HEXAGON PRESS

Tag: Contra Equus Niveus

CONTRA EQUUS NIVEUS: VOL.V

CEN V COVER

Contra Equum Niveum:
EDITORS’ INTRODUCTION

This certainly is very easy to comprehend. The difficulty, therefore, is elsewhere; there is a lower sphere of understanding which has no intimation of true love, of love in and for itself, and of this blessedness in itself. The difficulty is that a great multiplicity of illusions will hold a man down in this lower sphere of understanding where deception and being deceived signify exactly the opposite of what they signify in the infinite conception of love. According to this view to be deceived signifies simply and solely to quit loving, to be carried away to the point of abandoning love in and for itself, and in this way to lose its intrinsic blessedness. For only one deception is possible in the infinite sense—self-deception. One need not infinitely fear them who are able to kill the body; to be killed is, infinitely, no danger; nor is the kind of deception the world talks about a danger. And, again, this is not difficult to understand. The difficult thing is to fullfill the task of acquiring the true conception of love or, better yet, to become the true lover. For he defends himself against deception and fights to preserve himself in the true love precisely by believing all things. But the illusion will continually obtrude itself as does the illusion which maintains that the sun moves, although one still knows that it is the earth.”

Søren Kierkegaard

A man may loathe a thing in the abstract for years, and find at last that all the time he has been, in his own person, guilty of it. To carry a thing under our cloak caressingly, hides from us its identity with something that stands before us on the public pillory. Many a man might read this and assent to it, who cages in his own bosom a carrion-bird that he never knows for what it is, because there are points of difference in its plumage from that of the bird he calls by an ugly name.”

-George MacDonald

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Hexagon Press would like to thank the four featured writers of Vol. V for their reflections on the nature of truth, which we present in this volume as poetic admissions and/or denials that are both true and untrue. They exist among the great mysteries that acquire their form through symbols that are fashioned into catch phrases and triggers:

she died
so young
so beautiful…”

The mantra repeats.

CONTRIBUTING POETS

Ric Carfagna was born and educated in Boston Massachusetts. He is the author of numerous collections of poetry, most recently: Symphonies Nos. 5,& 9 published by White Sky Books.

Adrian Encomienda was born in Phoenix, Arizona in 1995. His writing, both fiction and non fiction, touches on the esoteric concepts. His short story, “Cicatrin” will appear in Dark Gothic Resurrected Summer 2017 issue. His work has been in numerous magazines both online and in print.

M Kitchell is an artist & yogi whose primary concerns include levitation, the impossible, and hunting the void. The author, most recently, of Hour of the Wolf (Inside the Castle, 2016) and Island (Void Editions, 2015), he lives and works in the Bay Area.

And with a special contribution by Craig McVay.

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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, and Bound Together Anarchist Collective Bookstore in San Francisco, as well as Pegasus Books in Berkeley and E.M. Wolfman in Oakland. 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.

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HEXAGON PRESS LAUNCHES C.E.N. VOL. V AT THE OPENING OF CASEMORE KIRKEBY’S GROUP EXHIBITION: “OPTION TO THE DEATH OF FREEDOM”

GRAPHIC
Hexagon Press will be celebrating the release C.E.N Vol. V: Contra Equum Niveum at the Casemore Kirkeby group exhibition opening for Option to the Death of Freedom, curated by Petra Bibeau. Copies of the new issue will be available during the opening of the exhibition and thereafter while copies last.

Saturday, November 4th, 2017
6:00pm to 8:00pm

GRAPHIC 2
1275 Minnesota Street #102
San Francisco, CA, 94107 United States

The full announcement of the exhibition can be found here.

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CONTRA EQUUS NIVEUS V: CALL FOR SUBMISSIONS

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C O N T R A   E Q U U S   N I V E U S ●
BROADSIDE V: CALL FOR SUBMISSIONS
Contra Equum Niveum”

FOR IMMEDIATE RELEASE

For the final volume of Contra Equus Niveus, which we have entitled “Contra Equum Niveum” in deference to the niceties of Latin grammar, Hexagon press would like to conclude (this phase of) its polemic against the white horse by considering the multifaceted nature of ERROR, and how it expands exponentially, rhythmically shifting between the poles of naiveté and malice. Error can serve to both reinforce and obscure the truth, to the extent that one can act in error while believing to serve truth (as it is perceived by the mind) and, as this process unfolds, become increasingly aware of lingering error, using it as a launching point upon a shore which is now that much closer to the sought-after truth. Sometimes it is an outside rupturing of truth penetrating inward that can rise in the form of a great calamity to reveal how far astray illusion has led reason, ever acting with the best of intentions, in its course across the heavens.

The question thus reappears throughout the ages, each time seemingly more expansive and allusive than its previous incarnation, yet at the same time unchanging and perennial, and presents itself to us once again: What is real and what is fake? The increased blurring of these terms seems to ride alongside the progression of time and leads us, today, to ask ourselves: where does POETRY lie in all of this and does it too move within the paradigmatic spectrum of truth and falsehood? Is deception an impure amalgamation of both, since it must ride upon truth in order to unleash its falsity? How can a poem become fraudulent within the closed realm of subjectivity that grants such unlimited freedoms to poet and reader both? To put it in the mundane terms of our current “socio-political” crisis of falsehood and misdirection: in an era of “fake news,” is “fake poetry” also a danger which must be considered?

Submission Guidelines:

Previously unpublished poems and short prose (500 words or less) that consider these things.

Please include a short biographical statement (50 words or less) with each submission.

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

Broadsheet Number Five will be printed in an addition of 200 individually numbered, cardstock sheets.

Sincerely,

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

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CONTRA EQUUS NIVEUS: VOL. IV

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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.

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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.

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CONTRA EQUUS NIVEUS IV: CALL FOR SUBMISSIONS

hypercube

C O N T R A  E Q U U N I V E U S
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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

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CONTRA EQUUS NIVEUS: VOL. III

CEN 3 Cover The Neural Net:
EDITORS’ INTRODUCTION

They asked me to tell you what I saw: the White Horse galloping across a charred battlefield, its nostrils spewing sulphurous, pixelated flames, making hazily visible other worlds though the distortion of heat and unfurling ribbons of hyperbole. Its rider was all but invisible, and this despite his extreme and unmistakable ugliness, his malevolent, hostile-yet-empty eyes, his iron teeth clenched with the gravity of unquenchable hatred, his cold, dull skin. I didn’t see all this right away. His magick lies in the way in which those who would be his greatest foes tend to allow their gaze to slip off of him and onto the horse with its hypnotic, rhythmic hoof crashes, and from the horse to the smoke-filled static of the sky above.

There are algorithms that explain his cloak of invisibility. In truth, even when seen, the rider never appears as the same being twice. It was just this once, with the hardened exertion of a soldier believing he had stepped into his final battle, that I managed to see his face: he is a robot that dreams, and this, my dear comrades, is a reality the terror of which cannot lightly be shaken once it has been realized. As our eyes locked in psychic struggle I could feel myself being drawn into the feedback loop that artificially populates his inner life, that uploads into his dreamscapes visions of total conquest and dead gods, of a single monument (completely meaningless to our humanity’s eyes) placed in the center of the universe, surrounded by infinite nothingness to the very borderlands of creation.

They asked me to try my best to describe it: it was like a vortex of angels spiraling into the emptiness at the center of each isolated mind. This is what the robot dreams. This is what I saw in the rider’s eyes in those horrible, near-endless seconds on that accursed battlefield.

How I survived is another tale, one that perhaps I’ll tell another time, when I’m ready…

Dear friends, have courage: I did survive! Despite our terror, we will win, because our souls are the images of God, while the robot has merely images.

Sincerely,

An Anonymous Soldier
&
The Editors,
Hexagon Press

CONTRIBUTING POETS

Ric Carfagna was born and educated in Boston Massachusetts. He is the author of numerous collections of poetry, most recently: Symphonies Nos. 5, & 9 published by White Sky Books. Symphony X (sequence of finalities) is due out this year from Creaky Plough Press. His poetry has evolved from the early radical experiments of his first two books, Confluential Trajectories and Porchcat Nadir, to the unsettling existential mosaics of his multi-book project Notes On NonExistence. Ric lives in rural central Massachusetts with his wife, cellist Mary Carfagna and daughters, Emilia and Aria.

Kurt Cline is Associate Professor of English and World Comparative Literature, National Taipei University of Technology. His full-length book of poetry, Voyage to the Sun, was published by Boston Poet Press in 2008. Poems and stories have appeared, most recently, in BlazeVOX, Danse Macabre, The Tule Review, Mission at 10th, Wilderness House Literary Review, HuesoLoco, Apocrypha and Abstractions, Black Scat, and Clockwise Cat. Scholarly articles have appeared in Glimpse; Anthropology of Consciousness; Concentric; Beatdom Literary Journal; and Comparative Civilizations and Cultures.

Stuart Cooke’s next collection of poems, Opera, is forthcoming from Five Islands Press. He lectures in creative writing and literary studies at Griffith University.

Stuart Jay Silverman, an east coast expatriate retired from college/university teaching, divides his time between Hot Springs, Arkansas. and Chicago, Illinois. Some 500 of his poems/translations appear in 100+ magazines and anthologies here and abroad. Hawk Publishing Group published his The Complete Lost Poems: A Selection. Feeling that Parnassus has no preference for free verse vs. formal, or the other way, he writes both. He subscribes to the theory that poetry today is mostly a reeking bed of narcissistic self-display and, so, tries to make his poetry the creation and exploration of imagined worlds, or real worlds made into substrata on which the imagination can build new and varied structures.

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Free copies of CONTRA EQUUS NIVEUS Vol. III 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.

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CONTRA EQUUS NIVEUS III: SUBMISSIONS PERIOD IS NOW CLOSED

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Thanks to all
who submitted.
More information
to follow.

-The Editors

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CONTRA EQUUS NIVEUS III: CALL FOR SUBMISSIONS

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● C O N T R A  E Q U U S  N I V E U S ●
BROADSIDE III: CALL FOR SUBMISSIONS

“The Neural Net”

FOR IMMEDIATE RELEASE

Please consult first: G*****’s Inceptionism Project

I once heard of a woman who was blind and of stately rank, who wore a fine mesh of sense receptors latticed within the delicate weave of the fabric. And it allowed her to walk freely, without guide or implement, save the shining coat itself, which she wore atop all her costumes. And this veil of networked stimuli guided her through the many hallways she walked along and the many rooms through which she came and went, and her attendants always walked some ways behind her so that the folds of her skirt could graze the width of the corridors.

And the body of the woman is like the body of the machine, that is, the naked processing core existing as it was when it was first created. And with this fragile body there is much nurturing and adjusting of its network parameters in preparation for the gift of imagination. Upon this core the architect constructs a highly elaborate, metaphysical structure of discernment and interpretation that is made up of many layers, so that the machine can search within itself and build floating castles from pure static. The images rise out of these neural networks, which are like the Blakean spheres of imagination that lead to ideal forms and pure understanding. At each tier, more and more symbols emerge and stretch as far as they can go, until they pass into another realm and so on, upward into the heavens.

For the third issue of Contra Equus Niveus, Hexagon Press asks its audience to consider the grounds from which these spheres arise, and the many invisible layers of the neural net that allow the symbol to exercise its purpose—in the eyes of the Symbolists, to be a bridge between the real and the mystic realms. In the cold narrative of technological progress, what does it mean to reach such heights when there is no God to greet you? We ask that submitters take what they will out of this, just as the computer has been programmed to run on an interpretative feedback loop, passing through more and more of these neural nets.

C.E.N. #3 is dedicated to the rise of the programmed imagination, with its own unique reach that is limited, not by spiritual forces, but by the will of the finite architect in terms of both his ability as creator and the capability of the machine itself. The neural nets expand and contract at the architect’s will, though its potentiality becomes part of the colossus of technological progress, like a tributary flowing into the ocean. The Day of the Lord is being replaced with the day of the singularity as the computer embarks on what Harold Bloom coined “the Romantic vision quest.” He states: “the poet’s solitude becomes a quest for a finite and measured object of desire which shall yet encompass in itself the beauty and truth of the infinite and unmeasured conceptions of the poet.”

Submission Guidelines:

Up to three poems, no more than one page each.

Up to three prose pieces, no more than 300 words each.

Please include a short biographical statement with each submission.

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

Broadsheet Number Three will be printed in an addition of 200 individually numbered, cardstock sheets. Due to space limitations and layout, shorter works are preferred.

Sincerely,

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

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CONTRA EQUUS NIVEUS II

1The Digital Cloud and the Error of Errors:

EDITORS’ INTRODUCTION

Many are the forms in which the White Horse manifests. In Vol. II we chose to confront him in one of his more illusive disguises, with clouds of pure information rising over the fiend’s pale face, blotting the sky and eclipsing the sun. Swarms of synthetic molecules buzz about their waterless bodies as the wind passes right through them.

We would look upon the true face of nature with horror if we could only see what was really there. Each datum infrastructure requires the amount of power necessary to power a small city, and each warehouse block is a reminder, for all who wish to see, that we can no longer hide our empire in metaphysics or at a safe distance from its parent infrastructure. The clouds’ shadow hugs the earth as it grows, rolling along the mountain chains and vistas obstructed by chain link fences. Our prying, privileged eyes can see the strings running between heaven and earth, providing the Haarp its siren song.

These strains, presented as seven poems by seven poets, either touch upon the accused or provide a glimpse into places and atmospheres where heightened anxieties arouse in the seer painful premonitions of the coming shadow, where the very basis of “wellness” (Linden) has been estranged from its humanity and the earth is reduced to “a bare acid grassland waste” (Carfagna).

We would like to extend our gratitude to the seven poets, without whom, we would have no basis for argument to issue forth against the reign of the White Horse.

Sincerely,

The Editors,
Hexagon Press

CONTRIBUTING POETS

Ric Carfagna was born and educated in Boston Massachusetts. He is the author of numerous collections of poetry, most recently: Symphonies Nos. 5, & 9 published by White Sky Books. His poetry has evolved from the early radical experiments of his first two books, Confluential Trajectories and Porchcat Nadir, to the unsettling existential mosaics of his multi-book project Notes On NonExistence. Ric lives in rural central Massachusetts with his wife, cellist Mary Carfagna and daughters, Emilia and Aria.

Daniel Demarse was born and raised in New York City and attended Boarding School at Millbrook in upstate New York. He lives there still, spending most of his time experiencing, writing and reading new things.

Les Gottesman’s poems have appeared in many print and online journals and magazines. Finishing Line Press brought out his chapbook, Misuses of Poetry and Other Poems, in 2013, and Tebot Bach published The Cases, winner of the 2012 Clockwise Chapbook Competition, in 2015. See more of Les’s work here.

Sophie Linden sleeps in Portland, Oregon.

Michael Peters is the author of the sound-imaging poem Vaast Bin (Calamari Press) and other assorted language art and sound works. As certain as he is uncertain of access to “the real,” Peters frequently tests this periphery as a poet, visual poet, fictioneer, and musician in a variety of old and new media.

Dave Shortt’s work has appeared in various print venues including Mesechabe, Sulfur, and Nedge, and online in webzines such as Astropoetica, Switched-on Gutenberg, Ygdrasil, Verse Wisconsin, The Pedestal, S/WORD, and Surrealist Star Clustered Illuminations.

Noel Sloboda is the author of the poetry collections Our Rarer Monsters (sunnyoutside, 2013) and Shell Games (sunnyoutside, 2008) as well as several chapbooks, most recently Risk Management Studies (Kattywompus Press, 2015). He has also published a book about Edith Wharton and Gertrude Stein. He teaches at Penn State York.

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Free copies of CONTRA EQUUS NIVEUS no. 2 are now available at Adobe Books + Arts Cooperative, City Lights Bookstore, Dog Eared Books, Alley Cat Books, Modern Times Bookstore Collective, and will be available soon at Bound Together Anarchist Collective Bookstore in San Francisco.

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CONTRA EQUUS NIVEUS II: CALL FOR SUBMISSIONS CLOSING EASTER DAY

The sky, surrounded by an impenetrable layer of Cloud, lingered through the polarized winter and faded behind an imposing, digital overcast. The cherub pursues parting the skies with his breath and leads us to consider psychosomatic seasons and our mechanical tampering with time to better adjust ourselves with the rising and setting of the sun. We are, however, better in reminding ourselves that there is one that follows us in our flight through a sea of infinite depth, and will soon emerge in Paschal dress.

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“ …but he that cometh after me is mightier that I, whose shoes I am not worth to bear: he shall baptize you with the Holy ghost and with fire: Whose fan is at hand, and he will thoroughly purge his floor, and gather his wheat into the garner; but he will burn up the chaff with unquenchable fire.”

Matthew 1: 1-12

We announced our call for submissions in January and we have been urged to recognize that a new season is at hand, though the steady warmth of sunlight pervades alongside the drought. Winter was not like unto itself and from our lack of rain the blossoms were, and still are, either ill conceived or have dried and peeled away moments after opening. Spring is held under a tighter grip than the year before, which was the same as it is now.

With these things in mind, with the artificial constructs claiming their stake over spring, and the feast of the assumption at hand, we have decided to close our call for submissions on Easter Day, April 5th. Thanks to all who have submitted thus far.

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CONTRA EQUUS NIVEUS II: CALL FOR SUBMISSIONS

strozzi-bernardo-a-personification-of-fame-painting● C O N T R A  E Q U U S  N I V E U S ●
BROADSIDE II: CALL FOR SUBMISSIONS

“The Digital Cloud and the Error of Errors”

FOR IMMEDIATE RELEASE

Sedative fumes maneuver inside the soft vibrations emitted from computer servers that occupy miles of evenly spaced, white warehouses repeating on toward the horizon line. Their aluminum walls conduct the warmth of their activity within their thin, corrugated sheets. The cloud they amass and project is an illusion, in that it is material and exists within a space subservient to the master’s code. Its presence and influence is a psychosomatic edifice like a bonfire of heroin raging in an open field, whose euphoric effusion overwhelms the messenger.

CONTRA EQUUS NIVEUS concerns itself with the tropical island of Patmos, the scarlet daughter of Fama, the beast she rides and her song sounding into the air and drifting away with the cloud. Only the persecuted see that these floating phonic masses are staked to the ground by nearly invisible strings and that they are not, in actuality, clouds at all. In the latter days, all the non-corporeal resources will be, so to speak, pushed off the ground, establishing two distinct states, upper and lower, in the tradition of the two faces of Janus looking both forward and back. Their rise and synchronicity will bring fulfillment to the prophecies when man has fully abandoned his watch over earth and concerns himself with colonizing the skies with information and living at the height of distraction.

The second issue of CONTRA EQUUS NIVEUS asks its writers to consider the times swirling around this pivotal moment like water to an open drain. When the first few fractures begin to show on the surfaces of these so-called clouds, the beginning of the end will have broken through, and both the upper and lower realms will come crashing down together into an enormous heap that will be washed in successive waves of God’s revelation.

Consider what you know to be false and write of its demise and imagine the hopeful glow of the cloud’s implosion over the cities.

Submission Guidelines:

Up to three poems, no more than one page each.

Up to three prose pieces, no more than 300 words each.

Please include a short biographical statement with each submission.

Email all submissions as attachments (.doc or .pdf only) to hexagonpress@outlook.com.

Broadsheet Number Two will be printed in an addition of 200, individually numbered, 8.5″ x 11″, cardstock sheets. Due to space limitations and layout, shorter works are preferred.

Sincerely,

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

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SUBMISSIONS FOR BROADSIDE ISSUE 1: CONTRA EQUUS NIVEUS ARE NOW CLOSED

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Amidst a wealth of submissions we are pleased to announce our selection of Watcher in the East by Ronnie Smith as the first published poem in our broadside series, Contra Equus Niveus. Resulting from said discovery, we have closed our first open call and turn our attention toward presenting his poem in the brightest light our enterprise may hope to muster, and look to opening our call for submissions for the second broadside which will gather a handful of authors and artists upon a single cardstock page.

We extend our warmest thanks to all who submitted their work and we hope this abundance may water the fields of future issues.