HEXAGON PRESS

MAMMON

Mammon

There is the master who transcends likeness (for He is not any one thing but all things) and there is the master who wears a different robe for every servant who seeks his knowledge and his favor. In his myriad of forms he is inherently the same and the finitude of Earth’s covering grants him unlimited power within the temporal horizon. His simultaneous liberation and confinement elicits a call of worship and his temples may assume any shape, so long as they fall within dimensional bounds and are adorned in the embellishments of the ages. Mammon interplays the past and the future and sanctifies his key attribute, which is the forever now. Many of his servants know nothing of him and he has consecrated many of his temples subliminally and given each their own codex.

Mammon_and_His_Slave

And this master has power over the senses and he projects sensations of light and sound as cool effusions of painted air rise out of his temples. The native underbrush shivers quietly in the distance daring not to approach the clearing immediately surrounding the structure’s finely-wrought outer gates. There are many thousands of these temples intermixed across the landscapes and they each hide in the guise of physicality, taking whatever incarnation they please – for they can become anything that exists within the closed world of things. To defy Mammon is to gesture towards an absence, the expression of which is both a medium and consequence. The symbol is half rooted in the real and is the vessel to which a thought may attach itself.  The dedicated objects of worship are painfully detailed so that their beauty both overshadows and reinforces Mammon’s teachings simultaneously.

frantisekkupkababylon-1906

Traces of his paradise in the natural word, as seen by his followers, are found in the gilded veins of leaves hanging motionless beneath the late summer sun and in the cascading bands of finely-spun silk stretched across the ends of the earth, undulating in the lightness of their weave. The colors move in and out of one another in one fluid sweeping motion as the brightness of their tones casts different values of light across the earth. The weight of the rose in full bloom causes it to recede into the blackness between its overlapping branches. Blankets of leaves marbled with yellow and green tones extend out into the distance. The sky and the land are equally saturated with color and appear as if they shared the same plane – and in the council of Mammon, nature is most beautiful when it bears the qualities of that which is made and brought into being by the will.

rough edges pattern

ANTIDOTE (Part 2)

Dante_Homer_VirgilEditors’ Introduction: The following is the concluding entry in a two-part series of posts by guest contributor Scath Beorh on the topic of “Mythopoetics.” Part one, which offers definitions of the various mythopoetic categories, can be found here. In this concluding section, Beorh elaborates on the nature of Mythopoetics and discusses the role of the mythopoet in a society in need of divine guidance. We again would like to thank Scath for allowing us to feature his work.

LOGOS PREDICATION CHART OF TRAVEL

THE PRIMORDIAL SOURCE BEYOND OR OUTSIDE OF ALL PREDICATION & BEING (ONTOS) -> BEGETS LOGOS (NOUN, REASON, WORD) WHOSE ACTIVE FORM IS  RHEMA (VERB) WHICH  PREDICATES THOUGHT ->  PREDICATES WORD ->  PREDICATES DEED -> ALL THREE LEAD TO THE  GIFT OF THERIAKE (ANTIDOTE) VIA THE BLOOD OF JESUS -> WHICH BRINGS HEALING -> WHICH BRINGS  ATONEMENT WITH & PERFECTION IN THE PRIMORDIAL SOURCE (GOD)

The mythopoet not only trusts no man to lead him—for the promises of God are his foundation—he also nurtures a distrust of all socio-political assertions. At the same time he honors them so that those who follow them can see the light he carries without being able to find fault with him. This measure is principal for the mythopoet who has not only seen the isolation of his own beliefs, but watches the suppression of ancient wisdom at the hands of dogma designed to maintain control of a fragile paradigm threatened by the power of righteousness. Babylon can be found everywhere that righteousness asserts itself. In churches as well as in governments; in universities and well as in the local grange, the insidious creep of control over the people may be found.

Mythopoïesis—the primary tool of the true poet—carries a three-fold purpose:

  • To provide a constructive thesis to use as a guideline for abundant living full of creative and godly imagination;
  • To supply a synthesis of all truths as they relate to Logos Predication;
  • To impart a destructive antithesis equipped to pull down insufficient and aspects of life that have fallen sway to sinister paradigms.

The mythopoet imposes his vision upon a place, refusing to accept a paradigm from it. He weaves a variegated tapestry, often writing of anything and everything. As with any proven artisan, he has his constant—his underlying theme which bleeds through even his most bizarre and seemingly disassociated works.

The creative imagination of the mythopoet is a righteousness-seeking and righteousness-intensifying talent which creates a true vision of reality. He has taken it upon himself to write, and re-write, history if necessary—keeping in mind the ancient mandate that the seanachie, or lore-keeper, should never change the most important facts which work as the unamendable fabric of the narrative. Any rewriting that the poet does is to be done in the spirit of clarification where core truths have been tampered with. It is the very Logos who gives the mythopoet his magical, conscious, far-reaching, and seeing mind needed to maintain the received narrative. With this work of the protection of received wisdom, the mythopoet, as with any seer of the people, may be found at work with narrative that at first may be seen as new lore and undocumented legend, but later understood as valid primeval symbolism and celebrated archaic vision kept hidden by the ancients, thus thought lost.

Mythopoïesis carries the distinct ability to raise history to a different power, and as a body of work is read and re-read, the student moves to higher and higher ground. The mythopoet actually writes place into existence, and destroys soured or profaned places that prove themselves unnecessary to a rightwise existence. Further, the mythopoet reveals his co-creative connection to the Logos by bringing into existence places previously nonexistent.

The linear historian skews what happened in order to propagate the narrative of the dominant paradigm, no matter how profane. The mythopoet, though, writes into existence what should have happened, and so it does happen on some other—and far more important—plane of being. Therefore, mythopoïesis stands as a more philosophical and serious activity than historical writing.

Poets who cause loss of face are not usually desired as comrades, and are persecuted, if not by governments, then by the critics who claim to speak for the people. Friendship and estrangement, however, are the same for the mythopoet, for he sees no one as his enemy and all as potentially ready to hear his message of righteousness and atonement with the Logos. He feels secure in the arms of the One who goes before him. In this place of rest, the mythopoet finds both his peace and his voice as he seeks a rightwise existence in each moment of his life. As the Logos walks with him in the cool of the day, he stands in awe of that Presence and, with eternal gratitude, realizes his atonement with this selfsame Presence.

The mythopoet is called to magnanimous duty, and to shirk this calling is to run from communion with the Logos.

Website Divider 2

Scáth Beorh writes stories permeated with themes of violence, brutality, anguish, punishment, magical realism, and blurred lines between this and the afterlife. Sometimes veiled and at times more overt sarcasm about Christian values and moral inconsistencies underline an ingenious design behind the entertaining tales. The quality of the writing and storytelling indicate an extremely well-informed and competent storyteller. Beorh is the author of the novel The Vampires Of Dreach Fola (JWK, 2016), the story collections Children & Other Wicked Things (JWK, 2013) and Classic Ghost Stories (Editor, Crucifixion Books, 2017), the poetic study Dark Sayings Of Old (JWK, 2013), and the novels The Witch Of Ballinascarty (Ghostley Books, 2017) and Pinprick (Ghostley Books, 2017). Forthcoming works include The Annotated Nephilim Field Guide, Ghostly: A Novel Of Postmodern Ireland, Uncle Treacle’s Bestiary, Hollywood & Vine, The Horror Of Rue Royale, and Stained Glass: Mythopoeic Storeys.

rough edges pattern

ANTIDOTE (Part 1)

Johannes-verschlingt-das-Buch-by-Matthias-Gerung-circa-1530-1532Editors’ Introduction: The following is the first in a two-part series of posts by guest contributor Scath Beorh on the topic of “Mythopoetics,” in which Beorh defines the basic categories involved. We’ll publish the second part, in which the role of the poet is considered in light of his or her true role as mythopoet, in about two weeks. Many thanks to Scath for his insights.

Mythopoetics is worked in three descending levels:

  • Theriake
  • Myth & Legend
  • Speculative Fiction

The highest level of Mythopoetics can be called Theriake, when myth and dynamism meet and combine in the storyteller. Since this ‘keeper of lore’ carries an undiluted theriake, or antidote, for the poison which fills and kills mankind, he becomes an inextinguishable light and healer for all who come into contact with him. His life is often transformed through martyrdom, though sometimes he leaves us through a natural death. On the rare occasion, he departs in toto into Eternity. Paradigms of such ‘living myths’ from the Hebrew tradition are Moses, Solomon, David, Enoch, Elijah, Elisha, Stephen, Peter, Paul, John the Beloved, John of Patmos, and, of course, Jesus of Nazareth and those who wrote of Him. Later we have, among many others, Patrick, Francis of Assisi, Gemma Galgani, and Thérèse of Lisieux. This level is perfect Logos/Rhema predication. The storytellers both live and speak theriake, those looking to the coming of the Christ less so than those experiencing the Christ firsthand. The theriake itself sets forth several things at once:

  1. The Who and What of the Source of Life
  2. Eternal promises made to all who hunger and thirst after righteousness
  3. Atonement, peace, and abiding for those who endure to the end

The next storytelling level is Myth & Legend, which most usually does not put the life of the storyteller in any danger.  Nevertheless, the stories told are considered lofty, and do have an enormous amount of theriake. Logos/Rhema predication in a secondary form is found at this level. Philosophy and Theology find their homes here. From the Greek tradition we have Aesop, who was an Ethiopian slave. From China we have Lao Tzu. Northern Europe gives us J. R. R. Tolkien, George Mackay Brown, Lord Dunsany, James Joyce, T. S. Eliot, and others. Norse and Irish myths fall into this category, as well as the myths and legends of many other world cultures. The storytellers often live the theriake while they speak it, but this is not always the case.

The next level is called Speculative Fiction and has been divided into three styles: Fantasy, Science Fiction, and Horror. Fantasy and Horror have been with us for millennia, and much of these two verge on being mythological. Sci-Fi is a recent addition ca. the 19th century. Allegorical Fantasy falls into the Spec-Fic category. Ray Bradbury is a master of Spec-Fic. The three styles, or genres, work with the feelings and emotions of wonder, terror, and horror… and generally ask one or more of the questions How, Why, What, Who, When, and Where. Ghost Stories additionally give us our forgotten histories as well as frightening glimpses into spiritual realms unclean or beneath divine judgment. At times the storytellers carry antidote, and when they do, sometimes they live the theriake while they speak it, but this is a rarity. Most fantastic writ is not mythopoetic.

Part two can be found here.

Website Divider 2

Scáth Beorh writes stories permeated with themes of violence, brutality, anguish, punishment, magical realism, and blurred lines between this and the afterlife. Sometimes veiled and at times more overt sarcasm about Christian values and moral inconsistencies underline an ingenious design behind the entertaining tales. The quality of the writing and storytelling indicate an extremely well-informed and competent storyteller. Beorh is the author of the novel The Vampires Of Dreach Fola (JWK, 2016), the story collections Children & Other Wicked Things (JWK, 2013) and Classic Ghost Stories (Editor, Crucifixion Books, 2017), the poetic study Dark Sayings Of Old (JWK, 2013), and the novels The Witch Of Ballinascarty (Ghostley Books, 2017) and Pinprick (Ghostley Books, 2017). Forthcoming works include The Annotated Nephilim Field Guide, Ghostly: A Novel Of Postmodern Ireland, Uncle Treacle’s Bestiary, Hollywood & Vine, The Horror Of Rue Royale, and Stained Glass: Mythopoeic Storeys.

rough edges pattern

CONTRA EQUUS NIVEUS: VOL. IV

cen-iv-front

Hypercube:
EDITORS’ INTRODUCTION

Each of the six one-line poems presented in Vol. IV of Contra Equus Niveus serve as individual facets comprising a larger whole, just as individual cubes construct a hypercube and thus transcend physical representation. Our focus was on the cube and its evolution, beginning with the cross, as a basis for presenting the work of six poets. In a way, Vol. IV argues that, like poetry itself, the cube’s very form conveys a longing for greater dimensionality—beyond the shadows and colors cast by the sun of this realm. These six rays (it is our hope) converge into a brighter illumination, a gesture toward the geometries of even greater mysteries…

The whole, entitled Hypercube, is a brief sensorial digression, evenly weighted on six equal planes from which the imagery emerges and coexists, becoming greater than the sum of its parts. It is as if each side were rising out of the hazy drift that inhabits the first square. From there the poem discovers accidental dualities and contemplates the ocean until, at its closing plane, the face of time reveals to us its forever-disquietude. The poem’s sequence dissolves as the cube is erected and chance overtakes the order of each line’s appearance, as a seeming nod of recognition to the unsolvable nature of the greater mysteries…

Hexagon Press would like to thank each of the participating writers for their contributions, without whom, our concept would never have been granted its form.

Sincerely,

The Editors,
Hexagon Press

CONTRIBUTING POETS

James Bradley & Brittany Ham live in San Francisco where they co-edit and publish Hexagon Press.

Marcella Durand’s chapbook, Rays of the Shadow, a collection of interlinked poems based on the alexandrine, is forthcoming this February from Tent Editions. Another chapbook, The Garden of M., translated by Olivier Brossard into French, will be published in a bilingual edition this December by Joca Seria Editions. She is currently a mentor in the Poetry Project’s Emerge-Surface-Be program and is translating Michele Metail’s book-length poem, Les horizons du sol (Earth’s Horizons).

Les Gottesman’s poems have appeared in several publications in print and online. He is the editor if Omerta Publications in San Francisco.

Ayaz Daryl Nielsen, veteran, hospice nurse, ex-roughneck (as on oil rigs) lives in Longmont, Colorado, USA. He is the editor of Bear Creek Haiku (26+ years/135+ issues) with poetry published worldwide.

Stuart Jay Silverman is an east coast expatriate retired from college/university teaching, He spends his home life in Hot Springs, Arkansas, and Chicago, Illinois. He has one book, The Complete Lost Poems: A Selection, and over 500 published poems in his quiver, which quivers too much and too often.

Bruce Thompson has a Ph.D. in philosophy and teaches philosophy at Palomar College on a more or less regular basis. He supported himself through college as a professional puppeteer and his shows included several tales of Robin Hood, St. George and the Dragon, and stories taken from fairy tale collections. He is a relatively well-known fixture at northern San Diego county open mic poetry readings and while he no longer performs with puppets professionally, he recently maintained a booth at the San Diego Makers’ Fair, where he gave instructions on the art of making puppets.

Website Divider 2

Free copies of CONTRA EQUUS NIVEUS Vol. IV will soon be available at Adobe Books + Arts Cooperative, City Lights Bookstore, Dog Eared Books, Alley Cat Books, Modern Times Bookstore Collective, and Bound Together Anarchist Collective Bookstore in San Francisco. If you are outside of the Bay Area and would like a copy, write to us with your mailing address and we’ll send one free of charge, stock permitting.

rough edges pattern

HEXAGON PRESS AT “POETS & WRITERS: LIVE” IN SAN FRANCISCO

poetsandwriterslive

Hexagon Press will have a booth at the 8th annual “Poets & Writers: Live” fair held at the San Francisco Art Institute this weekend. Headlining the event will be numerous well-known speakers, none of whom shall be named here. The small press fair, of which the aforementioned Hexagon Press will be a part, takes place at:

Saturday, January 14, 2017
12:00pm-6:00pm

San Francisco Art Institute
800 Chestnut Street
San Francisco, CA, 94133 United States

A full program of the event can be found here.

rough edges pattern

CONTRA EQUUS NIVEUS IV: CALL FOR SUBMISSIONS

hypercube

C O N T R A  E Q U U N I V E U S
B
ROADSIDE IV: CALL FOR SUBMISSIONS
Hypercube”

FOR IMMEDIATE RELEASE

The square is to the cube what the cube is to the hypercube, the form of which reaches beyond itself and steps into the fourth plane where we, beings incarnate in the third, cannot follow. Here lies the MYSTERY of the possibility of the transcendence of one’s own nature. In this spirit of mystery, Volume IV of Contra Equus Niveus will present six poetic works, each occupying one plane within the net of a six-sided polyhedron, a (three-dimensional) cube as yet un-enfolded taking the shape of a (two-dimensional) cross of six squares, the cube’s ancestral potentiality. We ask writers to submit single poetic lines only, aligned to this gesture, in the hope that your thought can become a brief illumination for one of these six sides.

The HYPERCUBE is a geometric phantasmagoria existing in this world only in theory. It is a mathematical expression of ulterior planes jutting outward and outside of our grasp. In the spiritual sense, it proceeds into the unknown and seeks to illustrate the great mysteries though patterned intersections and convergences. Geometry is a means of expressing the divine both in nature and beyond. Our focus is on the cube-rising of THE CROSS, and its ascendance into a realm beyond expression. The works selected for C.E.N. #4 will exist as six poems autonomous unto themselves, and also as a seventh, which constitutes the whole, titled “Hypercube.”

Submission Guidelines:

Poems of no more than one line in length, or an excerpt of no longer than one line from a larger work. To repeat: the basic unit of submission is one line of poetry, however various a line of poetry may be. Titles are not necessary. If submitting multiple lines, please number them for ease of reference.

Please include a short biographical statement with each submission.

Email all submissions as attachments (.doc or .pdf only) to hexagonpoetics@gmail.com.

Broadsheet Number Four will be printed in an addition of 200 individually numbered, cardstock sheets with instructions for forming the cube from the cross.

Sincerely,

James Bradley & Brittany Ham,
Co-Editors, Hexagon Press

rough edges pattern

REST IN PEACE MOUCHETTE: ? – 2016

mouchette

Mouchette, furry angel, island of goodness in a sea of sin, passed away yesterday afternoon as a result of complications stemming from an enlarged heart.

Hexagon Press mourns the loss of a great and noble poet, one who effortlessly achieved that which we poets all strive for: a direct experiencing of the Divine through the transcendence of language, before this transient, sometimes bitter dream of life reaches its end.

Lord keep her. She will be missed.

haarp-and-mouchette-2

rough edges pattern