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Poems under 140 characters each. Limited edition (#6 of 200). Donated by poet.

Joseph A. W. Quintela writes. Poems. Stories. On Post-its. Walls. Envelopes. Cocktail napkins. Twitter. Facebook. YouTube. Anything he gets his hands on, really. He currently actualizes the The Poetry App Project, a collaborative engagment that seeks to conceptualize and dseign applications that facilitate generative poetics. As the curator at Deadly Chaps Press, he publishes several series ofchapbooks, a weekly eReview (Short, Fast, and Deadly), and a dark-horse publishing collective (rIgor mort.US). His work at Sarah Lawrence College revolves around integrating the disparate yet rapidly dovetailing fields of Conceptual Poetry and Ecocriticism. Thus he is an acolyte of intra-action, hash tags, and the Oxford comma. He has been published in A cappella Zoo, Abjective, Bartleby Snopes, elimae, PANK, Prick of the Spindle, right hand pointing,The Collagist, THRUSH Poetry Journal among publications.

The July Exhibition by Smith&Jones features artwork inspired by the poems of Nicole Callihan

Praise for The Gods Are Dead by Joanna Valente: "As interest in the tarot resurges, we're reminded that its significance has stood the test of time. The Gods Are Dead is an exquisite work that breathes a contemporary light into these symbols that have been reimagined for centuries. A must-read for those interested in the occult and the arts." -Dallas Athent, author of Bushwick Nightz "These are poems of ritual and sacrifice, where ethereal meaning gets rightfully dismembered and earthy truths read. The Gods Are Dead invokes the rich symbolism of Tarot with lyrical precision, and lends a creative myth to consciousness. Joanna C. Valente writes with the kind of raw energy we all wish we could channel into life." -Lucas Hunt, author of Lives and Light on the Concrete "Joanna C. Valente's The Gods Are Dead positions anyone who opens it as both reader and journey-making querent. Those who immerse themselves in Valente's words will find a mashup of the sacred and profane, filled with longing and fear, that manages to injure as well as delight. The revered, archetypal symbols and personalities of the Tarot's Major Arcana are subverted into recognizable, conflicted characters and narratives: the unfathomable gods may be dead, but in Valente's hands these distressed identities and their stories live on." - Fox Frazier-Foley, author of Exodus in X Minor and The Hydromantic Histories

Praise for "Try Me" by Niel Rosenthalis: 'Not just insight, but the strange detours consciousness must take to know itself--"I'm interested in the edge/I strive, toward;" not just desire, but the strange ways it flashes in and out of time; there's no one writing quite like Rosenthalis. "Buscando ser mas," said Paulo Freire, and this is poetry that demands more, from experience, the self, the poem itself. Then there's the rueful elegance: "the decade was lit from behind"; "let me capitulate, O eyeless flies..." A deep sense of responsibility to the art shines through experiment and erasure. Try Me is an extraordinary debut.' -D. Nurkse, author of A Night in Brooklyn (Knopf) // 'Niel Rosenthalis's Try Me is both a dare and a plea, as well as a meditation on time as it relates to questions of the body, sex, desire, and love, not as hierarchy, but in every thrilling combination and order. Rosenthalis blends the lyric with the conceptual both to get at "the specific, not the small," and as a kind of balm or "heal-over of cruelty." "I am a genius," he writes, "I want to show the world true feeling," and he does. Rosenthalis's love poems wear philosophical masks, while his logic and its aesthetics fulfill the imperative of the title to "turn tomorrow on."' -Marni Ludwig, author of Pinwheel (New Issues Poetry & Prose)"