j/j hastain has written many chapbooks, artist books and full length works. j/j hastain is the inventor of The Mystical Sentence Projects and is author of several cross-genre books including the Trans-genre book libertine monk (Scrambler Press, 2012), Luci: a Forbidden Soteriology (Black Radish Books, 2015), The Non-Novels (Spuyten Duyvil, 2015) Apophallation Sketches (Radicle Press, 2016),and The Xyr Trilogy: a Metaphysical Romance of Experimental Realisms. j/j's writing has recently appeared in a thing like you and me, Flapperhouse, Caketrain, Trickhouse, The Collagist, Housefire, Bombay Gin, Aufgabe and Tarpaulin Sky.
Juliet Cook's poetry has appeared in a small multitude of magazines, including Arsenic Lobster, DIAGRAM, Diode, FLAPPERHOUSE, Hermeneutic Chaos, Menacing Hedge and Reality Beach. She is the author of numerous poetry chapbooks, recently including Red Demolition (Shirt Pocket Press, 2014), a collaboration with Robert Cole called Mutant Neuron Codex Swarm (Hyacinth Girl Press, 2015), and a collaboration with j/j hastain called Dive Back Down (Dancing Girl Press, 2015). Cook's first full-length individual poetry book, Horrific Confection, was published by BlazeVOX and her second full-length individual poetry book, Malformed Confetti is forthcoming from Crisis Chronicles Press. Her most recent full-length poetry book, A Red Witch, Every Which Way, is a collaboration with j/j hastain published by Hysterical Books in 2016.
Hexagonal Approach to Horticulture
The name of the facility was
inside a flamboyant nest
inside a brain with
that could not quite be
named but had their own shape-
Inside a gut wrenching
finger-crossed limbo tree I thought
I would lose my mind but
something else found me. Horror-
story cooking in a convection oven. Hearth-
mobile implied dragon eggs and I
couldn't tell if they were edible
or had revolvers stuck in the yolk.
So I ate them right at once, of course
to find out. When a ghost or a clown is the
local figurehead what naps
we take to divulge hidden
maps. Sometimes we wake up
drenched in sweat and polymers.
Little fingers turning into plastic
watering-cans pouring out blood
or pomegranate seeds
malleable norths, then a six-sided
crescendo. We said we would never let it
go until we'd gotten the alert. It had gotten to us.
Procedure assists with
Time to dig up the grave
and fill it with new eyes.
It's hard to describe our poems in non-poem language. Some of our poems have to do with not fitting in to any one particular place or mind or body. For j/j there's always a strong draw of the ear. j/j feels like Juliet's approach is often a very visual response to the creation of lines. And then j/j ends up hearing something that slant rhymes with that picture, like a sort of synesthesia. Like a piñata with all the candy shooting in different directions and then stanza-ing the candy into our sizes, colors, and multi-shaped, semi-pointed textures. In some ways it's the creation of an ethics of free space. The Commons, but so freed of expectations around what's appropriate. It's like wearing a wig even if you don't have to because more hair feels good.
Glass: A Journal of Poetry is published monthly by Glass Poetry Press.
All contents © the author.