Tag: Hexagon Press



● C O N T R A  E Q U U S  N I V E U S ●

“The Neural Net”


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.


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

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The chapbook “Religious Sonnets” by Brittany Ham is now available to order from our website. This collection by Ham features meditative sonnets strictly formalized in the Romantic tradition, yet undeniably traumatized by Post-Structuralist, Post-9/11, Post-Christian America and all of its phantoms. Still, a hopeful, serene atmosphere pervades in these meticulously arranged bouquets of language, emotion and thought. For more details, please visit our publications page.


1The Digital Cloud and the Error of Errors:


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.


The Editors,
Hexagon Press


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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Next weekend, Hexagon Press will be hawking its wares, which will include chapbooks & broadsides, at this bazaar of handmade work by local artists & craftspersons on the California College of the Arts’ San Francisco Campus.

You are cordially invited, whoever you are.

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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.


●  C O N T R A   E Q U U S   N I V E U S  ●



Hexagon Press is pleased to announce a new broadside series entitled “CONTRA EQUUS NIVEUS” (“Against the White Horse”), a poetic attempt to advance our sight beyond the imaginative blockade of what the prophet Ezekiel and the poet Blake called the “Covering Cherub,” through publishing single compositions that act against the imposing egoism and phenomenological limitations of our fallen world. As an attempt to defeat that age-old conqueror, we now consider the first Horseman of the Apocalypse riding gloriously into the empire he has both built himself and was sent to destroy.


And I saw, and behold a white horse: and he that sat on him had a bow; and a crown was given unto him: and he went forth conquering, and to conquer. (Revelation 6:2)

Though endless interpretations of this Biblical passage are extant, both historical and futurist, we propose that the White Horse rides among us today. It is MASS CULTURE. Called by many names in the sphere of critical resistance (the Spectacle, the Matrix, the Symbolic Order, the Big Other, Simulacra, Capital, The Military Industrial Complex, Hollywood, the Music Industry, et al.), we have all been lulled to sleep by its rider’s white robes and crown falsely denoting innocence and authority. Though the White Horse’s hoof crashes seem to drown out all other sound, the poet is charged with carving a silent space in which real thought may explore itself.


Submission Guidelines:

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

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

Visuals may accompany text, including original artwork, but are not required.

Please include a short biographical statement with each submission.

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

This series will be published sporadically, as the right work presents itself. Broadsheet Number One will be printed in an addition of 200, individually numbered, 8.5″ x 5.5″, cardstock sheets.


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




Adorno_Slide1“America…is inevitably the most millenarian of all nations, even though so far it has avoided the two extremes of modern millennarianism, fascism and Marxist-Leninism.” -Harold Bloom, Omens of Millennium



Adorno_Slide3“Silence has been banished from the world today.” -Max Picard, The World of Silence




Predators 1

Anonymous “street art,” corner of 14th St. & Folsom St, San Francisco

Predators 2“The time seen through the image is a time lost from view. Being and time are quite different. The image sparkles eternal, when it has exceeded being and time.” -Rene Char, Leaves of Hypnos??????????????

Sickness unto Death World of Silence








“Too many things crowd in on man today, too many images press in upon his soul. There is no more silent peace in the soul, only a silent lack of peace.” -Max Picard, The World of Silence


“The spectacle is a drug for slaves.” -Guy Debord


-The Editors, June 2014

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