lantern gloaming.

When lit by your spirit
I was a momentary queen,
a beautiful shotgun smile.

Our lives as magnolia petals
bloom before they fall.
I'm glad I caught the chance.

(From “This Dance”)

The horse poems are particularly strong, and there are several references, here one about a panicked young stallion, Caesar, where the language tenses itself, taut & intense, to match the passion of the agitated three-year-old horse.

Like a lithe gymnast, his muscles held taut,
he fought us, his dark eyes wild with fear,
adrenaline surging. Veins stood out stark
against the foaming white tide of sweat.

Never have I seen such beauty in anguish.
Powerful high stepping pride, ripped anger
fighting the fear of being trapped or tamed.
He had more to prove standing his ground.

(From “Caesar”) 

Maybe the relationship to Manley-Hopkins is connected to this, the sensitivity to animals in nature. Manley-Hopkins wrote of the Heraclitean fire that is nature during the Victorian Era, when cultural & societal themes were prevalent in the execrable poetry of his day. Just so Linnet, as she stands ecstatic before the execrable poetry of her day. Compounding words, as Linnet does, & the unconventional use of language relate the two writers further. If there are rhymes, these are often internal; again, proving my point. Manley-Hopkins was a Victorian poet who was to all intents & purposes a romantic poet, Linnet is a modern poet who relates to an earlier set of standards for writing poetry. Again, they are both anachronistic in that sense. Being is what poetry reveals, or should, so Heidegger tells us, & this is what happens here: we are presented with the reality of Caesar's terror, of the earth around & under us, the heavens above. Because Linnet's poetry is motivated by Dichtung, the opening up that prepares the soul to receive Being & its Otherness, the "poetizing" that precedes the event of any art, she is one of the few poets who will be published in the future by Posthuman Poetry & Prose.

For these reasons, Linnet’s poetry is unusual in the modern context, & this is part of its strength. It is not poetry that one would describe in the sad macho terms so often used to describe poetry, usually very inappropriately - "Kick ass", or whatever. It does not fit in to preconceived formulae for the construction of poems (“it’s cool to be an epigone”), & this constitutes its strength & its beauty.

I foresee a great future for Linnet Phoenix, & am pleased to be mentioned in the credits for this book in recognition of my mastery of the arcane art of spelling, & that sort of thing.

Here the book is anyway, & here the poet's Amazon page.

Tanya Rakh reads from HYDROGEN SOFI

Here is a reading of "Chicago to Paris VII" from Hydrogen Sofi, by Tanya Rakh from FB. The book is on sale here. It will be appearing on Amazon too in due course. Tanya's Wildflower Hell is also due soon, along with as yet undisclosed future work. EDIT: Here the book hits Amazon.

If you use Facebook Container you will probably have to allow this site to play the video.

 

 

 

Introduction to forthcoming book by Tanya Rakh

Soon we shall be releasing Wildflower Hell by Tanya Rakh, &, apart from editing & designing the cover, for which Rob Plath kindly gave us permission to use his awesome picture of a bee getting pollen all over her, I have written a little introductory manifesto, about the book giving a perspective on cPTSD, & nice to read for those of us with this condition. It is how Tanya handles her fire, same as me really. So I post this below, the book is coming soon enough. It will only cost $8, & I can recommend the living shit out of this book. 

EDIT. Now on sale at this link. 

An introductory publisher's manifesto

The year begins with spring, one tends to assume, because that is when the process of growth is initiated through the return of the sun, & when life burgeons. But Wildflower Hell starts in the winter, hell-set in traumatic darkness, because this is a book of healing, of resurrection, of the goddess leaving her blessings in the most unlikely places. It is a beautiful book to read, & it is a manual of sorts, if understood in a certain way.

Of course I have read these poems intently before, for I have plundered all the works of Tanya for epigraphs, a process which finally resulted in me writing, when the plundering reached its maturity, because the stars says so, the fourth book for my own beloved muse. But rereading these now, I think for the fifth or sixth time, to produce this little manifesto, I am struck afresh by the power & profundity of the words in this guidebook about how to tend & manage your cPTSD in order to produce beauty, & thereby ultimately heal yourself. The trauma does not disappear, but is incorporated productively. We start thus at wintertime, because it is de profundis that the healing begins.

This is a small book, a chapbook as they like to call them, & yet it contains so much of a life; there are worlds written in it. Don't tell me about seashells, I agree; tell us instead of the seagulls that control the skies over them, always watching out for snacks & keeping away the pigeons, some of them dressed in dove drag, all tricked out to lie to us, to make us hamsters when we could be possums & hyenas & lions & wolves.

If we sit with Tanya a while, her head full of stars, like the head of the goddess is full of fire & every universe that ever was or ever shall be, she asks us to "[p]aint with me a doorway, a gash in monotone night." This is because we create our own reality in order to exit the traumatic scar: we make our own portals, poetic & perhaps interstitial. We notice our potential lines of flight that will let us escape the rigid stratification of our role as victim. We fly to passion & intensity, as Deleuze & Guattari show us, to create a safe zone to be our animal, to become (more) beasts. We create the crack that lets the light in. The sky is cryogenic in this doorway poem, because it is part of a cold mythology of freezing things down to preserve & protect, the gently snow & the mercy of winter, freezing things to await the chance of healing, & yet it is humming there, because, under the frozen scar of trauma, life still throbs its confusion, a million healthy feelings waiting to burst out alive again.

Spring follows winter, & in spring we fuck the pain away. It does not work every time, but it can "send each recurring nightmare/ as thunder back to sky" for a while. Summer become awareness of the recurrence, it is solidified by now into always the same nightmare, love & time sleeping rigid on opposite sides of the bed, without making eye contact. But the trauma grows in the child, the ghost that you can still hear howling in the skeleton, echoing nightingale there, & maybe it she who leaves the daybroken poems there before the sun comes up. This is part of what happens in the poem "that summer", when "she" grew so much older.

The summer section represents "hell", & hell is not, pace Tanya, a desert making love to fire, that is what heaven is too. Hell is what happens in "breathe", when you apologize for everything, when you surrender yourself to shitty connections, & you breathe or you don't breathe, whatever. We are poet, the scapegoat animal that is not sacrificed, but sent out into the desert wilderness, what we sing is absolute deterritorialization & broken borders, so, as Deleuze & Guattari tell us, no signifying regime can tolerate this. They write that "[y]our only choice will be between a goat's ass and the face of the god, between sorcerers and priests" & it is the goddess we should serve, as do I, & She needs no goddam priests. The goddess is made of love & fire, she makes us out of love & fire, our souls, & the fire is our truest home.

We come to endings, to fall. & the birbs are in the first poem. They pretended to leave early, "replaced by dynamite" & "don't even get me started on the fish", Tanya tells us. The fish, they are innocent. We are the goddam fish. Mr Fish is innocent, he does not understand capitalism but he has a wife to feed, probably little fishies too. The pain he feels is the pain we felt leaving the water so many lifetimes ago. Emma & I did the same thing, it was not easy. Now the pain is the skeleton & the other bits in us as we leave the human being behind to shift into our beast becoming, as we evolve thus, but not all the new bits fit perfectly together yet.

All the newspapers catch fire and the smoke gives way to chants, marches, hashtags . . . all those little things we like to use to distract ourselves. It's always been this way, really . . . a stone isn't always a stone isn't always a memory doesn't always carry moss. For years now it's been easier to dive into molasses but what do we have to show for it? Just ask the fish . ..
(spool)

What can one say? What matters is not all these petty squabbles, this fashionable nonsense, politics & idiots, not any ideology, what matters is the healing & the ontology, it is goddess & resurrection, what aspects of us we are to choose to affirm, & to hope that She affirms & lets them return with us for all our other lifetimes.

 

In this final fall section of the book we deal with the realization of the hell we discovered during the summer section:

like I had drowned,
and the drowning
was done,
and the rain
was over.
now my heart can
die alone
again tomorrow.

and the next day.
and all the endless days we
die alone.
(you die alone)

The horror of cPTSD is its persistence. But ultimately we realize endurance, we perdure & see that

I've lived too many years
here as a dead thing
just to die now
an alias in oil slick,
(always)

All that remains is to find the one of whom one can feel that you are together & you both know it like the ocean knows, like the seagulls tell you their truth, not the murmuring lies of the goddam pigeons:

all that always was and
all the ways we'll fly again

everything we are, and
all the ways we'll fly again
(always)

So it is with pride that we at Posthuman Poetry & Prose present to you a new & restored edition of this great work by Tanya Rakh, her second book with us.

"Hydrogen Sofi" by Tanya Rakh

As noted in the previous post, we are re-releasing the books that Tanya Rakh (a Libra & a credit to that sign) previously did elsewhere along with her future work at Posthuman Poetry & Prose. 

EDIT: To the greater glory of poet Tanya, & even of me, the designer, we have produced a new cover. This is up now. The image below is the new one, & way nicer. I have also done the cover for Wildflower Hell, which is good to go soon, & huge thanks to Rob Plath for permission to use his awesome erotic shot of a pollen drenched bee flourishing her some flowers.

Here is HYDROGEN SOFI at this link. EDIT: Here Sofi is on Amazon.

This book is a huge tribute to the goddess & the beauty of the musal function that she institutes for us, where this applies regardless of the actuality of the real muse, Sofi. It relates to the becomings of Deleuze & Guattari, where the poet becomes a pack, just as one never becomes a solitary animal. (When I say "poet", I mean rather the person who writes poems, & I here remind the reader of Dichtung & Poesie as they are differentiated by Heidegger, &, seriously, fuck "poetry". Did you know, gentle reader, that some sons of whores translate Dichtung as "poesy"? Can you imagine a less appropriate translation?) The "poet" becomes the love & the relationship between the parties, which are both parts of her. Thus the book narrates a "becoming-Sofi" in the damp decay of a cityscape, a fictional union as real as any other. (The pigeons do not want us to say any of this. At some point in everybody's becoming they must stop listening to the pigeons & heed the song of the seagulls.

This book is exceptional through the absence of any actual Sofi, since this highlights a real problem. The Other is constructed in general on the basis of egomimesis, according to an image of the beloved self, which lurks behind the myth of empathy, & all the beetles in all the fucking boxes, all frenetically cancelling out, everything real "divided by zero". Walk a mile in my shoes & you'll get athlete's foot, as Killdozer put it. But Sofi is more real than most characters in memoirs, more real than most actualized characters with whom I ever interacted. This is both a tribute to the splendid fertility of the madness that is Tanya, & also an indictment of the generic & slipshod construction of the Other.

Poesie is of the damn "poetic text". Poesie is seldom really the site of Dichtung, which is the poetic impulse to thought, the opening of thought to Being, & that which aligns real poetry (also Dichtung) with philosophy. It is the origin of thought, it is adumbrated in the play of identity and Otherness that constitutes the narrator/Sofi as real persons. This is why I am happy to publish Tanya, because Being itself plays in her texts, because she is a clearing, a place for the opening of truth. The universal truth of being becomes particular in some Chicago/Paris that never was, fuck the details, & art is dependent on Dichtung ("poetizing") qua the happening of truth, the same happening that projects these characters in their original leap into Being that makes the world of Sofi more real than alleged Gothenburg outside this window here right now.) But there are seagulls here in Gothenburg, some fine seagulls here, & they open up for me the whole of Earth. 

It is a testimony to Tanya's strength that she survived the writing of this book, where she herself creates the one that creates her. 

To return now to the book at hand, we post an Amazon review here, then the cover.

Tanya Rakh’s poetry is audacious and galvanizing. She speaks words that are the cotton candy melting on the pages in a lavender sky. Her ways of spinning luminous verse guide the reader through effervescent forests, sometimes seeming frightening, only to pull you back to safety and calm with her ardent sincerity and candid vulnerability. Rakh reaches depths of swirling cosmic oceans and the still waters of complete tranquility, all the while allowing you into parts of her that feel like dipping your feet into her personal diary of a man-made pond, tossing in countless pennies, where wish after wish seem to go unnoticed.

Hydrogen Sofi is an effulgent whisper, picturesque with such breathtakingly ravishing songs. This book makes feelings twist and turn up liquefying, marble, spiral staircases, like walking slowly on quicksand, in which you just must let yourself sink. It takes emotions yet to be named or felt and drags them through dusty trails hidden on the highest of mountains while allowing you to swim through mercury and emerge safely somehow. You will hold your breath at times.

I’ve never read any other poetry as fierce and raw with so much naked purity as Tanya Rakh’s. Hydrogen Sofi is a touch. It’s a flavor. A mood, a vibe, a taste, a smell, an image splattered on a canvas vibrating against a humid Summer sky and skipping like a stone over a lost creek where magic grows.

This book will change the way you look at poetry. There’s no way to describe it without reading it and dedicating your own poem to the book itself.

An announcement.

It is with great pleasure that we announce that Posthuman Poetry & Prose will be publishing the works of Tanya Rakh. Starting now obviously, since we are all manic here. First we shall be doing new, edited, & improved editions of Hydrogen Sofi & Wildflower Hell.

Both these books are tremendous books of poetry, so we are very excited to be working with Tanya on future projects too. The reader may be aware that these two initial volumes are the only works by a living poet that David C. McLean has used for epigraphs, for e.g. because the stars say so.

Another poet has expressed interest in McLean editing a book for her, & this will be announced in the future. This however does not mean that we will be publishing any other writers, so please do not ask. 

The horsemen of the posthumanist apocalypse are not actually real men on horses. As angels, we will not kick a horse, but we need to kick their knees. These are demons, just one being, not a horse & its rider, but one being, & all demons. The pigeons have told us. They know that WE KNOW ABOUT THE DUCKS. 

The goddess takes care of us.  

The link to the Posthuman Poetry & Prose post is here. 

EDIT: here cover to first book by Tanya we did. Thanks beautiful, wonderful Emma for being Sofi for the cover.

down in the dirt

I have not submitted to zines for a long time, but a couple of poems are due in the December 2021 issue of Down in the dirt, "baby girl wears permanent today" & "broken clock". Both are in one of the latest ones for Emma. Actually in the forthcoming she who leads the ghosts home. The zine is due out on the 1st of December anyway.

 

 

 

Second editions of my first two novels

A while back I decided to do revised, corrected, & expanded versions of my two first novels. This is done now & they are linked below, available in second editions from Posthuman Poetry & Prose. Both originally from Oneiros Books back in 2015. They were very unsatisfactory versions, when I looked at them, but now I am finally satisfied with the various versions of the books on the Amazon & Lulu pages. It looks like Amazon already updated the things in a fit of incredible speed, for some reason. Find them on my Amazon Author page here.

Here is Henrietta remembers at this link.

& here is flesh & resurrection at this link.

Huge thanks to Emma for the covers, she is mentioned in both these novels, & inspired them &, basically, all my writing previously, which only started to become more serious after I met her - a meeting that pretty much changed me forever. It started a process of evolution which has reached the point now where, when I caught covid a while back, it basically cured my COPD, gave me limitless energy (which I still have a year later), & took most of the gray out of my beard. Blessings on the goddess for giving me this virus, & blessings on Emma for helping me leave humanity.

Anyway, Emma & I put our heads together, & this is what we came up with - Beauty & the Beast. I should give Emma all the credit for this idea, of using pictures made from both of us, since it was her suggestion.