ea’s e by Scott Metz

I’m pleased to announce that my second poetry collection, ea’s e, is now available from Red Moon Press. I hope you’ll consider getting a copy and letting anyone know who you think might be interested in it.

Some comments on the collection:

“Writing at the confluence of traditions of global haiku and experimental, minimalist poetry in the line of Creeley, Grenier and Dworkin, Metz conjures inspiringly strange, new forms of utterance: poetic spells that work their magic without wishing themselves – as fractured, material text – away. In an epigraph, Metz quotes Grenier asking, “Is it a long poem if you look at it long enough?” The textured poems in this book indeed reward “long” looks, often drawing us deeply into reflections on private and public (but always personal) themes, ranging from “corp/orate/contami/nation” to childhood innocence. Metz’s earlier, ground-breaking work in lakes & now wolves (2012) comes to fuller fruition in this exciting and substantial collection of genuinely exploratory short-form poetry.” 

—Philip Rowland (editor, NOON: An Anthology of Short Poems; coeditor, Haiku in English: The First Hundred Years

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“Reading through this collection it is difficult to keep in mind that this is the work of a single poet rather than an anthology of contemporary short poetry.  Metz is easily the most creative of the poets working at the interface of haiku and minimalist poetry. This book could serve as a primer of what is possible to do in the short poem. I was blown away.”

—Lee Gurga (editor, Modern Haiku Press)

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“Over the past ten years Scott Metz has created an astonishing book that turns the act of reading inside out. His poems work on the reader; through unsettling syntax and scoring akin to musical notation, he makes us look and look again until we reach something there all along: the world. His bounding wolves of a decade ago make an even greater leap here, and they are still in the air.” 

—John Martone

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“Scott Metz’s haiku is like no one else’s. In ea’s e, his first collection with Red Moon Press, you will discover what he’s been up to for the past decade. Divided into 9 sections by orthographical technique, the poet questions what letters mean, what space does to that meaning, and what the mind is doing when it isn’t running on auto-pilot. You will never read haiku the same way again.”

—Jim Kacian (Red Moon Press website)


“Scott Metz is challenging normative haiku on every level, as a poet with his explorations into found haiku, striking wordplay, typography, and surreal content, but also as an editor and anthologist.” 

—Jim Kacian (Haiku in English: The First Hundred Years)

now available: Haiku 2021

I’m very pleased to announce that Haiku 2021, edited by Lee Gurga and I, is now available from Modern Haiku Press. As usual, the book features 100 ku by 100 poets, all of which were published in 2020. This year, Philip Rowland wrote the Introduction. Philip is the editor of NOON: journal of the short poem, the author of Something Other Than Other, and before music, and is one of the editors of Haiku in English: The First Hundred Years. Philip is also the author of numerous insightful and inspiring essays about haiku in English and short poetry: “A Dialogue on the Experimental,” “From Haiku to the Short Poem: Bridging the Divide,” “Avant-Garde Haiku: A New Outlook,” and “Surrealism & Contemporary Haiku -Or- Surreal Haiku?” He also wrote the introduction for my own collection of poems, lakes & now wolves. From Philip’s Introduction:

Haiku 2021 unfolds as a series of flashes of insight
and facets of language, a remarkable range
of minimalist poetic possibilities.”

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Haiku 2020

Haiku 2014 cover

I’m very pleased to announce that Haiku 2020 in now available from Modern Haiku Press for $10 + shipping. The book features 100 notable haiku (by 100 poets) from 2019 that Lee Gurga and I selected together. The introductory essay is by Richard Gilbert, author of The Disjunctive Dragonfly, Poems of Consciousness, and coeditor of numerous books devoted to the life, philosophy and poetry of Kaneko Tohta. The cover photograph is by my wife, Masako, and the two of us designed it together.

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