https://betweenthehighway.org betweenthehighway press Sat, 28 Mar 2026 17:30:54 +0000 https://betweenthehighway.org en https://betweenthehighway.org/home Thu, 07 Apr 2022 02:24:17 +0000 betweenthehighway press https://betweenthehighway.org/home https://betweenthehighway.org/Circles Sat, 28 Mar 2026 17:30:54 +0000 betweenthehighway press https://betweenthehighway.org/Circles . . . Circles, circles, I left North Carolina, but circle back to collaborate with Dylan, Caleb, and Ben on what began as postcards. Use them for what you will, after nearly a year of discussion and revision, Rivera’s photography has taken on the appearance of portals, surrounded as they are by faces, foliage, and buildings. On the reverse, Angell’s poetry occupies these openings like lightbulbs in a tree or magnolia seeds hanging from a broken, ceiling socket . . . &nbsp; &nbsp; &nbsp;- Alexander Benedict, 3-29-26 Dylan Angell / Caleb Rivera / Ben Felton’s&nbsp; Circles <img width="3024" height="3775" width_o="3024" height_o="3775" data-src="https://freight.cargo.site/t/original/i/57bce3bef5ba6f58254c56db2dea58ea77d3c17c3a88f3493ce26ae6a857884c/IMG_6706.jpeg" data-mid="246597121" border="0" src="https://freight.cargo.site/w/1000/i/57bce3bef5ba6f58254c56db2dea58ea77d3c17c3a88f3493ce26ae6a857884c/IMG_6706.jpeg" /> <img width="3861" height="2868" width_o="3861" height_o="2868" data-src="https://freight.cargo.site/t/original/i/34efac57d601d127de335eb1248b79fa61c027d947a736e9f8fd4cf4b2f65e27/IMG_6707.jpeg" data-mid="246597122" border="0" src="https://freight.cargo.site/w/1000/i/34efac57d601d127de335eb1248b79fa61c027d947a736e9f8fd4cf4b2f65e27/IMG_6707.jpeg" /> A set of 10 “postcards” with poems on the back. Collages made by Ben Felton, Caleb Rivera, and Dylan Angell. Text by Dylan Angell. Original photos by Caleb Rivera. All these artists are members of the band Lightbulbs in the Trees. First Edition of 300 &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; *** Excerpt from “(flight)” &nbsp; &nbsp; &nbsp; I lifted the window and stepped through the skylight, &nbsp; &nbsp; &nbsp; filling bird seed into a feeder that swung from string. &nbsp; &nbsp; &nbsp; A loop threaded into a circle, tied to a laundry line, &nbsp; &nbsp; &nbsp; a small reward for an endless flight. Summer had been &nbsp; &nbsp; &nbsp; long, this time might be the last time. I imagined myself &nbsp; &nbsp; &nbsp; as I wanted to be and I saw myself standing still. I &nbsp; &nbsp; &nbsp; envisioned myself as a stranger. I had written a note &nbsp; &nbsp; &nbsp; in the middle of the night - you are losing the fight &nbsp; &nbsp; &nbsp; because there is no fight. &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; *** Dylan Angell is a writer and musician. He has released a number of books and chapbooks including Airs, Salvaged Negatives (Lanquidity Productions),&nbsp;Demanding the Room (Bored Wolves Press),&nbsp;Anywhere I Lay My Head&nbsp;(The Silent Academy) and&nbsp;Photo Never Taken (The Concern Newsstand.) He has collaborated with many visual artists including Ben Felton, Caleb Rivera, Lizzy Hindman-Harvey, Mark He, Peter Hurley and Erin Taylor Kennedy. He performs in the band&nbsp; Lightbulbs in the Trees. Caleb Rivera&nbsp;is an interdisciplinary artist and designer working with photography and videography, collage, music, and sculpture. His current work explores multimedia approaches focusing on absence, liminality, and transitory spaces. He is currently completing his Masters in Fine Arts in the Experimental and Documentary Arts program at Duke University. Caleb is originally from Louisiana and Florida, and is currently living and working in Durham, NC. Ben Felton&nbsp;is a teacher, artist, and musician who works with collage, video, and music/audio. He plays with the groups Tacoma Park, Lightbulbs in the Trees, and as a solo performer, intersecting these media through shows, releases, and various collaborative situations. He is originally from New York City and now lives in Carrboro, NC with his family. https://betweenthehighway.org/SAMPLER-RE-SAMPLER Sat, 27 Dec 2025 00:32:42 +0000 betweenthehighway press https://betweenthehighway.org/SAMPLER-RE-SAMPLER . . . much ado about book waste, but Ryan Greene and maryhope|whitehead|lee make productive again the waste produced by nuclear waste, make fertile again the ground that has been reduced to ground zero. Ryan’s writing and translation is as tangible and urgent as the collaborative publishing project&nbsp;F*%K IF I KNOW//BOOKS with maryhope|whitehead|lee. Recalling the origins of my own publishing project, maryhope’s dismembered collages bring me back to my aim to reclaim the shoulders of the highway. Until then, please enjoy . . .&nbsp; Ryan Greene &amp; maryhope|whitehead|lee ’s SAMPLER + RE-SAMPLER <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/0ea393f25f07bea7eb07fc41f9b2e0ce1fc9cb78c7627f87cc4f40c5b6a14b14/IMG_5979.jpg" data-mid="242229121" border="0" src="https://freight.cargo.site/w/1000/i/0ea393f25f07bea7eb07fc41f9b2e0ce1fc9cb78c7627f87cc4f40c5b6a14b14/IMG_5979.jpg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/bd1d747780b18b969d79b210217006d644eeebd85651d09787daee1d919878b0/IMG_5980.jpg" data-mid="242229120" border="0" src="https://freight.cargo.site/w/1000/i/bd1d747780b18b969d79b210217006d644eeebd85651d09787daee1d919878b0/IMG_5980.jpg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/890941bc93f931e72d9aa4cf89645ef230afabcd7ad7f30d41e480859df443d7/IMG_5981.jpg" data-mid="242229118" border="0" src="https://freight.cargo.site/w/1000/i/890941bc93f931e72d9aa4cf89645ef230afabcd7ad7f30d41e480859df443d7/IMG_5981.jpg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/fe7ef7c3890b06754df13e5c9f862cd9d64401f6274b4b04f4900994b1858dc7/IMG_5982.jpg" data-mid="242229116" border="0" src="https://freight.cargo.site/w/1000/i/fe7ef7c3890b06754df13e5c9f862cd9d64401f6274b4b04f4900994b1858dc7/IMG_5982.jpg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/65230f6afa0ea6396d34a40668dc233fcd21980773a7cb2c38507b2782c46137/IMG_5983.jpg" data-mid="242229122" border="0" src="https://freight.cargo.site/w/1000/i/65230f6afa0ea6396d34a40668dc233fcd21980773a7cb2c38507b2782c46137/IMG_5983.jpg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/3ad90cb488c2b4cc58ef863cb8cee0abb7e957e15c3abe00d9f0380d131088ca/IMG_5984.jpg" data-mid="242229117" border="0" src="https://freight.cargo.site/w/1000/i/3ad90cb488c2b4cc58ef863cb8cee0abb7e957e15c3abe00d9f0380d131088ca/IMG_5984.jpg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/e02e690786b3dc94ca278329cf49b7864fa3fe2fe2d3a3f9544f673e708055da/IMG_5973.jpg" data-mid="242229113" border="0" src="https://freight.cargo.site/w/1000/i/e02e690786b3dc94ca278329cf49b7864fa3fe2fe2d3a3f9544f673e708055da/IMG_5973.jpg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/dbe4829f5bf8a20aa2caaff5f3f0f8ecb566dc13e7549525d68ee4a412cdb12e/IMG_5967.jpg" data-mid="242229115" border="0" src="https://freight.cargo.site/w/1000/i/dbe4829f5bf8a20aa2caaff5f3f0f8ecb566dc13e7549525d68ee4a412cdb12e/IMG_5967.jpg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/d35c5b68cdb54cfabf02633d8438373ae611bbf8a5d45ecb0db903ba41fc10c2/IMG_5985.jpg" data-mid="242229170" border="0" src="https://freight.cargo.site/w/1000/i/d35c5b68cdb54cfabf02633d8438373ae611bbf8a5d45ecb0db903ba41fc10c2/IMG_5985.jpg" /> First edition of 100 sampler + re-sampler is a co-dive into ecstatic ekphrasis, less interested in description or captioning, instead edging toward collaged text written in celebration of image, memory, and deep friendship. it is the [ongoing] result of a collaboration that began [unknowingly] with the re-publication of maryhope|whitehead|lee’s book Nuclear Waste [F*%K IF I KNOW//BOOKS, 2019] as a zine in the early months of 2021. given the dimensions we used for the re-formatted zine version, we needed to trim a slim bit of blank space at the bottom of the folded pages. the result: a 5.5”x1.5” booklet that we began to think of as the “waste” of Nuclear Waste. copies of Nuclear Waste are available here.&nbsp; later, maryhope filled one of these [non-]waste booklets with collages using scraps found on the counter in her apartment. she came to call this her collage sampler. ryan, wanting to see the collages in motion, then scanned the 26 spreads [can you say alphabet?!] and created a gif. hoping to further unsteady the edges of the individual pages/images, he created two more gifs with different frame rates. these he stacked, letting the kaleidoscopic flux serve as an optic bath. over the next several months, he began writing slim vertical poems while letting his vision blur into the gifs, his mind on maryhope. these texts were an experiment in perpendicular conversation, letting the stacked and shifting images of maryhope’s sampler inform the generation of ryan’s series of re-samplers. in the continued sprawl of the pandemic, these cross-media translations and transcreations were another small way to “be” together. at the heart of sampler + re-sampler is an interest in proximity and association. the ways collage can hold [and create!] space for disparate elements to rub up against each other. something about friction, tectonics, dialog. how this act of accretion is both a curation and an artifact of our curiosity. the question, then: when this physical, hand-cut, gathering is digitized and set whirring, what new edges emerge? to write within and toward that blur is to inhabit a space of bent mirrorings, caught between meaning and memory. to see an ecstasy in motion and then to reflect it, refracting the warmth of recognition. i see you and know that i, too, am seen. in the flux of this ongoing iteration, sampler + re-sampler aims to document a prismatic interaction between two friends and their chosen media. a small glimmer in the midst of our turbulence. *** individual snippets from sampler + re-sampler have previously found digital homes at Arteidolia, Rivulet, Metatron, ctrl+v, Tyger Quarterly, and death of workers whilst building skyscrapers. deep gratitude to the generous editors who keep each of these publications alive. to experience an interactive digital version of the project with audio recordings, visit the SAMPLER + RE-SAMPLER webpage.&nbsp; larger screens (i.e. laptops/desktops) recommended. enjoy the swirl! *** maryhope|whitehead|lee is an unexpected denizen of the northern sonoran desert. whether writing a poem, creating a collage, designing a zine, assembling a handmade book, stitching a pañuelo, or beading a canvas, it is her desire to create arresting and compelling images, both aesthetically and emotionally. a descendant of the ship, like Christina Sharpe, she resides in the weather of the wake. look for her work on Instagram @mhwlee_collage. Ryan Greene writes, translates, makes, and caretakes books in "Phoenix, Arizona," the city where he grew up. His most recent translations include projects with Carolina Dávila, Elena Salamanca, Claudina Domingo, Giancarlo Huapaya, and Yaxkin Melchy. He's learning. https://betweenthehighway.org/summer-2025-receipts Fri, 09 May 2025 00:07:48 +0000 betweenthehighway press https://betweenthehighway.org/summer-2025-receipts No . . . betweenthehighway hasn’t folded just yet but I am beginning to fold fresh receipts for this summer amid the foreclosure of “nonprofit” presses and the ongoing crisis of “small press distribution.” What will publishing poetry today and tomorrow look like? In the meantime, I’ve nearly finished translating Rainer Maria Rilke’s Duino Elegies, and my biography of Cleveland publisher and poet d.a. levy has reached its first plateau: an introduction and chapter prospectus. These two projects have come together in a recent discussion with poet and teacher C. Derick Varn. A majority of archival research complete, alongside this summer’s receipts I am excited to announce the republication of an extensive selection of levy’s poems, books, and manifestos. Executed with brutal simplicity, this summer’s receipts share their formatting.&nbsp; This publication season will be the first for BTH to release books with pages, namely Cameron Mays’ “Probably, Ohio.” As the year ripens, listen in for news on Dave Deitke’s “Zig at the Zine” and other surprise publications.&nbsp; Books officially release the 13th of July, but they are available now as preorders. Release events include a reading in Buffalo at “green_space” with Blue Bag Press on July 6th and a presentation at Mac’s Backs in Coventry Village on July 9th.&nbsp; If you are interested in all summer 2025 BTH publications, the levy republications are separate, but I will include one levy republication in each order regardless. Until production is complete, “Zig at the Zine” will be noted as a preorder. Cheers,alex benedict <img width="1620" height="2719" width_o="1620" height_o="2719" data-src="https://freight.cargo.site/t/original/i/5ee27802c394335d798b397ccca4a004d6a74f64d33af415aa718e35e41e0bba/IMG_5191.jpeg" data-mid="233371302" border="0" data-scale="33" src="https://freight.cargo.site/w/1000/i/5ee27802c394335d798b397ccca4a004d6a74f64d33af415aa718e35e41e0bba/IMG_5191.jpeg" /> Alex Gildzen’s 2 LISTS &amp; A POEM ABT LISTS 2.25″ x 27″ First edition of 200 A review as a list of questions about Gildzen’s poems:&nbsp; - Who has passed you by in your sleep? &nbsp; - What lists have you completed but never written? &nbsp; - When every list is scratched out, what poems will you write?&nbsp; &nbsp; &nbsp; &nbsp;when it comes time&nbsp; &nbsp; &nbsp;to sum up&nbsp; &nbsp; &nbsp;a litter of lists&nbsp; &nbsp; &nbsp;will clutter yr bed In the 1960s Alex Gildzen began publishing his poems in magazines. In that decade he did his first reading and saw the publication of his first chapbook. He’s grateful to still be doing all that. <img width="1579" height="2662" width_o="1579" height_o="2662" data-src="https://freight.cargo.site/t/original/i/3d0f9ff91cfdd12aa18188a2dc1e27ff58dcd43a28ae1110a09df2ee10713b9d/IMG_5193.jpeg" data-mid="233371324" border="0" data-scale="33" src="https://freight.cargo.site/w/1000/i/3d0f9ff91cfdd12aa18188a2dc1e27ff58dcd43a28ae1110a09df2ee10713b9d/IMG_5193.jpeg" /> Joe Hall’s Scatalogia, or “Shit Slips” betweenthehighway X Blue Bag 2.25″ x 162” First edition of 50 Side with Patti Smith and piss in the river, then shit on the shore. Receipts could be the closest thing to toilet paper, but I wouldn’t wipe your ass with them. Well, you should at least finish reading first . . . &nbsp; &nbsp; &nbsp;The only thing that mattered about the angels was &nbsp; &nbsp; &nbsp;the mirror of their faces pointed towards God’s glory, &nbsp; &nbsp; &nbsp;created a circuit of multiplying amperage. No one cared &nbsp; &nbsp; &nbsp;that they reeked. They’d bite you if you got too close. &nbsp; &nbsp; &nbsp;And if enough of them got together in phalanx outside &nbsp; &nbsp; &nbsp;City Hall, it was time for us clots of losers’ ears to bleed. Joe Hall nearly shares a name with Joe Hill. &nbsp; <img width="1546" height="2637" width_o="1546" height_o="2637" data-src="https://freight.cargo.site/t/original/i/0f27b121272ccdf07a49fa917a82819383db6f9e75a42526fb96e0f442bf9734/IMG_5194.jpeg" data-mid="233371323" border="0" data-scale="33" src="https://freight.cargo.site/w/1000/i/0f27b121272ccdf07a49fa917a82819383db6f9e75a42526fb96e0f442bf9734/IMG_5194.jpeg" /> Julia Klatt Singer’s The Paint Factory Years 2.25″ x 193″ First edition of 100 &nbsp; &nbsp;&nbsp; “The Paint Factory Years” &nbsp; &nbsp; &nbsp; We mapped out our world &nbsp; &nbsp; &nbsp; in the empty lot, &nbsp; &nbsp; &nbsp; scratched our love &nbsp; &nbsp; &nbsp; into the pebbled dirt. &nbsp; &nbsp; &nbsp; When the rain came &nbsp; &nbsp; &nbsp; let it river, let it glisten &nbsp; &nbsp; &nbsp; on our skin. &nbsp; &nbsp; &nbsp; We measured the hours &nbsp; &nbsp; &nbsp; in the drifting of clouds, &nbsp; &nbsp; &nbsp; in the three-note song &nbsp; &nbsp; &nbsp; of a bird. &nbsp; &nbsp; &nbsp; Seven ways I said &nbsp; &nbsp; &nbsp; I loved you. Seven more &nbsp; &nbsp; &nbsp; I kept to myself. Not the blue, but the longing begins Singer’s collection—this phrase later finds its foothold in the poem “Berlin Blue.” All the same, not the paint, but the skin. Running along the Miami River in southern Ohio, I read in bold pink, graffitied letters PAIN IS PAINT.&nbsp; I built my endurance. We build our endurance with art, but art is not only a demonstration of our sufferings or pleasures. Across these years, smattered like dried paint, we outlast suffering and carry on with “the same ache in me that you have in you.“ Julia Klatt Singer is the poet in residence at Grace Nursery School. Co-author of Twelve Branches: Stories from St. Paul, and author of five books of poetry. Her book, Elemental, has audio poems at OpenKim, as the element Sp. She’s co-written numerous songs with composers Craig Carnahan, Jocelyn Hagen, &amp; Tim Takach. Ms. Singer is a long-haired, sweater-wearing poet, painter, and thief. <img width="1607" height="2751" width_o="1607" height_o="2751" data-src="https://freight.cargo.site/t/original/i/2d91d3346efbcd7a3fd3fb33fbf9f036c0c4fe77e07146191ced612f62876c67/IMG_5192.jpeg" data-mid="233371303" border="0" data-scale="33" src="https://freight.cargo.site/w/1000/i/2d91d3346efbcd7a3fd3fb33fbf9f036c0c4fe77e07146191ced612f62876c67/IMG_5192.jpeg" /> John Sweet’s Halcyon 2.25″ x 56″ First edition of 100 halcyon&nbsp; [14]&nbsp; Halcyon days, originally ‘days of calm weather,’ but now used figuratively for a ‘past period of happiness and success,’ are literally ‘days of the kingfisher.’ The expression comes from Greek alkuonídes emérai ‘kingfisher’s days,’ a term used in the ancient world for a period of 14 days fine or calm weather around the winter solstice which was attributed to the magical influence of the kingfisher. The origin of Greek alkúon is not known, although it was from earliest times associated with Greek háls ‘sea’ and kuon ‘conceiving’ (whence the spelling halcyon). &nbsp; &nbsp; &nbsp;halcyon (14) &nbsp; &nbsp; &nbsp; and all the boys &nbsp; &nbsp; &nbsp; fresh out of rehab &nbsp; &nbsp; &nbsp; except for the &nbsp; &nbsp; &nbsp; dead ones &nbsp; &nbsp; &nbsp; except for the ones &nbsp; &nbsp; &nbsp; we all &nbsp; &nbsp; &nbsp; want to fuck &nbsp; &nbsp; &nbsp; except for the &nbsp; &nbsp; &nbsp; ones &nbsp; &nbsp; &nbsp; we love John Sweet sends greetings from the rural wastelands of upstate NY. He is a firm believer in writing as catharsis, and an opponent of all organized religions and political ideologies. He's down with surrealism and old school post-punk. The entirety of his life is hidden in his writing. <img width="2961" height="2305" width_o="2961" height_o="2305" data-src="https://freight.cargo.site/t/original/i/f738b31f4a9cdcf869e776381c91c52baf8ed59a9c9a86e24fde08ebf6976b8c/IMG_6126.jpg" data-mid="246012766" border="0" src="https://freight.cargo.site/w/1000/i/f738b31f4a9cdcf869e776381c91c52baf8ed59a9c9a86e24fde08ebf6976b8c/IMG_6126.jpg" /> Probably Cleveland’s Only Decent Bathroom Reader. This is a sharpened collection of the comedic romances published the previous year. Order for your establishment’s bathroom or for your own personal use! <img width="565" height="749" width_o="565" height_o="749" data-src="https://freight.cargo.site/t/original/i/3106469bfb33c485d39910ebe40e07758906fee2580c6b0060ddc18863341652/Cameron-Cover-Image.PNG" data-mid="233526574" border="0" data-scale="41" src="https://freight.cargo.site/w/565/i/3106469bfb33c485d39910ebe40e07758906fee2580c6b0060ddc18863341652/Cameron-Cover-Image.PNG" /> Cameron Mays’ Probably, Ohio Middle Western Comic Romances&nbsp; &nbsp; &nbsp; &nbsp;“Many of my friends have begun to make a living for themselves in places outside &nbsp; &nbsp; &nbsp;of Cleveland. I generally have little interest in their success, unless of course that &nbsp; &nbsp; &nbsp;success takes place in New York City and they are desperate for a roommate. &nbsp; &nbsp; &nbsp;Should that be the case, they ought to call me immediately. Their troubles will be &nbsp; &nbsp; &nbsp;quelled in as much time as it takes me to buy an Amtrak ticket. I remind them that &nbsp; &nbsp; &nbsp;my card is on file and Cleveland has a daily train service to Moynihan Train Hall.” &nbsp; &nbsp; &nbsp;(from Internship Report)This may be the first collection from Mays, but these essays initially came out from his zine that takes its name from that fateful connection to New York. Cameron Mays is from Cleveland, then Brecksville, then Cleveland again, and now New York. He does not have a federally compliant ID, but he does have a valid driver's license. This is the first collection of his writing. First edition of 100 . . . inevitably more.* UPDATE: First edition and second edition sold out, but preorders are now available for a “Cleveland Bathroom Reader” edition.&nbsp; [COVER TO BE ANNOUNCED] Dave “Ziggy” Deitke’s Zig At The Zine With Henry Rollins, and Bert Susanka &nbsp; Interviewing musicians such as Henry Rollins, Bert Susanka, and many others, Zig moves from the Gig to the Zine, illustrating his interviews into a full color comic-style zine.&nbsp; Dave Ziggy Deitke is a full-time musician, special needs music educator, and music therapist MT-BC based out of Cleveland, OH. Dave fronts an original punk funk reggae rock group called C-Level. He also runs a podcast called Zig At The Gig. First edition of 500 . . . inevitably more.&nbsp; -&nbsp; -&nbsp; -&nbsp; -&nbsp; -&nbsp; -&nbsp; -&nbsp; -&nbsp; -&nbsp; -&nbsp; -&nbsp; -&nbsp; -&nbsp; -&nbsp; - -&nbsp; -&nbsp; -&nbsp; -&nbsp; -&nbsp; -&nbsp; -&nbsp; -&nbsp; -&nbsp; -&nbsp; -&nbsp; -&nbsp; -&nbsp; -&nbsp; - &nbsp; <img width="3024" height="1572" width_o="3024" height_o="1572" data-src="https://freight.cargo.site/t/original/i/e41d8dc8565b47ed24e3b507e6a63d2be3fadbdb552c6fac523030ca06e96adb/IMG_5280.jpeg" data-mid="234561949" border="0" src="https://freight.cargo.site/w/1000/i/e41d8dc8565b47ed24e3b507e6a63d2be3fadbdb552c6fac523030ca06e96adb/IMG_5280.jpeg" /> <img width="3024" height="2266" width_o="3024" height_o="2266" data-src="https://freight.cargo.site/t/original/i/a47647628be6b8aaa730769f10a4c66765166f315b381b89db2f73dd8ad5e11a/IMG_5279.jpeg" data-mid="234561948" border="0" data-scale="68" src="https://freight.cargo.site/w/1000/i/a47647628be6b8aaa730769f10a4c66765166f315b381b89db2f73dd8ad5e11a/IMG_5279.jpeg" /> Every publication listed above! -&nbsp; -&nbsp; -&nbsp; -&nbsp; - -&nbsp; -&nbsp; -&nbsp; -&nbsp; -&nbsp;-&nbsp; -&nbsp; -&nbsp; -&nbsp; --&nbsp; -&nbsp; -&nbsp; -&nbsp; -&nbsp;-&nbsp; -&nbsp; -&nbsp; -&nbsp; -&nbsp; -&nbsp; -&nbsp; -&nbsp; -&nbsp; - &nbsp; [covers] <img width="497" height="863" width_o="497" height_o="863" data-src="https://freight.cargo.site/t/original/i/058e5dfd78b7aae01830143114d714e3ae669885f797c690fa3c283c75a3024c/Cover-Cleveland-undercovers.jpg" data-mid="233701329" border="0" src="https://freight.cargo.site/w/497/i/058e5dfd78b7aae01830143114d714e3ae669885f797c690fa3c283c75a3024c/Cover-Cleveland-undercovers.jpg" /> <img width="491" height="903" width_o="491" height_o="903" data-src="https://freight.cargo.site/t/original/i/f19aa8b00d7fcb863933e8650418a5f0bb4d65540e3527fdc4c0c1cee47b3d67/Cover-Variations-on-Flip.jpg" data-mid="233701362" border="0" 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data-src="https://freight.cargo.site/t/original/i/03ca7fca2bdc5b99a384240d5a325cecd6a42f5dbe04e762ff942a66efad004a/Cover-angela.jpg" data-mid="233701327" border="0" src="https://freight.cargo.site/w/499/i/03ca7fca2bdc5b99a384240d5a325cecd6a42f5dbe04e762ff942a66efad004a/Cover-angela.jpg" /> <img width="471" height="793" width_o="471" height_o="793" data-src="https://freight.cargo.site/t/original/i/a4247a88aa102c6d6e070a4b36134240f92863f4f0ff691b53b37ca1bbf311ff/Cover-notes-variations-on-a-short-poem.jpg" data-mid="233701337" border="0" src="https://freight.cargo.site/w/471/i/a4247a88aa102c6d6e070a4b36134240f92863f4f0ff691b53b37ca1bbf311ff/Cover-notes-variations-on-a-short-poem.jpg" /> <img width="473" height="863" width_o="473" height_o="863" data-src="https://freight.cargo.site/t/original/i/d4141b9b560c33096e095467c7e29e17ae2ee8b6ea09ccc39a78c351220ce45b/Cover-Letter-from-an-Invisible-Greek.jpg" data-mid="233701335" border="0" 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src="https://freight.cargo.site/w/479/i/da51cf46bed501aa1249dd060ed163bb9b1af9cad514ec05655cb224df2dd0be/Cover-RED-LADY.jpg" /> <img width="487" height="797" width_o="487" height_o="797" data-src="https://freight.cargo.site/t/original/i/2fe0a4bd2c3a8a10391ec3ca4221f2690afb1b6623aa4c322b0e20e3ebf012d3/Cover-THE-BEGINNING-OF-SUNNY-DAWN.jpg" data-mid="233701355" border="0" src="https://freight.cargo.site/w/487/i/2fe0a4bd2c3a8a10391ec3ca4221f2690afb1b6623aa4c322b0e20e3ebf012d3/Cover-THE-BEGINNING-OF-SUNNY-DAWN.jpg" /> <img width="493" height="851" width_o="493" height_o="851" data-src="https://freight.cargo.site/t/original/i/61d235d6c64b4eac325a4960a93716c41e3743e570335ef48830be01168728e7/Cover-SUBURBAN-MONASTERY-DEATH-POEM.jpg" data-mid="233701354" border="0" src="https://freight.cargo.site/w/493/i/61d235d6c64b4eac325a4960a93716c41e3743e570335ef48830be01168728e7/Cover-SUBURBAN-MONASTERY-DEATH-POEM.jpg" /> <img width="483" height="803" width_o="483" height_o="803" data-src="https://freight.cargo.site/t/original/i/99320852fa25258bee7584f7a75278a0690f32869906d4d6a14bbe698019bbb0/Cover-songs-for-dead-children.jpg" data-mid="233701353" border="0" src="https://freight.cargo.site/w/483/i/99320852fa25258bee7584f7a75278a0690f32869906d4d6a14bbe698019bbb0/Cover-songs-for-dead-children.jpg" /> <img width="483" height="785" width_o="483" height_o="785" data-src="https://freight.cargo.site/t/original/i/5fee326c675b8ba2c9bac8ccc4c32114f8a79db363aa726ab7d0e876f3d855cd/Cover-POEM-FOR-JULIE.jpg" data-mid="233701339" border="0" src="https://freight.cargo.site/w/483/i/5fee326c675b8ba2c9bac8ccc4c32114f8a79db363aa726ab7d0e876f3d855cd/Cover-POEM-FOR-JULIE.jpg" /> <img width="489" height="831" width_o="489" height_o="831" data-src="https://freight.cargo.site/t/original/i/e8bcbc607f521a112ae44cfc7c2122211d5d7468957fa4f4ad09392f047089a8/Cover-WILD-HORSES.jpg" data-mid="233701364" border="0" src="https://freight.cargo.site/w/489/i/e8bcbc607f521a112ae44cfc7c2122211d5d7468957fa4f4ad09392f047089a8/Cover-WILD-HORSES.jpg" /> <img width="483" height="833" width_o="483" height_o="833" data-src="https://freight.cargo.site/t/original/i/2aa647a5086c8d0a88b6f3788767393c3de6a83a52eeab0647086f49797ed79d/Cover-Tombstone-As-A-Lonely-Charm.jpg" data-mid="233701361" border="0" src="https://freight.cargo.site/w/483/i/2aa647a5086c8d0a88b6f3788767393c3de6a83a52eeab0647086f49797ed79d/Cover-Tombstone-As-A-Lonely-Charm.jpg" /> <img width="481" height="797" width_o="481" height_o="797" data-src="https://freight.cargo.site/t/original/i/ae8266a3bad761625928f4e3005306e4b6e8816bd16a1c662a970e3744e024d2/Cover-THE-PRAPS-I-SERIES.jpg" data-mid="233701359" border="0" src="https://freight.cargo.site/w/481/i/ae8266a3bad761625928f4e3005306e4b6e8816bd16a1c662a970e3744e024d2/Cover-THE-PRAPS-I-SERIES.jpg" /> <img width="485" height="799" width_o="485" height_o="799" data-src="https://freight.cargo.site/t/original/i/e32b69155cf77fb94ee5f5b2480a58c2b886547b8b1cccac131badca47697679/Cover-THE-PARA-CONCRETE-MANIFESTO.jpg" data-mid="233701358" border="0" src="https://freight.cargo.site/w/485/i/e32b69155cf77fb94ee5f5b2480a58c2b886547b8b1cccac131badca47697679/Cover-THE-PARA-CONCRETE-MANIFESTO.jpg" /> <img width="495" height="863" width_o="495" height_o="863" data-src="https://freight.cargo.site/t/original/i/c8ed09429ca3485df7dc8152cff3c8ff8b612d3d39a18f50d6b907568a2b5e3c/Cover-THE-NORTH-AMERICAN-BOOK-OF-THE-DEAD.jpg" data-mid="233701357" border="0" src="https://freight.cargo.site/w/495/i/c8ed09429ca3485df7dc8152cff3c8ff8b612d3d39a18f50d6b907568a2b5e3c/Cover-THE-NORTH-AMERICAN-BOOK-OF-THE-DEAD.jpg" /> <img width="481" height="887" width_o="481" height_o="887" data-src="https://freight.cargo.site/t/original/i/255110b6eba0e5cbfa99b5a13e1d1595bb59aa1cf049a65c430466323ecb99a2/Cover-The-Evolution-of-Comparative-Literature.jpg" data-mid="233701356" border="0" src="https://freight.cargo.site/w/481/i/255110b6eba0e5cbfa99b5a13e1d1595bb59aa1cf049a65c430466323ecb99a2/Cover-The-Evolution-of-Comparative-Literature.jpg" /> d.a. levy republications&nbsp; See: d.a. levy republications all levy excerpts available separately or with any receipt-book all proceeds to publishing &amp; distribution materials &nbsp; &nbsp; &nbsp; i reject all copyrights since i cannot &nbsp; &nbsp; &nbsp; consider poetry as a business trans- &nbsp; &nbsp; &nbsp; action&nbsp; -&nbsp; that doesn't mean i don't &nbsp; &nbsp; &nbsp; like $$$&nbsp; -&nbsp; it doesn't mean i give &nbsp; &nbsp; &nbsp; free readings&nbsp; -&nbsp; i just think as long &nbsp; &nbsp; &nbsp; as i'm living the poetry happens &amp; &nbsp; &nbsp; &nbsp; i'm not going to turn my happenings &nbsp; &nbsp; &nbsp; into a business planned for mass &nbsp; &nbsp; &nbsp; consumption - patrons support &nbsp; &nbsp; &nbsp; poets or god (i.e. the universe) &nbsp; &nbsp; &nbsp; supports poets - not govts or &nbsp; &nbsp; &nbsp; the public . . . &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; —d.a. levy, Kaleidoscope, &nbsp; &nbsp; &nbsp;“d.a. levy memorial issue,” 1968, &nbsp; &nbsp; &nbsp;edited by Jim Sorcic BIBLIOGRAPHICAL NOTE: Materials for these republications of d.a. levy’s work primarily came fromKent State University Special Collections, Cleveland State University Special Collections, the anthology “ukanhavyrfuckincitibak” (GHOST PRESS, edited by Tom Kryss and r.j.s., 1968), and Alan Horvath’s Kirpan Press republications. Wherever possible, I tried to use first editions or editions published during levy’s lifetime. In some cases, such as with Kibbutz in the Sky and THE NORTH AMERICAN BOOK OF THE DEAD, these republications are the first instance of a series of books being published in their completeness. Much of levy’s work has been republished across dozens of small presses,including Quixote Press, GHOST PRESS, ghost pony press, verdant press, Kirpan Press, and Between the Shadows. As such, entries in this bibliography do not cover the entire publication history of any text. This bibliography only covers materials printed by betweenthehighway press. For a full bibliography, see Alan Horvath’s “looking for d.a. levy(Random Sightings).” This bibliography is based on James Lowell’s “A Preliminary Checklist of the Writings of d.a. Levy (1942-1968)” (The Serif [Kent StateUniversity Special Collections], Vol. 8, No. 4). Started in 2002 and carefully revised with the collaboration of Kent Taylor and many of levy’s friends, the Kirpan Press bibliography is exhaustive of levy’s individual publications, including material he printed, material printed by other publishers, and anthologies. “Random Sightings” can only be supplemented by the verdant press bibliography of materials levy published in periodicals. betweenthehighway press republications are relegated to the lexical work of d.a. levy and represent only a sampling of his material. Although these republications are otherwise comprehensive, they cannot stand in for the original editions due to limitations of line length and type availability. Where spelling was an unforced error, “corrections” have been made, and, undoubtedly, this editor has added their own . . . Visual material is accessible through Cleveland State University’s digitized holdings and the anthology edited by Ingrid Swanberg: “ZENCONCRETE &amp; etc.” visual materials include the Cleveland Prints Series (Renegade Press, 1964), THE EGYPTIAN STROBOSCOPE (7flowers press, 1966), VISUALIZED PRAYERS &amp; HYMN FOR THE AMERICAN $GOD$ (Renegade Press, 1966), SCARAB (1966), the madison poems and the madison collages (Quixote Press, 1968), ZEN CONCRETE: TRANSLATIONS &amp; A NEW INTERPRETATION OF BUDDHIST DOCTRINES (blewointment press, October 1968), and THE TIBETAN STROBOSCOPE (Ayizan Press, 1968). Illustrations for these republications are sourced from Aubrey Beardsley’s vignettes in Le Morte D’Arthur, headpieces for Henry Reicher, and—who could forget—Salome’s flowers. -&nbsp; -&nbsp; -&nbsp; -&nbsp; -&nbsp; -&nbsp; -&nbsp; -&nbsp; -&nbsp; -&nbsp; -&nbsp; - &nbsp;-&nbsp; -&nbsp; -&nbsp; -&nbsp; -&nbsp; -&nbsp; -&nbsp; -&nbsp; -&nbsp; -&nbsp; -&nbsp; -&nbsp; - WORK PUBLISHED IN PERIODICALS AND ANTHOLOGIES: INTERMISSION (November 9, 1961)WILD HORSES (Abraxas 44/45, 1964)GREAT MAN SLEEPING IN A CLOSET (7 flowers press, 1966) [republished: ukanhavyrfuckincitibak, 1968] [written 1965-66]letter to lady berge’ (blewointment, Vol. 5, No. 1, January 1967) [written 2/27/1966]LIGHT ON, THE OLD TEST (DO-IT!, No. 1, 1966) [republished by levy in 1967 and ukanhavyrfuckincitibak, 1968)if you can break an iron angel’s wings (cleveland bridges) [Hika, Vol. 28, No. 3, Kenyon College, 1966]roses that (ukanhavyrfuckincitibak, 1968) [written 1966]THE TIBETAN NOTES (SEPT/ 7th 1966)BERET (SPANISH FLEYE, 1966) [republished: ukanhavyrfuckincitibak, 1968] [performed: La Cave 1966]poem for lama ginsberg (FREE LOVE PERIODICALLY, #1, 1967)variations on a short poem (Runcible Spoon, 1970) [ukanhavyrfuckincitibak, 1968]notes/ variations on a short poem (FAT FROG, No. 1, 1967)what can i say? (THE FLASH OF PASADENA, No. 5, 1967) [republished: FREE LOVE PERIODICALLY, No. 2, June 1967]angela (ukanhavyrfuckincitibak, 1968) [previously: burning water]Jaywalking Blues (ukanhavyrfuckincitibak, 1968) REBIRTH BLUES (INTRANSIT, 1968) [republished: Kirpan Press]NEW YEAR (October 1968) (DAVKA, Vol. 1, No. 1, December 1970) [republished: A Ten Year Harvest: Third Decennial Reader, 1977]WARRIOR’S REST (TOUCAN, Vol. 1, No. 2, Winter 1968) [ukanhavyrfuckincitibak, 1968]Letter From An Invisible Greek (Litmus, the d.a. levy issue, November 1968) [Quixote, Vol. 4, No. 6, March 1969]barking rabbit (falling down press, 1976) [previously: The Buddhist Third Class Junkmail Oracle, nola express, campfires of the resistance, unmuzzled ox, and the box lunch travel-og of fremont gulch] INDIVIDUAL PUBLICATIONS: FRAGMENTS OF A SHATTERED MIRROR (renegade press, February 1963)More Withdrawed or Less (renegade press, February 1963) [second edition: September 1963]Variation on Flip (renegade press, February 1963)IN Group (Hors Commerce Press: “3 One Act Plays,” 1964)THE NORTH AMERICAN BOOK OF THE DEAD: PART 1 &amp;2 (FREE LANCE PRESS, 1965) [revision republished: 7 flowers press, 1966]The Slow Death of Becoming Other People (ukanhavyrfuckincitibak, 1968) Cleveland undercovers (7 Flowers Press, 1966) CLEVELAND: THE RECTAL EYE VISIONS (press : today : niagara, 1966) [ukanhavyrfuckincitibak, 1968]R.E. Vision #8 for W.E. Wyatt (POETRY NEWSLETTER, No. 11, 1966)R.E. Vision #10 (ENTRAILS, Vol. 3, February/March 1967)R.E. Vision #2 (RADICAL AMERICA, Vol. 2, No. 6, December 1968)R.E. Vision #8 Part II - for Art Kleps (RADICAL AMERICA, Vol. 3, No. 4, August 1969)THE EGYPTIAN STROBOSCOPE [“THE YEAR OF COMING FORTH BY DAY . . .”] (7 flowers press, 1966) [second edition: grass coin, 1967]Kibbutz in the Sky (7 flowers press, 1967: Books 1 &amp; 2) [republished: ukanhavyrfuckincitibak, 1968)ONE DEATH IN THE LIFE OF JULIE: POEM FOR JULIE (grass coin, 1967)THE PRAPS I SERIES (PRAPS (I): CONGRESS, No. 1, 1967) (PRAPS I (Three): CONGRESS, No. 2, 1967) (ASYLUM, No. 4, March 1968) [full series republishined: ukanhavyrfuckincitibak, 1968)TOMBSTONE AS A LONELY CHARM (press : today : niagara, Part 1: 1967, Parts 2 &amp; 3: 1968)THE BEGINNING OF SUNNY DAWN (GHOSTflower Press, March 1968) [republished with RED LADY: Open Skull Press, 1969)RED LADY (Open Skull Press, 1968) [PARA-SHAKTI PRESS, 1969]songs for dead children [x2] (black rabbit press, 1969) [ukanhavyrfuckincitibak, 1968]The Evolution of Comparative Literature (1968) [broadside republished: Quixote Press, “the madison collages,” 1969 and again by OFFENSE FUND, 1975]SUBURBAN MONASTERY DEATH POEM (ZERO EDITION, 1968)PROSE: on poetry in the wholesale culture &amp; education system ​(Gunrunner Press, 1968) MANIFESTOS: The Cleveland Manifesto of Poetry (Principles behind the writings of 6 Cleveland Poets) (Asphodel Press, June 1964)CEMENT FUCK [Introduction] (cleveland OHO, 1966) [renegade press]THE PARA-CONCRETE MANIFESTO (TLALOC, No. 13, 1966) [republished as broadside: 7 flowers press,1966 and ukanhavyrfuckincitibak, 1968] https://betweenthehighway.org/walk-with-us-top Sun, 26 Jun 2022 21:56:40 +0000 betweenthehighway press https://betweenthehighway.org/walk-with-us-top <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/6b87d2edc5d4b625b9298cad893964f468193cdd6eeb3ee6f3d1ee5159f42e8c/packaging-facing-down.jpg" data-mid="146431411" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/6b87d2edc5d4b625b9298cad893964f468193cdd6eeb3ee6f3d1ee5159f42e8c/packaging-facing-down.jpg" /> betweenthehighway receipt publisher&nbsp; food insecurity non-prophet Cleveland, Ohio - Cuyahoga Valley betweenthehighway started from behind a gas-station register and developed in contact with food &amp; home insecurity along highway 54 in Carrboro, NC. In 2024, the press and its editor returned to nest in the more agreeable climate of Cleveland, Ohio.&nbsp; betweenthehighway publishes three to five receipts every summer as well as free receipts when the occasion demands.&nbsp;betweenthehighway publishes excerpts of Cleveland publisher and poet&nbsp;d.a.levy.&nbsp;after production costs, profits go to authors and food insecurity. learn more from our&nbsp;FAQ check out our collaborative WIKI share your thoughts on our receipts in an old forum or as a RE-VIEW for any inquiry, including submissions, book exchanges, and questions write to betweenthehighway@gmail.com https://betweenthehighway.org/S-Settling-Settled Thu, 26 Sep 2024 21:13:15 +0000 betweenthehighway press https://betweenthehighway.org/S-Settling-Settled ::: S-Settling, Settled ::: 09-26-2024 <img width="236" height="313" src="https://lh7-rt.googleusercontent.com/docsz/AD_4nXfjMuTdSEmcPlm7dJ9FeJfLCm0FVWicdODxZzRgd-bELMZylKybKOD4oZv8nQSWD9OCxlvXEN8U6rC-PEvtJOY3aV8uRMMp1XWKEzEn9WNqNfuWm2XfpMGqjiuIA08N7KEUjF8UNx4CZO-0gd98gPxWToc?key=9HGZZMuuQUnLGeJ-m-cDhw"> <img width="1600" height="893" width_o="1600" height_o="893" data-src="https://freight.cargo.site/t/original/i/c66cb827c160f02140bde679e9d69dfbf9d202e2a6b872207c56ca9acd968d19/u7qu3fh3.png" data-mid="218763142" border="0" src="https://freight.cargo.site/w/1000/i/c66cb827c160f02140bde679e9d69dfbf9d202e2a6b872207c56ca9acd968d19/u7qu3fh3.png" /> <img width="282.9306930693069" height="377" src="https://lh7-rt.googleusercontent.com/docsz/AD_4nXerXu97VFUPO3PngDTCyB2Dp_NvtwXbWjTyi2QSH8m0E43VNT0EF8hmVJRQmykfnEXwyvVEmeDTrAEi95VikLllwTj6O2x8BVzTcbDtbzKqvreuCwsm7Yfs0vULb6sXcxRX9i6_zS9mcdBiVfXIlAyNU4Y?key=9HGZZMuuQUnLGeJ-m-cDhw"> <img width="167" height="222" src="https://lh7-rt.googleusercontent.com/docsz/AD_4nXe-Al00taiajA0pSgI5jtvRz4sm6vll7RIIaer49V_uMRofQOFTHaD8Hzbj-dkLCiAp8fGxaxwJOMYRDW8kspvfhxIM53TVi-s-AVlUb1YEizqN9mpVmVHFcEQDGCKOgI61KCdXCT-mr8jJ-dfx5H1y4Z8?key=9HGZZMuuQUnLGeJ-m-cDhw"> <img width="167" height="221" src="https://lh7-rt.googleusercontent.com/docsz/AD_4nXetHmvc_DhYzaQInP4LWKTZX6sblDf5mmQ6jMJObA5vWVI_xOi6KAvDSskCik9gLsY8augKswN1TpGp1llgMcctbQ315cQYASYrzb6F00C4m3VcVET5T0oJi8_9l1IywpLF1AbsHvZS9GJaYLw2MaQ9z40?key=9HGZZMuuQUnLGeJ-m-cDhw"> Before I Spoke to Myself by Cela Xie 2.25″ x 90’’ Edition of 300 They greet you as a shade, and leaves you as a mirror. They eat plums, oh, they eat plums. No, not those plums—no, the ones whose color empties into you, the ones into which you empty yourself. These are “Letters From Now:” words before we have spoken to ourselves. Before? Words spoken before oneself. Where else? This is the ascent of a wound breaking into brighter skin. Now, assent and, rising, bury yourself before this desire. Cela Xie is a person of twenty-five years who has accomplished nothing in particular, except writing for almost two decades. His favorite color is the blue just after the sun has been wheeled into the morgue. His favorite animal is the cloud leopard. His favorite number is six, the number of books he plans to write. His poetry has been published by The Pierian and he is currently pursuing an MFA at North Carolina State University, near the place where he was born. between you and me&nbsp; by alex benedict...? 2.25″ x 30″ Edition of 200 Here, I collage the descriptions I’ve written about the first three years of betweenthehighway press releases: Nate Hoil: Returning to Earth Without Additional Tools (2021)beumuth: apa rtm ent (2021)puddlethumb: [cattle] (2021)alex benedict: throatfolding (2021)Joey Puckett: From the Eye of Noah (2022)Alexandre Ferrere: Mechanical Ode to a Snake, (2022)Tommy Noell: Return from Falcon Prison (2022) &nbsp; Nick Felaris: SPLICE (2022)puddlethumb: yezo garland 2022)heatflow: RIVERSIDE (2022)alex benedict: ode to a barking rabbit (2023)Ruth Jeffers: When Roads Dissolve (2023)Praghya Vishnoi: Small Consolations (2023)Daniel Flosi: still in this place where there is no sun (2023)Madison Krob: This is how it will always start: We leave something behind. (2023)Su Zi: flux: a spell of acid (2024)emilio Taiveaho Peláez: TO BE “IN THE MOUNTAINS” IS “A FLOWER OPENING WITHIN THE WORLD” (2024)Angel Warwick: And there I was, I was just hanging out, doing nothing. Then death appeared and said something dumb. (2024)JL Rosser: Taking 500,000 Photographs of a Dogwood Tree (2024)Sara Lefsyk: I draw a fake effigy. “Who let us into hell?” It says. (2024)Al Brilliant: OIL (2024)Cela Xie: Before I Spoke To Myself (2024) Disregarding republications and a handful of “secret” or one-off publications, betweenthehighway has now released twenty-two titles. Over half are with authors who had not previously published a book or collection. Can you guess what book provides the backgorund in the photographs?&nbsp; [FORTHCOMING] d.a. levy republications As I continue to delve further into my archival research of Cleveland poet and publisher d.a. levy, I plan on republishing more of his work that has seen less light.&nbsp; For now, I still have free excerpts of his major works available d.a. levy excerpts.&nbsp; I’m currently writing the introduction to my biography on d.a. levy and recently has this article published where I discuss his writing in relation to waste and waste workers: “waste is a form of devotion.”&nbsp; betweenthehighway wherever visible and invisible streets meet Read receipt excerpts&nbsp;here If you are unable to pay, we exchange!Write to&nbsp; betweenthehighway@gmail.com https://betweenthehighway.org/S4-receipts Tue, 26 Mar 2024 00:09:19 +0000 betweenthehighway press https://betweenthehighway.org/S4-receipts ::: S4 ::: receipts 06-17-2024 <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/3f6f4c127b75e26d8dfdb769451b62a8ef7f45df665b8a263446aedf9628aec2/IMG_3899.jpg" data-mid="208469807" border="0" data-scale="97" src="https://freight.cargo.site/w/1000/i/3f6f4c127b75e26d8dfdb769451b62a8ef7f45df665b8a263446aedf9628aec2/IMG_3899.jpg" /><img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/f4fada1baa4f55941c0476c451f0dfcc1444ca380c7011633d14a647fbf7dea5/IMG_3906.jpg" data-mid="208469809" border="0" data-scale="97" src="https://freight.cargo.site/w/1000/i/f4fada1baa4f55941c0476c451f0dfcc1444ca380c7011633d14a647fbf7dea5/IMG_3906.jpg" /><img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/73b70402728d6b56e45c97ad200736255907a350f7a07cd0b3e69929ac0a1fe3/IMG_3903.jpg" data-mid="208469811" border="0" data-scale="97" src="https://freight.cargo.site/w/1000/i/73b70402728d6b56e45c97ad200736255907a350f7a07cd0b3e69929ac0a1fe3/IMG_3903.jpg" /><img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/a16b072f826b28ec029bb8ba51e011792e2517f6d98f8eb1c8a9bc2881a01722/IMG_3902.jpg" data-mid="208469806" border="0" data-scale="97" src="https://freight.cargo.site/w/1000/i/a16b072f826b28ec029bb8ba51e011792e2517f6d98f8eb1c8a9bc2881a01722/IMG_3902.jpg" /><img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/916c85fdc54c7eb1c636965e1f8ffbd035ae74d7b51f2efefd6cc8f4993cf7ac/IMG_3905.jpg" data-mid="208469808" border="0" data-scale="97" src="https://freight.cargo.site/w/1000/i/916c85fdc54c7eb1c636965e1f8ffbd035ae74d7b51f2efefd6cc8f4993cf7ac/IMG_3905.jpg" /><img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/2796c9e866dfc22853db4f25c13607798c93e5ca62b58a3c13b1da346ac3be2c/IMG_3904.jpg" data-mid="208469810" border="0" data-scale="97" src="https://freight.cargo.site/w/1000/i/2796c9e866dfc22853db4f25c13607798c93e5ca62b58a3c13b1da346ac3be2c/IMG_3904.jpg" /> flux: a spell of acid by Su Zi 2.25″ x 52″ Edition of 300 What body accepts endlessly? In eight ebbing movements—the number of her birth and name—Su Zi’s spell of acid is a “little wound of ink” in a vast sea where memories, membranes, and insecticides meet. Su Zi casts spells of acid from the ocean shore with the grace and caution of a spider walking on water.&nbsp; &nbsp; &nbsp; &nbsp;i rise up &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; rise up to you &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; up into the decline of the day &nbsp; &nbsp; &nbsp; when the River of the Americas &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; takes up her blue gray shroud &nbsp; &nbsp; &nbsp; i see you hanging &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; voluptuously &nbsp; &nbsp; &nbsp; in the smog smear &nbsp; &nbsp; &nbsp; a vibrant round inferno, &nbsp; &nbsp; &nbsp; a majesty in the vermillion decay. Poet, Artist, Eco-Feminist, and Equestrian, Su Zi edits and handmakes the bi-annual publication Red Mare.&nbsp; TO BE “IN THE MOUNTAINS” IS “A FLOWER OPENING WITHIN THE WORLD” by emilio Taiveaho Peláez 2.25″ x 91″ Edition of 300 Peláez writes how they climb, with the patience of mountains and glaciers, the swiftness of birds and streams.&nbsp; Originally written during 2023 and printed at their home in Haw River, North Carolina, the long poem introduces itself: &nbsp; &nbsp; &nbsp;Dogen sang Sansuikyo &nbsp; &nbsp; &nbsp; as if speaking with &nbsp; &nbsp; &nbsp; the North Cascades &nbsp; &nbsp; &nbsp; the birth of &nbsp; &nbsp; &nbsp; place, these words &nbsp; &nbsp; &nbsp; poems fruiting &nbsp; &nbsp; &nbsp; with humility &amp; gratitude &nbsp; &nbsp; &nbsp; for the wild places &nbsp; &nbsp; &nbsp; that remain emilio Taiveaho Peláez is an investigative poet based in the Piedmont region of North Carolina. Their word-work emerges from flesh-eye experiences within the living archives of American landscapes and seeks to grapple with the colonial languaging practices that shape these environments — from sidewalks to national parks to the common places of lyric poetry. And there I was, I was just hanging out, doing nothing. Then death appeared and said something dumb. by Angel Warwick 2.25″ x 91″ Edition of 300 Welcome to Grief Club. This is death’s party and they know everyone. The Angel of Death is in pursuit, but their bicycle chain is rusted and you’ve already cycled across England. &nbsp; &nbsp; &nbsp; The pallbearers of my grief &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; have slipped to their knees. &nbsp; &nbsp; &nbsp; I wander through the shifting gloom &nbsp; &nbsp; &nbsp; between streetlights, until &nbsp; &nbsp; &nbsp; I hit the reaching black &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;of country roads — &nbsp; &nbsp; &nbsp; those corners you can't see around. &nbsp; &nbsp; &nbsp; The blazing hell of headlights. &nbsp; &nbsp; &nbsp; He's coming, he's coming for me. Angel Warwick is a poet from the South Coast of England, as well as an avid cyclist and consumer of scotch whisky that tastes like peat bog water. He left school at 12 and learnt to write in online poetry communities. For inquiries and support with the Grief Club, write Angel: adgwarwick@gmail.com Taking 500,000 Photographs of a Dogwood Tree by JL Rosser 2.25″ x 51″ Edition of 300 They say pick a tree to grow old with, yet leaves still gather like withered lives around you, and even that tree—once rooted fast in your memory— now falls into the mire among its rotting children, remaining only to be seen across the frenzied moments of this search for “a life stripped away.” &nbsp; &nbsp; &nbsp;The dogwood blooms droop &nbsp; &nbsp; &nbsp; like sleeping children over &nbsp; &nbsp; &nbsp; the water, and the twigs &nbsp; &nbsp; &nbsp; droop like it hurts to carry &nbsp; &nbsp; &nbsp; them. The roots of the trunk &nbsp; &nbsp; &nbsp; spread out like Papa when &nbsp; &nbsp; &nbsp; he walked too drunk. It’s &nbsp; &nbsp; &nbsp; branches spindly&nbsp; and knobby &nbsp; &nbsp; &nbsp; as his twiggy arms gorged &nbsp; &nbsp; &nbsp; on bursitis. Liver stuck out &nbsp; &nbsp; &nbsp; like the front of an 85’ &nbsp; &nbsp; &nbsp; Silverado. Legs like Marlboro &nbsp; &nbsp; &nbsp; 100s but this one woman; &nbsp; &nbsp; &nbsp; she takes photos at funerals &nbsp; &nbsp; &nbsp; to show them to the family, &nbsp; &nbsp; &nbsp; so there’s Papa all folded up &nbsp; &nbsp; &nbsp; like a paper plane that didn’t &nbsp; &nbsp; &nbsp; fly far enough. Polaroids &nbsp; &nbsp; &nbsp; ain’t useful. This is no time &nbsp; &nbsp; &nbsp; to be useful. This is time &nbsp; &nbsp; &nbsp; to sing badly in the woods &nbsp; &nbsp; &nbsp; and scare deer. JL is a queer poet living in Georgia. Currently, most of the poems they write are about Yugioh cards and Youtube videos. I draw a fake effigy. “Who let us into hell?” It says. by Sara Lefsyk 2.25″ x 70″ Second edition of 200 With the shrieks of 10,000 Angels, Sara’s poem forces 10,000 insurance companies to fall to their knees in terror at meeting “the daughter of a solitary fish” speaking with the language of “a small but savage town.” &nbsp; &nbsp; &nbsp; When they found me scraping &nbsp; &nbsp; &nbsp; my ugly little teeth against the &nbsp; &nbsp; &nbsp; pavement, my diagnosis was &nbsp; &nbsp; &nbsp; dental. When they sent me to &nbsp; &nbsp; &nbsp; the actual dentist, my diagnosis &nbsp; &nbsp; &nbsp; was an eight-fold path. &nbsp; &nbsp; &nbsp; No one could tell me anything &nbsp; &nbsp; &nbsp; because my diagnosis was small &nbsp; &nbsp; &nbsp; and vegetal. &nbsp; &nbsp; &nbsp; When my diagnosis was glass-jar &nbsp; &nbsp; &nbsp; heart, the treatments were: wild &nbsp; &nbsp; &nbsp; hare, water of rye and water of &nbsp; &nbsp; &nbsp; snake. &nbsp; &nbsp; &nbsp; My diagnosis was a never- &nbsp; &nbsp; &nbsp; ending receipt. Sorting rocks from beans until she kills all desire, Ethel carries a shovel as if she really knows how to dig a grave. When she is let loose inside the orchard, she is a wide-eyed god, dehydrated and convulsing. Nailed to the ground, laughing with the sun in her eyes, she is dreaming of a videotape about an even more disposable fashion. Fashioning a wound or planning for gestalt, out in the field or trapped in the cloisters, she fingers the firmament and role-plays a joy, then vomits all over the sanctuary carpet. Sara Lefysk runs Ethel Zine &amp; Micro Press. [link] OIL by Al Brilliant 2.25″ x 28″ In deciding what to republish of Al Brilliant’s vast writings, I considered excerpts from his many journals, such as Bus Journal or Bookshop Journal, but I was continually drawn to the slim PAINTBRUSH pamphlet with the even slimmer poem “OIL.” If not only for its applicable formatting for receipt, then for how the poem encompassingly depicts a life through a single substance, oil, and how that life—the life of a publisher—takes on a mythic quality, subsisting on that lubricating, penetrating, birthing, and protecting substance. This republication includes the&nbsp; biographical essay by alex benedict, “A Brilliant Life.”&nbsp; Al Brilliant is born by oil and births books with oil.&nbsp; &nbsp; &nbsp;They say that oil and water &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; won’t mix &nbsp; &nbsp; &nbsp; but when I was born &nbsp; &nbsp; &nbsp; they put olive oil scented with balsam &nbsp; &nbsp; &nbsp; in the sea water of my mother’s womb &nbsp; &nbsp; &nbsp; they put ink there and pads of paper &nbsp; &nbsp; &nbsp; a hammer, a ruler &nbsp; &nbsp; &nbsp; a type case full of lead Writer, bookmaker, and late editor of Unicorn Press, Al Brilliant was born in St. Louis, Missouri “a triple Gemini on May 22, 1936 in the midst of a severe American Depression.” In 1965, he and his wife Teo Savory began running Unicorn Press, publishing hundreds of poetry collections as well as translations from French and German. At 73 years old, Brilliant established the Glenwood Community Bookshop in Greensboro, North Carolina where he passed away in May of 2022. betweenthehighway wherever visible and invisible streets meet Read receipt excerpts&nbsp;here If you are unable to pay, we exchange!Write to&nbsp; betweenthehighway@gmail.com https://betweenthehighway.org/S3-receipts Tue, 13 Jun 2023 17:47:39 +0000 betweenthehighway press https://betweenthehighway.org/S3-receipts ::: S3 ::: receipts 08-13-2023 <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/853db7e79357187d6800d50d92bd7b8c2869ed8bd23f7ff46cd39c71430a8294/IMG-3198.jpg" data-mid="182389615" border="0" data-scale="62" src="https://freight.cargo.site/w/1000/i/853db7e79357187d6800d50d92bd7b8c2869ed8bd23f7ff46cd39c71430a8294/IMG-3198.jpg" /><img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/3c30e68f98c3625fc3db2ec11dd9b63dbccd3343ccfcbaa8e07154922cafeb2f/IMG-3199.jpg" data-mid="182389670" border="0" data-scale="62" src="https://freight.cargo.site/w/1000/i/3c30e68f98c3625fc3db2ec11dd9b63dbccd3343ccfcbaa8e07154922cafeb2f/IMG-3199.jpg" /><img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/da1231e6204bed997fe12e49cb816323500f6a15ad3c98d64397833c9e70bec4/IMG-3197.jpg" data-mid="182389781" border="0" data-scale="62" src="https://freight.cargo.site/w/1000/i/da1231e6204bed997fe12e49cb816323500f6a15ad3c98d64397833c9e70bec4/IMG-3197.jpg" /><img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/366d7cd71e93ae86b15863779995cd858456ee7ab3ca8aeb98faf6a3cfa43c8f/IMG-3196.jpg" data-mid="182389669" border="0" data-scale="62" src="https://freight.cargo.site/w/1000/i/366d7cd71e93ae86b15863779995cd858456ee7ab3ca8aeb98faf6a3cfa43c8f/IMG-3196.jpg" /><img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/5729b8e90fa95cc9ebaeb13354362416a9597c54d2a4fd381881d5f04fcfbcc2/IMG-3195.jpg" data-mid="182389668" border="0" data-scale="62" src="https://freight.cargo.site/w/1000/i/5729b8e90fa95cc9ebaeb13354362416a9597c54d2a4fd381881d5f04fcfbcc2/IMG-3195.jpg" /> Daniel Flosi’s&nbsp; 53 in. x 2.25 in.&nbsp; edition of 200 &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; “i don’t know how to sit with the living” &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; ...walked as much as written, this long &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; poem swells along the page like the voice &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; of morning grass in the mouth of a drying &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; river that knows loss is gradual and even. &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Daniel J Flosi is the founder of Black &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Stone / White Stone Zine and author &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; of the chapbook Cries, the Midnight Sky &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; (Bullshit Lit, 2023). Pragya Vishnoi’s 174 in. x 2.25 in.&nbsp; edition of 200 &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Formed across years of feedback &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; between the author and editor, this &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; collection of poems begins by visiting &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; the holy city of Varanasi with a lover &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; and concludes by returning to Varanasi &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; to cremate a lover. &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Pragya Vishnoi lives in India and her &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; work has been published in Rattle&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Magazine and forthcoming in the &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; I-70 Review, Canthius and BoomerLitMag. Madison Krob’s&nbsp; 40 in. x 2.25 in. edition of 200 &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; "The bunny believes in letting things go." &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; This essay jumps between the small &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; dreams of sports and art in Midwestern &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; small towns and a 200 ft. plush pink &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; bunny decaying into the Italien countryside. &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Madison Krob is in the internet-age &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; space of storytelling. Her work interacts &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; with virtual reality and the weird things &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; you find in your grandmother's basement. &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; In addition to her website, she can be &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; reached visually at @maddykrob &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; on Instagram. Ruth Jeffers’ 40 in. x 2.25 in.&nbsp; edition of 200 &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Three excerpts from "Bodies of Salt"—a &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; record of her five months in Palestine as &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; a student and volunteer—these brief &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; essays are for Emad and Mohammed, &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; “who awoke me to the beauty and injustice &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; occurring in occupied Palestine. This &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; story is for them and every Palestinian &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; who showed me endless generosity &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; as I witnessed their homeland.” &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Ruth has lived in North Carolina most of &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; her life, but she likes to write about the &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; times when she didn’t. She currently lives &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; in Carrboro and cares for rescued farm &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; animals. Palestinians are humans. “There’s too much at stake.” alex benedict’s&nbsp; 218 in. x 2.25 in.&nbsp; edition of 300 &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; An ode to d.a.levy and Northeast Ohio, &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; this poem follows an attempt to return, &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; make offerings and listen, visualize &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; and take vows, and wander cloud bridges &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; or, more often, endless asphalt &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; and concrete. Just as levy challenged &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; the concrete reality of Cleveland, &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; this ode is a struggle to thoroughly &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; investigate the reality of the highway &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; as a gate of liberation. &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; alex benedict runs betweenthehighway. &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Currently, he lives in the Cuyahoga Valley &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; as he writes a full biography of Cleveland &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; publisher and poet d.a.levy. read excerpts of books&nbsp;here if you are unable to pay, we exchange!share book exchange ideas with&nbsp; betweenthehighway@gmail.com https://betweenthehighway.org/S2-receipts Wed, 06 Apr 2022 16:43:17 +0000 betweenthehighway press https://betweenthehighway.org/S2-receipts ::: S2 ::: receipts 06-17-2022 <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/9d014ac5504411a021f23ff03683fe6956ecd80b4501800aa78d5a19571606f9/Photo-Jun-03--9-35-00-AM.jpg" data-mid="144437972" border="0" data-scale="50" src="https://freight.cargo.site/w/1000/i/9d014ac5504411a021f23ff03683fe6956ecd80b4501800aa78d5a19571606f9/Photo-Jun-03--9-35-00-AM.jpg" /><img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/26ec0a1261780a8e96b8cb559edf94733c97e4f63dcb1558e5e7d5fd6e738c6c/Photo-Jun-03--9-35-11-AM.jpg" data-mid="144437973" border="0" data-scale="50" src="https://freight.cargo.site/w/1000/i/26ec0a1261780a8e96b8cb559edf94733c97e4f63dcb1558e5e7d5fd6e738c6c/Photo-Jun-03--9-35-11-AM.jpg" /><img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/432ac6f1901b508fe79fe37c9d6071f886f8eee4d33d41155c6c4bb9c8b9e63c/Photo-Jun-03--9-35-53-AM.jpg" data-mid="144437974" border="0" data-scale="50" src="https://freight.cargo.site/w/1000/i/432ac6f1901b508fe79fe37c9d6071f886f8eee4d33d41155c6c4bb9c8b9e63c/Photo-Jun-03--9-35-53-AM.jpg" /><img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/fc50fb6021ca2b85ff52ca9a16dd0954e6f88131083f627c3c4901b8f8b26f9b/Photo-Jun-03--9-36-22-AM.jpg" data-mid="144437975" border="0" data-scale="50" src="https://freight.cargo.site/w/1000/i/fc50fb6021ca2b85ff52ca9a16dd0954e6f88131083f627c3c4901b8f8b26f9b/Photo-Jun-03--9-36-22-AM.jpg" /><img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/3ec5f83a36c511cfd94af52682ed6bae15d3db2e379c6d6c77024f4dfa882403/Photo-May-26--10-29-38-AM.jpg" data-mid="143907873" border="0" data-scale="50" src="https://freight.cargo.site/w/1000/i/3ec5f83a36c511cfd94af52682ed6bae15d3db2e379c6d6c77024f4dfa882403/Photo-May-26--10-29-38-AM.jpg" /><img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/5165f82ac24713fdcb9b3997a0622f35e856a09702d2aeacbf390f2241e8fa59/Photo-May-26--10-29-45-AM.jpg" data-mid="143907874" border="0" data-scale="50" src="https://freight.cargo.site/w/1000/i/5165f82ac24713fdcb9b3997a0622f35e856a09702d2aeacbf390f2241e8fa59/Photo-May-26--10-29-45-AM.jpg" /><img width="1440" height="1800" width_o="1440" height_o="1800" data-src="https://freight.cargo.site/t/original/i/bd549542396280682b1dd4a3090d4ed00ac8e0d3f225096aa83b1c80a8be29c2/Photo-May-28--10-18-07-AM-1.jpg" data-mid="143907877" border="0" data-scale="50" src="https://freight.cargo.site/w/1000/i/bd549542396280682b1dd4a3090d4ed00ac8e0d3f225096aa83b1c80a8be29c2/Photo-May-28--10-18-07-AM-1.jpg" /><img width="1440" height="1800" width_o="1440" height_o="1800" data-src="https://freight.cargo.site/t/original/i/4c04f1075a17c3ae58ac5a24e576bcb859c3f1b4171341d013ed9e7049edd5d0/Photo-May-28--10-18-07-AM-2.jpg" data-mid="143907878" border="0" data-scale="50" src="https://freight.cargo.site/w/1000/i/4c04f1075a17c3ae58ac5a24e576bcb859c3f1b4171341d013ed9e7049edd5d0/Photo-May-28--10-18-07-AM-2.jpg" /><img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/cb5ac677005e1903149b4a7414e545e3b12b58102a2ab988b2e1325358bcf0d6/Photo-Jun-03--9-41-26-AM.jpg" data-mid="144438324" border="0" data-scale="50" src="https://freight.cargo.site/w/1000/i/cb5ac677005e1903149b4a7414e545e3b12b58102a2ab988b2e1325358bcf0d6/Photo-Jun-03--9-41-26-AM.jpg" /><img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/096f42791cd07d198fb363f63deea0ebc0fa91fba636bb605ad8c0a1c59ac2fe/Photo-Jun-03--9-41-37-AM.jpg" data-mid="144438325" border="0" data-scale="50" src="https://freight.cargo.site/w/1000/i/096f42791cd07d198fb363f63deea0ebc0fa91fba636bb605ad8c0a1c59ac2fe/Photo-Jun-03--9-41-37-AM.jpg" /> Nick Felaris (CODEX) &amp; puddlethumb’s 112 in. x 2.25 in. &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; feedback loop&nbsp;&nbsp; &nbsp; &nbsp; &nbsp; &nbsp;between poems and graffiti reading across from a police station Tommy Noell’s 102 in. x 2.25 in.&nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; grandfather and&nbsp;former Death Row &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; inmate Tommy Noell’s call to action &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;for America’s working class &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; as well as poems in conversation reading a poem for Tommy Noell Tommy Noell’s Return from Falcon Prison: Death Row along an Invisible Street Alexandre Ferrere’s&nbsp; 46 in. x 2.25 in.&nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; pressing leaves into asphalt &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;abandon yourself reading across from a police station puddlethumb’s 120 in. x 2.25 in. &nbsp; &nbsp; &nbsp; &nbsp; skandha scaffolds &nbsp; &nbsp; &nbsp; &nbsp; based on Shiraishi Chieko’s Shikawatari &nbsp; &nbsp; &nbsp; &nbsp; and Stephen Ratcliffe’s REAL reading under an underpass Joey Puckett’s 52 in. x 2.25 in. &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;Chapter D.4&nbsp; &nbsp; &nbsp; &nbsp; &nbsp;learn how to ROTC binge drink &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;not far from Chris Farley’s tomb reading under an underpass read about our authors read excerpts of books&nbsp;here if you are unable to pay, we do exchanges.share an exchange idea! betweenthehighway@gmail.com https://betweenthehighway.org/S1-receipts Wed, 06 Apr 2022 16:43:17 +0000 betweenthehighway press https://betweenthehighway.org/S1-receipts ::: S1 ::: receipts 11-26-2021 <img width="8256" height="5504" width_o="8256" height_o="5504" data-src="https://freight.cargo.site/t/original/i/f67b599e19ce1488ee313d2b7708a6232d2d16e44d6ac28ae28454933cda77f0/etsy-book.jpg" data-mid="139010687" border="0" src="https://freight.cargo.site/w/1000/i/f67b599e19ce1488ee313d2b7708a6232d2d16e44d6ac28ae28454933cda77f0/etsy-book.jpg" /> beumuth’s apa rtm ent 63 in. x 2.25 in.&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; on the road to rehumanization&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; unattending human-capital redeployments all proceeds to 84,000 translation project&nbsp; Nate Hoil’s Returning to Earth with Additional Tools 40 in. x 2.25 in.&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; collage of rebirth stories reading from across a police station puddlethumb’s&nbsp;[cattle] 119 in. x 2.25 in.&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; if Buddha's silence empties suffering, &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; the slaughterhouse empties language;&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; dying piece by piece, cattle's blood &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; drains quicker with a beating heart reading from across a police station read about our authors read excerpts of books here if you are unable to pay, we do exchanges.share an exchange idea!betweenthehighway@gmail.com