I don't get, given the context of the primary point made, the logic of the "particularly white male privilege bit" of this Tweet-‏@lemonhound  Jan 25 We need to make young people aware of white, particularly white male privilege, way early on. Take it to the outdoor ice rinks.

Here's my argument/response-sketch (which is not at Twitter):

A compelling argument can be made that when it comes to White Supremacist dynamics, that white women and men do get to share this shit-show equitably. I totes agree that it's good to get little male nippers aware of the privileges maleness often carries--but as far as whiteness being racially clueless, the maleness bit strikes me as more than less a red herring/mistaking female identity for a totality which because it often entails disenfranchisement can therefore not be maximally part of white supremacist dynamics, which is ultra questionable--though has obvious white feminist appeal.

Dear Adam strauss, 

Thank you for participating in the 2015 Les Figues Press NOS Contest. We are pleased to announce the winner as chosen by contest guest judge lê thi diem thúy: 

irradiated cities 
by Mariko Nagai 

We are also pleased to announce that the editors have selected The Getty Fiend by Ken White as the NOS editors' selection. 

We specifically would like to congratulate you, Adam, as your work was picked as a finalist among a phenomenal collection of works including: 

Tree Talks: Southern Arizona | Wendy Burk 
GALL | E.G. Cunningham 
DEUS ABSCONDITUS AND LOVE LETTERS FROM OUTER SPACE | Brandi George 
Assumptions We Might Make About the Postworld | Katharine Haake 
Reading Nana | Sharon Kivland 
Field Poetics | Kristen Kreider 
It Was Human | Jenn Marie Nunes 
Ifenne | Jill Okpalugo-Nwajiaku 
Braided Sand Country | Adam Strauss 
kochanie i bought bread | Uljana Wolf, translated by Greg Nissan 

We will be making the official announcement tomorrow. 

By now, you should have received your Les Figues Press title of choice. If you chose 100 Chinese Silences, please allow another three weeks for delivery. If otherwise you have not received your book, please contact us at info@lesfigues.com. 

Again, thank you for entrusting us with your exceptional writing. 

Sincerely, 
Teresa Carmody 
Les Figues Press

Here's my response to this in many ways terrific review:
http://www.lambdaliterary.org/features/oped/01/16/a-queer-take-on-james-francos-straight-james-gay-james/

Adam Strauss 19 January 2016 at 9:54 PM #

I enjoy this review. A question I have is this: I’m unclear on the relationship between gay and queer in this piece; are they synonyms? They largely seem to be, but then it’s gay men not queers who are cited as annoyed–suggesting differentiation. Based on this review, JF is seeming, to me, quite queer, but not gay. Everything quoted strikes me as consonant queerness. (I do see the two terms as signifying quite different topos). Once again–thank you for this…I love how it doesn’t merely revel in LOLing/dissing JF, but doesn’t shy away from cutting words.
OH, one more bit: I agree (though don’t remotely believe) that it’s a truism that sexuality is fluid, but this doesn’t seem to gel with the gay male anger refrain, which seems to be marking a clear, more stable than not subject position; can fluidity articulate anger, and have a moniker?

Livre Sucre

I like the way in the start of this trailer the scene had me thinking prepping cocaine for freebase, and then it turns out apricots are being cooked:

http://johannesgoransson.com/books/sugar-book/

Aero                                  die                       anima pumpkin

Dug drought                          archive                         so lute         solo lint

Genius                                 dooms me                    meadow           sweet

I candle                                  eructates ax                      omnivore and ipecac

Aero                   dug drought        genius I                          candle                                    

Eructates ax                          dooms me                    archive            die

Anima pumpkin so           lute solo lint          meadowsweet omnivore and ipecac

Gap                  closure                      loose eye                       ordinal threat

Does this                        through ewe                     parallax               riparian

Make twee                       larynx sews scree                incipit              stone tang glows

Crotch pine nepenthe                cross spine limps         sump                mustard foison

Mustard foison                           gap                           ordinal threat               make twee

Through ewe             stone tang glows                  crotch pine nepenthe      loose eye                       

Incipit                 does                  this cross limps spine                     sump sews

Riparian threat                   scree parallax                 ordinal closure                gap parallax

Lucas d Lima

Except for the last three lines, I really like “all i wanna say is that they don’t really care about us” up at the PEN website.  It's the most engaging poetry I've yet read by de Lima, whose penchant for all-caps lettering has never sparked my interest.  These poems are not stylized in that manner; rhetoric, rhythm, and image do their do--work--carry through.  All-caps, often, appears like a voice yelling from a stage and it's not strong enough to carry to the back-row--aka opera singer who lacks sufficient skill.  It's lovely to see timbre both delicate and possessed heft.  Hear-here--here-hears; cheers!

Howdy

Here's a description of a manuscript I very much want to get published:

Hello, it's Adam Strauss. I am submitting an 81 page (title, acknowledgements, and section pages excluded) poetry manuscript titled Braided Sand Country. Both sections of this collection--Braided Sand and Country respectively--primarily consist of sequences, but these strands are not ordered sequentially and instead constantly interrupt and/or twine one another. This dynamic has been chosen in order that relation be emphasized but not simplified, turned step-by-step--elegantly straightforward--rather than web, matrix, field of lapses, overlaps, integers, gaps that turn into rungs, ladders for lungs to scale and set circulation free. The content of these poems works to define as fully as possible what country means: how the term compasses the "natural world," fields, mountains, streams, coastlines; designates the small-scale, the local, the "provincial," and the large stage that is the nation-state; how geography turns into geopolitics and framing for culture. In the pleated reality of this term, mountains are no longer solely mountains: they are zones for extracting product for export, for GDP growth; they are contested territories--shadows cast by their peaks are themselves shadowed by ongoing eructations constituting nation-states' (or, sigh, perhaps only states') identities.