Ardent (full album)/ The Story of Ardent

This mp3 offers the entirety of Adam Fieled's 2004 album Ardent, produced and engineered by Matt Stevenson.

Darkyr Sooner EP (Full Album)

This mp3 offers Adam Fieled's 2000 EP Darkyr Sooner in its entirety. All songs recorded at Buttons Sound, Manhattan, except "Why Won't You See Me Tonight?" at East Side Studios, Manayunk, Philadelphia, and "Song to the Siren" at Main Street West, also in Philadelphia. All songs by Adam Fieled except "Song to the Siren" by Tim Buckley and Larry Beckett.


Tears in Fence 60: from "Trilogy" (IA)

from Jacket Magazine 40 (jpeg)

CSOP Flag from "Trilogy" (Flickr)


from Tears in the Fence 60: from "Trilogy" (youblisher)

Tears in the Fence 60: from


Big Star on Dailymotion...


Two Teens Trilogies Library'd

Two Teens Trilogies now has library pages on Open Library and Library Thing. Thanks to the respective staffs of the two venues.


Betrothed in Boston

I am a woman who knows
what I’m worth. I can calculate
by forming composites of many
constituent parts: looks, charm,
degrees, abilities, funds, potentialities
for combinations of same. I use
anaphora to express this because
I am a poet. I am a trained poetess
who trained with poets of no class.
I was not impressed. I was not
engaged then, not yet, but my
partner needed to be worth more.
I am now worth more than I ever
have been. I would throw myself
mid-Charles for a Kennedy.


John Prine: Angel From Montgomery (IA)


Library Thing: Opera Bufa wiki (IA)

Library Thing Touch-Ups

Consolidating, updating, and revising library pages is an excellent way to solidify a body of literary work in 2014. Some revisions on Library Thing on these pages: Beams, When You Bit..., Apparition Poems, Opera Bufa, and Equations. And thanks to LT.


More on OL...

Two more books which richly deserve their OL placements, here and here. Thanks, as always, to OL.

New Hampshire Taxi Driver

I know you city folks expect
a big yellow taxi, like the song
says, but that's not how we do
things in these parts. I drive
cautiously but with mastery. I
actually say, are you here to
visit family? The answer is
reserved and negative, without
being impolite. OK, I think,
at least he didn't snap. Not
that I care all that much. As
I pull into the university lot, I
say, OK, here we are. I take
an even thirty, tip included.
I look at the administration
buildings and the residence
halls and wonder what would
have happened had I had a crack
at this; all those years up in smoke.
But the moment passes and I
have a list of chores to do, and
a little one right beside me who
teaches me things: eye-wise, sideways.


As if a dream n.2

by Guido Monte

my words without sense

from lips that would shut up

and feel the heat of others,

their shake

until the end

although in empty homes

and desecrated, nameless

casas vacías, sin nombre

now i hold you by the hand

you call me from the bottom

of your life,

i hear you leave your depth

i don't know if in sleep or waking,

all my senses vibrating

in my head,

directions on my hands

prisoners at the time,

prisoners of a thin voice,

ways to talk about bridges

and open doors to the city,

puertas se abren a la ciudad.

i hear you,

even without words.

i hear black birds flying

for the labyrinths

of the earth

and calm islands,

i feel the blind people

asleep in the gardens

and dreaming light lakes

right through the senses,

pupils now living

butterflies of the night

fireflies enjoying a revival,

luciérnagas nacidas de nuevo.


Returns on OL

Returns, the 2010 mipo chap, on Open Library. Thanks again.

Open Library: Help!/Mother Earth

Open Library pages up and functional for Mother Earth and Help! Thanks to OL.

From Flickr: CSOP Flag and more...


From As/Is: Quiddities Preface (youblisher)

From As/Is: Quiddities Preface

From MySpace...


From Flickr (2)...

From Daily Motion (2)...


Video Still (Apps/Eris Temple)

Preface: Quiddities (from Apparition Poems)

Ezra Pound famously remarked that when poetry strays too far from music, it ceases to be poetry. I would like to opine, as a tangent thought to his, that when the higher arts stray too far from philosophy, they cease to be the higher arts. Philosophy, no less than literature, is a series of narratives; and that higher-end, intellectually ambitious literature should twirl and torque meaningfully around philosophical quandaries and discourses is something that English-language poetry has forgotten in the last half-century (and I mean “pure” philosophy, as differentiated from literary theory or aesthetics). The leveling process by which no distinctions between high and low art are made, as a precondition to post-modernity’s preponderance, has effaced interest in the “fundamental questions” in favor of narrow, nihilistic ironies and corrosive but intellectually superficial cultural critiques. But that, without reprising Romanticism, English language poetry can reclaim interest in pure philosophy and the crux questions of human existence, is the assumption these poems make. As such, they are angled against everything in the English language oeuvre after T.S. Eliot’s “Four Quartets,” including the array of Deconstructive, non-narrative poetics, which confuse the respective (though not completely antithetical) functions of philosophy and poetry in an excessive and demeaning alienation of the aesthetic.

How my approach differs from Eliot’s is this— rather than compressing the sensory data relevant to his inquiry into succinct forms, he prefers to paint on a wide canvas. The sharp points of his piece, often expressed in axioms and aphorisms, suffer a dissipated sense of being too generalized; an intermittent chiasmus with the tactile is represented, but focus is all too often lost in digression and imprecisely motivated meanderings. Many of Eliot’s axioms are, in fact, quotations (from, among others, Heraclitus and St. John of the Cross); and his Modernistic allusiveness chips away at the potential philosopher’s stone of original cognition for him. The poems in “Quiddities” are compressed and formed in the manner of John Keats’ Odes; not, of course, that the poems are odes, just that they are meant to convey mystery-in-brevity; and a sense, however sodden with disillusionment and despair, of enchantment. For enchantment in intellectual mystery, where English language verse is concerned, few poems but these Apparition Poems after the English Romantics will suffice. Modernism and post-modernism presented many shortcuts to a sense of engaged cognition; but the full enchantment of the depths and mysteries of the human mind and its powers of perception and discernment was not perceived or represented. Impulses which could have led to these representations were deemed too earnest, in a milieu and context which prized irony, and mistrust of any form of depth, especially subjectively maintained cognitive-affective depth, with or against impulses which could be deemed Romantic.

If “Quiddites” is not merely a reprise of Romantic impulses, it is because the mysteries the poems encompass and close on are not comforting. Wordsworth’s conception of intellectual enchantment is positivist; he follows a pedagogical path to teach us, with a discrete, didactic, and circumscribed system, how to think. This is the thematic backbone of “The Prelude,” his masterpiece. Intellectual man, he informs us, can always fall back on Nature; and Nature has the capacity to endlessly replenish intellectual man. The other major Romantics offer more naïve versions of the same intermittently comforting premise; even if Byron and Keats have ways of building levels of permanent encroaching darkness into their visions, too. The intellectual enchantment in “Quiddities” ends in itself; the poems offer no system as a transcendental antidote, and nothing is endlessly replenishing in the poems except the endless montage of thought (thoughts on more thoughts). The enchantment offered by “Quiddities” is strange and (in a contradictory way) bitter; cognition has no recourse but to recur endlessly, in a sensory landscape as blasted and dystopic as the poems themselves. To circle back to Eliot again, where “Quiddities” is concerned; it is cognition over the (or a) waste land. But that the human intellect can and should develop its own kind of narcissism, over the dictatorial narcissism of the senses, especially in America, is presupposed. The human mind is the only enchanted place with any genuine permanence for mankind; that is the key and primordial supposition here.

From Flickr...

From Daily Motion...

UK Amazon Beams Review (youblisher)

UK Amazon: Beams Review


UK Amazon: Beams Review (IA)

From Vimeo...

From Fieled's Brief Notes and Anecdotes (IA)

Blue & Yellow Dog Issue 1 (ebookbrowsee)

Boog City 71 (ebookbrowsee)