Etikettarkiv: Wave Books

Veckans dikt 113: ”mozambique” av Rodney Koeneke


let us put aside intelligence
thinking is the plague of kings

let us abandon
the pentecostal wine of too much talking

feluccas easing into muddy rivers
flotillas on the high platonic blue

accruing all the pennants
from accidents of blueness

the months of summer turning
in their fiery chemise

pretending to be tired
of their place inside the genre

yet moving with rapidity
in arcs across the plot

which is still a form of thinking
a humming while you’re planting

new crops to strip from hillsides
in springs that comes to soon


”mozambique” from Body & Glass. Copyright 2018 by Rodney Koeneke. Used with permission of the author and Wave Books.

Ett varmt tack till Heidi Broadhead, Wave Books och Rodney Koeneke, för att vi fick publicera den här dikten av Rodney Koeneke, hämtad ur hans diktsamling Body & Glass. Missa inte att göra ett besök på Wave Books hemsida.


Ola Wihlke

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Veckans dikt 109: ”Home.I” av CAConrad


ghosts get
ideas bad
ones mostly
caught in a
new average for
boots to the stomach
the moon is not
a favor machine
hope is a fiction we
would be better without
but find hard to live without
I met a spider who
hopes we let the house go to insects
will you roll your
eyes if I call
this spider
my sister
regardless if
you do
she is
my sister


”Home.I” from While Standing in Line for Death. Copyright 2017 by CAConrad. Used with permission of the author and Wave Books.

Ett varmt tack till CAConrad och Wave Books för att vi fick publicera den här dikten, som är hämtad ur While Standing in Line for Death. Det är en djupt gripande och originell diktbok vars texter utgår från en slags riter och av poeten kallas (soma)tic poetry. Boken kommer ut senare i höst, men jag kan varmt rekommendera ett besök på CAConrads hemsida eller Wave Books hemsida. Förlaget är baserat i Seattle, men det är utåtriktat och har en unik utgivning av samtida amerikansk lyrik.


Ola Wihlke

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Veckans dikt 103: ”fowles in tha frith” av Julian Talamantez Brolaski

after ‘Fowles in the frith’ (MS Douce 139, f. 5r), late 13th century

fowles in þe frith
þe fisses in þe flod
and i mon waxe wod
much sorwe i walke with
for beste of bon and blod

turkey in the straw
fishes in my maw
and I moan tooroola
much melancholie I make
for that beastss sake

turkey in tha straw
fishes in tha pond
& I upflay its maw
wot moanings I make
for a bloody bestiary

doves are in the elm
bambi in the sea
and ahm mad crazy
iron sorrow iz my wroth
devil amid dayeseyes

foaming in the piss
fishes in the midst
and I troll merrily—
taloo talay
fa tooril toorel toolay


Copyright 2017 by Julian Talamantez Brolaski. Used with permission of the author and Wave Books.

Ett varmt tack till Julian och Wave Books för att vi fick publicera den här dikten, som är hämtad ur den fantastiska samlingen Of Mongrelitude. För att läsa mer om Julian och andra titlar från Wave Books klicka här. Deras utgivning är verkligen något utöver det vanliga.


Ola Wihlke

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Veckans dikt 100: ”The Magic Mountain” av Cedar Sigo


I dreamt I was an orator
trapped in a typewriter—

Now I seem to have
come out on
the other side:

My mind seizes on
the form first


I color in
the outline as one would
the border of a country

whatever techniques
are called upon

to welcome the body
of the poem

into the room


Copyright 2017 by Cedar Sigo. Used with permission of the author and Wave Books.

Ett varmt tack till Cedar Sigo, och de vänliga människorna på Wave Books, för att vi fick publicera den här dikten, som är hämtad från kommande diktsamlingen Royals, som är något utöver det vanliga. Vi lånar helt fräckt den översiktliga presentationen av Sigo från Wave Books utmärkta hemsida:

Cedar Sigo was raised on the Suquamish Reservation in the Pacific Northwest and studied at The Jack Kerouac School of Disembodied Poetics at the Naropa Institute. He is the editor of There Your Are: Interviews, Journals, and Ephemera, on Joanne Kyger (forthcoming from Wave Books, 2017), and author of eight books and pamphlets of poetry, including Royals (forthcoming from Wave Books, 2017), Language Arts (Wave Books, 2014), Stranger in Town (City Lights, 2010), Expensive Magic (House Press, 2008), and two editions of Selected Writings (Ugly Duckling Presse, 2003 and 2005). He has taught workshops at St. Mary’s College, Naropa University, and University Press Books. He lives in San Francisco.”

Och det här trevliga fotot av Sigo har vi fått låna av Wave Books:

sigo-new-author-photo-12-2016Photo © Brian Marr

Ola Wihlke

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Brief interview: Jeff Clark + 20 of his covers

(Wave Books)

We are not supposed to judge books by their covers, but I do whenever I see a book. If I have to choose between two similar books, I always go for the one with the most appealing cover. And if a cover is appealing enough, I might get the book without knowing much else about it. Jeff Clark, poet and graphic designer, makes covers that grabs my attention in this way – they make me want to hold the book and leaf through its pages. Some of them would be brilliant as posters.

Clark designs covers for several publishers, among them Farrar, Straus & Giroux, University of Minnesota Press, Wave Books and he design all the covers for Ahsahta Press. For this blog post I have selected 20 covers that Clark has designed for Wave Books and Ahsahta Press, two cool independent publishers specialized in poetry.

Juxtaposing covers made for these two publishers shows that Clark can move effortlessly between minimalism with beautiful type and more extravagant and colorful designs. Clark has, I think, contributed immensely to the visual identity of both Wave Books and Ahsahta Press. I had the opportunity to ask him a few brief questions.

You are a poet and you design covers mostly for poetry books. What’s the difference between designing covers for poetry books and, let’s say, academic studies from University of Minnesota Press?

– It turns out that—usually—I have more design autonomy when I work on a book for Minnesota than I do on the average poetry book. I think this has something to do with the fact that the average poet believes they have a good visual sense, so that when they submit their manuscript to the publisher, they will often submit their artwork ideas. In my experience, it’s not often that these design ideas are strong. A publisher like Minnesota, however, has a staff of design and production people who understand that all a designer needs are:
1) the manuscript
2) a general, non-restrictive design brief

Do you have a relatively large artistic freedom when you design for Wave Books and Ahsahta Press? Is your approach different when you design their respective covers?

– I do. Wave’s house style for book covers is black ink and type only, on uncoated, natural cover stock. Beyond that, I’m free to do anything.

– With Ahsahta I’m also fairly unfettered. Roughly half the time, though, manuscripts come to me with specific design/artwork ideas from authors. I need to either try and use them, or demonstrate by way of alternative concepts, why these directives aren’t worth exploring.

Could you please describe your work – how you work, the environment, if you listen to music – when it’s most fun and rewarding?

– Once my daughter is off to school, circa 7:00 a.m., I hit the decks. I work in the main room of my studio, and in the studio I’ve also built out rooms for photography and screenprinting, as well as a woodshop with a spray booth. Most of the art I use for book covers is made here. I listen to music when I’m typesetting pages, but not much when I’m trying to design.

– The work is most rewarding when I get to witness an author’s pleasure in my design—I live for that. It’s funnest when a client’s attitude is like: fuck everything we know about normative book design; just go for it. In those situations, I tend to work very minimally, or sometimes very messily.

– But where things get really fulfilling for me is when I’m designing for free for activist groups like RAW or Keep Ypsi Black or when I’m cutting stencils and spray painting signs for the street. My grounding is in the design of printed literary books, but it turns out that working with type for 20 years has really just been preparation for doing pro bono work for the people.

Garments cover
Forty-one Jane Doe's

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Under Bokomslag bilder och foto, Intervjuer

Veckans dikt 94: ”Tractatus” av Garrett Caples


night ripens
& the whole
sky hangs

from a single
yellow nail
venus below
a dish of moon

below that
san francisco

it’s like that
morning walk
i took on a hit
of weak acid

when the city
disclosed its
character to me

after a long

except in reverse
there’s less light
in the world
right now

the world is
less explicable

the world is less
than is the case
since your late
removal from it

the most ordinary
thing in the world
is death, i hear you
somewhere say

& for once i choose
not to believe

venus glows
like topaz as if
you were there

while i walk
to the store
for whiskey

to give you
a proper wake




Copyright 2016 by Garrett Caples. Used with permission of the author and Wave Books.

Ett varmt tack till Garrett Caples och Wave Books för att vi fick publicera hans ”Tractatus”, som är hämtad ur helt aktuella Power Ballads. Rekommenderas varmt. Caples har skrivit en rad diksamlingar och är poesiredaktör på anrika City Lights Books, där han är curator för Spotlight Poetry Series. Han skriver för San Francisco Bay Guardian, Poetry Foundation och emellanåt bloggar han på Caples har en universitetsexamen i engelska och bor, naturligtvis, i San Fransisco.


Ola Wihlke

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