One, Two, Three…

One, Two, Three: Selected Hay(na)ku Poems
Uno, dos, tres: Selección de Hay(na)kus
By Eileen R. Tabios with Spanish Translations by Rebeka Lembo

LOC Control No.: 2018943545
Release Date: June 2018
Pages: 96
Price: $16.00

Paloma Press is delighted to announce a Special Discounted Offer for One, Two, Three: Selected Hay(na)ku Poems by award-winning poet Eileen R. Tabios. The book’s release price is $12, a 25% discount from its retail price of $16. You can take advantage of this offer by ordering through Lulu or Amazon.

One, Two, Three / Uno, dos, tres is a bilingual English/Spanish edition of a selection of Eileen R. Tabios’ hay(na)ku poems. The hay(na)ku is a 21st century diasporic poetry form invented in 2003 by Ms. Tabios. One, Two, Three is her only available Selected Hay(na)ku volume after her first Selected Hay(na)ku collection, Your Father Is Bald, went out of print.

Since its debut, the hay(na)ku has been taken up by poets around the world, generating five anthologies and numerous single-author collections as well as appearances in literary journals. In 2018, the hay(na)ku’s 15-year-anniversary will be celebrated with exhibitions and reading at the San Francisco Public Library and Saint Helena Public Library as well as with a new anthology, HAY(NA)KU 15, which presents 128 poets and translators from 13 countries as well as eight languages.


Also featured is “Blue Bravura,” a hay(na)ku by Vince Gotera. Mr. Gotera had coined the name “hay(na)ku” for this poetic form.


Eileen R. Tabios loves books and has released over 50 collections of poetry, fiction, essays, and experimental biographies from publishers in nine countries and cyberspace. Her 2018 poetry collections include HIRAETH: Tercets From the Last Archipelago; MURDER DEATH RESURRECTION: A Poetry Generator; TANKA: Volume 1; and the bilingual edition (English/Spanish) of One, Two, Three: Selected Hay(na)ku Poems. Translated into eight languages, she also has edited, co-edited or conceptualized 15 anthologies of poetry, fiction and essays as well as served as editor or guest editor for various literary journals. Her writing and editing works have received recognition through awards, grants and residencies. More information is available at http://

Rebeka Lembo has an undergraduate degree in English Literature and a Masters in Comparative Literature from UNAM. She kept the multilingual blog Ecce Mulier from 2004 to 2012. Her translations have been published in The Boy Bedlam Review, Poemeleon, Revista Fractal, The Light Sang As It Left Your Eyes, etc. Her poetry has been published in Otoliths and The Second Hay(na)ku Anthology (Meritage Press and xPress(ed)). She currently lives in San Jose, California.


Selected Responses to the Hay(na)ku:
Watching the birth & evolution of a new form is fascinating. And, unlike flarf, which is a process, hay(na)ku is a form. But what kind of form is it? Poem or stanza? Again, I think the answer lies in looking at the quatrain, which is more stanza than finished work. That, ultimately, is what I think this first generation of hay(na)ku writers have created–not a poem, but a stanza, simple, supple, elegant, capable of considerable variations. That’s quite an accomplishment.
—Ron Silliman

…a way of revealing…a “thinking” form–emotional as well as intellectual thinking. By allowing a lot of space on the page it keeps things tight and loose. Hay(na)ku creates or pushes certain syntactical structures, potentially disruptive through its arbitrariness. Forms aren’t games, or just games–they are ways of paying attention.
—Jill Jones

…an elegantly minimalist form (a bit like the tip of an Oulipian “snowball”)
—Michael Leong

The diasporic nature of the hay(na)ku attracted me from the very beginning because it allowed me to express myself in English without being a native speaker…I feel the hay(na)ku is a form that grants a common space for poetic practice in different languages; a way of writing in English without completely obliterating one’s “mother tongue.” Instead of the conquest and influx that has defined English in relation to other “less powerful” languages, the hay(na)ku is open and flexible, an invitation to share different ways of thought and writing.
—Ernesto Priego

In “My Haiku Pond”

One, Two, Three: Selected Hay(na)ku Poems by Eileen R. Tabios (Paloma Press, 2018) A review by Neil Leadbeater (MHP, June 2019) This bilingual (English / Spanish) selection of hay(na)ku poems and their variants contains explanatory notes about the hay(na)ku as a form of writing, an essay on its history, a poem by a guest poet,Continue reading “In “My Haiku Pond””

Close Apart

Robert Cowan

Published by Paloma Press
ISBN: 978-1-7323025-0-1
Library of Congress Control Number: 2018942360
Pages: 84
Release date: April 2018
Price: $16.00

Paloma Press is delighted to announce the release of CLOSE APART by Robert Cowan.

Close Apart explores states between lovers and friends, parents and children, gangsters and Robert Cowans. Between Manhattan streets, Italian hilltowns, and Siberian forests. Between will, determinism, re-memory, re-death. Between fireplaces and hallways, expansion and condensation. Between us.

From Denver Butson, author of the sum of uncountable things (Deadly Chaps), “In Robert Cowan’s moving and spanning debut collection of poems, Close Apart, the numerous lightning flashes (the blackouts and terrorist—and otherwise—attacks, the love for a daughter, the deaths of parents and friends) and their corresponding thunder crashes (the pangs of remembering them years later) come both near to one another and as surprises a long time after. Unlike the “scientific” predictablity of thunder and lightning that we learn early (and some of us still practice later as storms approach), the messy, joyful, devastating unpredictability of life itself, as we are reminded in these poems, is uncountable. Thus, the storms can be right here on top of us at any time, the dead can be “extra dead” as they are on Sunday nights, and we can be extra alive for recognizing them in their absence and for allowing ourselves to welcome the presence of everything else.”

From Donna Masini, author of 4:30 Movie (Norton), “Close Apart begins on a subway, in a community of passengers, with a child in distress, a city in blackout. It’s a generous, deeply empathetic book filled with characters, stories and a remarkable tenderness—for the suffering and vulnerability of children, for the flawed adults they become. A father’s delight in his daughter’s wacky imagination finds a surprising echo in Cowan’s brainy, sophisticated and witty speaker who can move from quantity theory to all manner of magical thinking and numerical rationalization in his restless questions, his attempts to make sense of a chaotic and troubling world.”

From Tom Sleigh, author of House of Fact, House of Ruin (Graywolf), “Like James Schuyler, Rob Cowan has found a way to make ordinary speech into a marvelously supple instrument for recording his love of the city and city life. His curiosity about other people is matched by his affection for their foibles and quirks of character that he so keenly reveals. Wide-ranging in feeling and form, these poems invite you in with their intimacy, directness, and generosity of heart.”


Review by Eileen Tabios:
“Robert Cowan’s first poetry collection, CLOSE APART, opens with a dramatic, visceral tug at the reader; experience it for yourself through the opening lines of its first poem “Hot and Black Out”:

When the southbound 6 train stops underground
it’s dark-blue for a long time. The chubby brown
girl across from me has an asthma attack, gasping

squeezed as she lurches forward. Her mother is
silently hysterical, mumbling, sniveling in empty
space, as the girl wheezes audibly. Our still sweat

crystallizes in collective fear.

“You don’t so much read the poem as feel yourself in the stranded train with the others in the poem, a testament to the poet’s descriptive ability…”


cowanRobert Cowan is a literature professor and dean at the City University of New York. He’s also the author of The Indo-German Identification: Reconciling South Asian Origins and European Destinies, 1765-1885 (Camden House, 2010) and Teaching Double Negatives: Disadvantage and Dissent at Community College (Peter Lang, 2018). This is his first collection of poetry.

CLOSE APART is now available in select bookshops and online retailers (Bookshop, Amazon and other Ingram retail partners). For more information, please email


by Melinda Luisa de Jesús

Published by Paloma Press
Release Date: March 2018
Pages: 80, full-color
Price: $27 (before discount; eBook, $5)
Distributor: Paloma Press

In honor of International Women’s Day, Paloma Press is proud to announce the release of PEMINOLOGY, a first poetry collection by Melinda Luisa de Jesús, a feminist of color who teaches and writes about critical race theory, girlhood and monsters, and believes, “as did the ancients, that a poem can change the world.”



Wanting to be blonde-haired, blue-eyed,
small-boned and delicate

ivory-complexioned, sweet and ladylike
a fairy princess,

or green-eyed and red-haired
like a mermaid

Anything but brown-skinned




I love your poems

I hate your poems
I want to lick them,

chew the paper they’re on
savor each line

swallow them whole

make them mine.

Wishing I felt more connection

Planted in American soil

I long to be coconut, carabao brown.

Advance words:
“Melinda Luisa de Jesús’s debut collection of poems comes from a space of longing, rebellion, grief, love, poetics and politics. Bold, unafraid and uncompromising, peminology carves out a space for de Jesús’ vision and her generation of Filipinas in immigrant America. She speaks in multiple voices and registers, as a daughter, to a daughter, as a mother, to a mother, as a storyteller, drudging up a past and confronting fiercely the present. peminology is poetic auto ethnography. It must be read. It must be heard. It must be listened to. This is Asian-America. This is post-Trump’s America. This is the America we live in.”
—Reshmi Dutt-Ballerstadt, author of The Postcolonial Citizen: The Intellectual Migrant

peminology is bold, raw, and honest. Weaving between past and present, de Jesús creates a narrative of traumas that connect girlhood to womanhood. Charting the intersections of racial and feminist awakenings, these poems offer avenues for shame and rage to become strength and resistance. “The Tractor,” “Patriarchy,” and “Imagine That” are but a few examples of the timely critiques—anthems, even—that de Jesús situates amidst her chronology of oppression and opposition. Her experimentation with form, including the hay(na)ku, the hay(na)ku sentence, and the pantoum, interrupts Western poetic conventions as much as the language and imagery itself. The stand out poem—“Bellies”— followed by “Pantoum for Eloisa,” explores the heartbreaking complexities of brown women negotiating motherhood and white imperialism. This collection will leave you simultaneously heartbroken and empowered, ready to rise out of your seat to demand recognition, and sit down with your child to nurture self-love. A must-read for 2018.” —Linda Pierce Allen, co-editor of Global Crossroads: A World Literature Reader and Questions of Identity: Complicating Race in American Literary History

Dr. Melinda Luisa de Jesús is Chair and Associate Professor of Diversity Studies at California College of the Arts. She writes and teaches about Asian American cultural production, girl culture, monsters, and race/ethnicity in the United States.

My Beauty

by Anne Gorrick & John Bloomberg-Rissman

Published by Paloma Press
Release Date: February 19, 2018
Pages: 44
Price: $16 (before discount)
Distributor: Paloma Press

Paloma Press is delighted to announce the release of MY BEAUTY IS AN OCCUPIABLE SPACE: 37 Prosed Sonnets by Anne Gorrick and John Bloomberg-Rissman.

Anne is a poet and visual artist. She is the author of six books of poetry including An Absence So Great and Spontaneous it is Evidence of Light (The Operating System, 2018) and The Olfactions: Poems on Perfume (BlazeVOX Books, 2017). She is President of the Board of Trustees at Century House Historical Society, home of the Widow Jane Mine, an all-volunteer organization ( and site of the annual Subterranean Poetry Festival. Anne lives in West Park, New York.

John calls himself a mashup ethnologist. He has spent the last dozen years or so working on a long project called Zeitgeist Spam. Parts published so far: No Sounds of My Own Making (Leafe Press, 2007), Flux, Clot & Froth (Meritage Press, 2010), the text (as remixed by Lynn Behrendt) in A Picture of Everyone I Love Passes Through Me (Lunar Chandelier Press, 2016), and In the House of the Hangman (Lauching/Ouch/Cube/Publications, 2017). You can find him online at Zeitgeist Spam ( John lives in San Diego, kitty-corner across the US from Anne.

Sonnet 1 – My beauty sounds like itself
My beauty is not a story. My beauty is not free speech. “Twenty-three, with black, straight, shoulder-length hair / and tight T-shirt and jeans, my beauty looked like it could be a Ramone, The bartender / thought so; before the show, he kept / serving it free drinks.” My beauty is a Last Chance Beauty Queen. She’s restless for an Ikea rodeo, wears sushi bar sandals, stale green light, Styrofoam skin care products, government faucets, formaldehyde iPhones, my beauty is reading this to find out how you can get free stuff, Evanescence edits my beauty. You lied about the number of atoms in other elements. Go photograph a deck of cards and separate them from your other nouns. I’m injecting my eight-year-old son with Botox. ‘Tis ma belle (mah bel), my beauty, an indexical. The night I met Einstein. Ah, Whitney, après la deluge! My beauty sounds like itself. Is my beauty base or superstructure?

Advance words:
“These ‘sonnets’ fizz and sparkle, full of ideas and insights from writers who clearly inspired each other. There is a baroque richness to this text which ranges from ideas about “beauty” to social injustice, gender politics and much else besides. An ongoing delight for the reader, this text is an improvisation, the poets riffing off each other to capture the mind-boggling fractures of twenty-first century communication and turn them into art.”
—Alan Baker, author of Hotel February

“I’ve been trying, for two weeks, to write a few blurb-lines about this book, but every time I dip into it I end up making some new poems instead. This is a very alive poem space to exist in, think through, make out of. This morning my beauty is a study of the microbiome with some thoughts about wild yeast production. I’m looking forward to what it knows tomorrow.”
—Jen Tynes, author of Hunter Monies


HUMORS by Joel Chace

Copyright © Joel Chace
Release Date: January 2018
Paperback, 58 pages
Price: $16 (before discount)
Distributor: Paloma Press

Paloma Press is pleased to announce the release of Joel Chace’s HUMORS.

“…Humors speaks of the world in front of our eyes and the world hidden within that landscape/mindscape, coloring in the shadows with history, theology, ideology, and human relations, which achieve a realism beyond doubt or faith. This is the complex muddle of life with all its curves and wobbles, ascents and descents. It is a canny and lovely journey filled with “language that births soul/…and/voice /breathing fire in/the crowded theater.”
Maxine Chernoff, author of Without and New Faces of 1952

For review copies or for more information, please email

JOEL CHACE has published work in print and electronic magazines such as The Tip of the Knife, Counterexample Poetics, OR, Country Music, Infinity’s Kitchen, and Jacket. Most recent collections include Sharpsburg (Cy Gist Press), Blake’s Tree (Blue & Yellow Dog Press), Whole Cloth (Avantacular Press), Red Power (Quarter After Press), Kansoz (Knives, Forks and Spoons Press), Web Too (Tonerworks), War, and After (BlazeVOX [books]), and Scorpions (Unlikely Books).

Manhattan: An Archaeology

MANHATTAN: An Archaeology
Poems by Eileen R. Tabios

Paloma Press (San Mateo & Morgan Hill, CA)
Release Date: Fall 2017
Pages: 128
Price: $40 (price before discount)
Contact: Aileen Cassinetto at editor [at] palomapress [dot] net

Paloma Press, an independent literary press established in 2016, is pleased to announce A SPECIAL OFFER for the press’ second poetry collection, MANHATTAN: An Archaeology by award-winning poet Eileen R. Tabios. The book’s release price is $20, a 50% discount from its retail price of $40.

Distributor: Paloma Press

MANHATTAN: An Archaeology presents Eileen R. Tabios’ latest innovative approach to poetry-making. In this book, she uses a diverse set of “artifacts” to excavate a version of New York City’s historical birthplace. Artifacts include the unexpected and the ineffable to create a city only she can imagine—while they include a pearl necklace, piece of pineapple skin, yoga mat, black sateen, and bullet, the “objects” for perusal also range over moonlight, “withheld forgiveness,” and duende. The result, too, is unexpected and ineffable: Poetry that delights and intrigues. Some receptive readers will wake from the book missing something they hadn’t realized they missed, longing for something they hadn’t realized they desired.

In archeology, we sift through distances to locate ourselves in these elapsed fragments. Here in Eileen R. Tabios’ new book, Manhattan is our test pit, and Clyfford Still stabilizes the walls adding to

     the grace of the make-believe city.

Tabios employs many selves and their debris as her diagnostic artifacts. She lays these items on the table of the first poem, and continues to examine them as subsequent pieces sumptuously unfold, each relic luminous under view, chatoyant. Manhattan becomes the reliquary to hold the past under Tabios’ ecstatic mastery, also the side of the pool to push off from into other worlds, also the ruined stage set of a past self.

     to transcend your context
     —yet again— 

Tabios’ book is an exquisite form of personal forensics and resurrection.
Anne Gorrick, author of THE OLFACTIONS: Poems on Perfume

Eileen Tabios’ prolific architectonics creates a megalopolis of myriad images, towering as iconic artifacts, graphic as ecstasy. From ziggurats to echoes of flamenco, urban demographics to undulations of body language, the poet strips and strews words from a vocabulary of fabrics. Gestural volubility is unleashed to camouflage the adoration of mischief. Hers is the infinite spin of a world-whirling dervish.
Alfred A. Yuson, author of The Music Child & The Mahjong Queen


Newsworthy (June 2017)
Review by Jacket2 (July 2017)
Review by Joey Madia (August 2017)
Review by T.C. Marshall (August 2017)
Review by Grady Harp (September 2017)
Review by Zvi Sesling (September 2017)
Review by Neil Leadbeater (July 2018)

Eileen R. Tabios has released about 50 collections of poetry, fiction, essays, and experimental biographies from publishers in eight countries and cyberspace. Inventor of the poetry form “hay(na)ku,” she has been translated into eight languages. She also has edited, co-edited or conceptualized 12 anthologies of poetry, fiction and essays as well as served as editor or guest editor for various literary journals. More information is available at

MANHATTAN takes the stage!

“As long as she writes, [reviewers] will review…” Eileen Tabios reads from MANHATTAN: An Archaeology at the 4th Annual Filipino American International Book Festival in San Francisco. Eileen Tabios reading from “MANHATTAN” at Koret Auditorium, San Francisco

Jacket2 on Manhattan and Blue!

Manhattan: An Archaeology, Eileen R. Tabios (Paloma Press, 2017) Though titled Manhattan, this collection is not about the city so much as the people who inhabit a “make-believe” location of cultural moshing. Continue reading here. Blue, Wesley St. Jo and Remé Grefalda (Paloma Press, 2017) St. Jo and Grefalda excel in describing the nuance ofContinue reading “Jacket2 on Manhattan and Blue!”