Liner notes for a Pithecanthropus Erectus sketchbook, with a foreword by SJ Fowler, KDP, 2018 (Eng-Asemic) , ISBN 979-8640487855
buy: barnes&noble | amazon.com | .uk • read: archive
My feeling on the poems is that they are a cohesive set, yet each has its own identity. How much time the reader spends with each is up to them, but they might spend hours, or seconds, with each or with all. How rare is a clear control of the pansemic aesthetic? Essentially it seems as though Federico’s poems are often the evocation of a structure evading itself, an exact match to what Mingus declared his piece was about – a ten minute tone poem. Certainly in terms of actual construction Federico is also providing a score, a rescoring of that which been unscored. Here is metaphorical language without semantics. Ambiguous detail activating the poetic. The work is remarkable precisely because it works in a graceful, familiar space to do often stark and unfamiliar things. Like jazz that absorbs sound. This feels to me a faithful act towards listening and the intention towards possibility and inspiration. The roll, the smudge, the dead signature. The cut in the scrawl. The squig. The line, cards and bled ink. Sounds on paper.
Previously unpublished excerpts from Extra Passwords in «Trafika Europe» (n.14, 2018), curated by Clayton McKee and Andrew Singer at PennState University Libraries, 2018.
In this issue: new Italian literature by Edgardo Franzosini, Elisa Biagini, Piero Schiavo Campo, Nicola Lagioia, Federico Federici, Frank Iodice, Irene Chias & Barbara Serdakowski + Lawrence Millman (Icelandic saga) & Günther Kaip (Austrian miniatures).
In this issue, edited by Cheryl Moskowitz and Stav Poleg: The seventh seal, one of the poems I read at 19. Poesiefestival Berlin, inspired by the homonymous masterpiece by Ingmar Bergman.
The launch will be on Friday 13 July at 7pm in London at The Cinema Museum, 2 Dugard Way, Lambeth, London SE11 4TH.
Admission to the launch is free.
some rabbit’s iambic leg
back bent in its tight articulation
keeps hanging few inches on the jamb,
right on the doorstep and a crown of seeds
is there, the spade thrust deep into frozen mud;
the roods collect the moan of prayers,
guttural lamentation on the water ponds,
white relics of boughs, plumes of birds
a white calf uproots the leaves of grass
with sharp strokes of tongue, moistens
the cold panes before its snout, hides
milky bones and sleeps in bare straw
* First published in Raum, vol.1 issue 4, Glasgow, 2017.
AOM #2, Part 1 curated by Drew B. David, it contains work by D.S. West, Michael Prihoda, David Baptiste Chirot, Heather Lewis, Federico Federici, Hiromi Suzuki, Csaba Pál, Richard Baldasty, Jessica Myscofski, Miguel Jimenez, Christine Stoddard, Janyce Oliveira, L. Brown,Richard A. Jones, J. Rodgers, Colin James, John M. Bennett, Stacy Allam, Guinotte Wise, Yuan Changming, James Fowler, Rus Khomutoff, Adam Levo Brown, Dylan Sonderman, Veronica Lupinacci, Howie Good, and Tessa Beebout.