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Eduardo Acosta Bentos [visual-artist and performance-artist] https://archive.org/details/ArteDeLaTierra19881989_201409 Montevideo, Uruguay
“I've read attentively the poems of Séamas Cain and although they're not written in my mother-language I do understand the poetic and literary quality of the author (I think he's young). The ecological subjects are fundamental for a better comprehension of the eco-system. I'm glad that I read these poems as I understood the purposes of INDEX OF REFRACTION and BIRD'S FOOT. Greet the author for me and tell him to go ahead with that kind of publication. Regards.”
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Stephen Adams, Professor Emeritus of the Department of English at the University of Minnesota, Duluth
“I have been exploring the poems of Séamas Cain for the past few weeks. What vivid, riveting, and disturbing images! I hope these wonderful poems get the wide readership that they should have.”
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David Braden [poet] http://www.home.earthlink.net/~barleydog/poems.html Oakland, California
“I don't know how good a judge I am of the poetry of others. I like what I like and I hate what I don't like. I like the work of Séamas Cain. Why? The rich language that puts me in a place and time for a moment, then — with a word — yanks me to another place and time. ‘Bowstrings and mistletoe’ take me to Sherwood Forest, ‘radium’ yanks me into the atomic age, or at least to Madame Curie's laboratory. This is the kind of effect I get from reading Thomas Pynchon. It creates an ‘in-between’ place.
“This may not be Cain's intention or purpose in writing a poem, but that's just my impression. His web-site looks real good. The art in particular works nicely with the written work, and doesn't drown the words out either! I look forward to reading more of Séamas Cain's work.”
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John Bradley [poet] Northern Illinois University, http://www.cervenabarvapress.com/bradleyinterview.htm DeKalb, Illinois
“Across the corn. Rave on.
“I had no idea how active Séamas Cain has been in theater! His resume makes me feel like I've been asleep for the past thirty some years. Very impressive.
“I can still remember an Easter play of Cain, in Duluth, lo, all those centuries ago. In 1969. It was simple, powerful, and profound.
“The voice in the poetry of Séamas Cain is doing something fresh. I don't often feel that way about contemporary American poetry. I like his mix of landscape, body, abstractions, ritual, myth.
“Rave on, Séamas!”
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Gloria DeFilipps Brush [photographer] http://www.leonardo.info/gallery/brush/brush.html Professor of the Department of Art at the University of Minnesota, Duluth
“It is with much enthusiasm and appreciation that I write my thanks for the publication efforts with Séamas Cain's INDEX OF REFRACTION and BIRD'S FOOT. I was most happy to have the opportunity to read these two chapbooks and found them to be vital and compelling, filled with vivid imagery. As a visual artist I particularly respond to the changing and flowing pictorial qualities which Cain's work prompts. I would like to see the publication of other works by this gifted writer.”
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Arturas Bumsteinas [composer] Vilnius, Lithuania
“I read the poems of Séamas Cain with attention. It took me a few hours to read the work INDEX OF REFRACTION, because it's not really the easiest form of literature. I enjoyed the dark colours and found a very interesting aspect to the poems. INDEX varies between two illusions — an unusual surrealism, and collage poetry. Maybe the poems weren't constructed with such intention, but for me that was the most exciting experience in the text. Thank you. Best regards!”
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Tom Cassidy [poet, and performance artist] http://blog.lightgreyartlab.com/2013/01/interview-with-tom-cassidy.html Minneapolis, Minnesota
“What an extraordinary talent to be hiding here in Minnesota. This is the sort of connection that makes the internet palatable and important. I put up with hundreds of bogus lackluster lit-spewing e-mail leads for exactly this sort of connection. Tight, smart poetry and great visuals.”
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Adrianne Chapin [visual artist] Hayward, California “Thank you for the poetry of Séamas Cain. It lightened my day!”
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Virginia Valentine Coles [surrealist] Charlottesville, Virginia
“Reading Séamas Cain is an extraordinary flight into surrealism. Words escape me, especially in the light of a master wordsmith. The only real way I have of exhibiting my love and — more importantly — respect for his work is to put a link from my site to his. Our paths will now be crossed in cyberspace. Peace!”
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Julia Cummins [archivist] The National Library of Ireland Dublin, Ireland
“The books of Séamas Cain are beautiful books. They are a pleasure to work with.”
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Thomas Davis [poet] on the Door County Peninsula, Sturgeon Bay, Wisconsin
“Reading the poetry of Séamas Cain can be as difficult as finding your way through a labyrinth. Images become symbols which then have a referent that is inside Cain's psyche, but is not necessarily accessible to the reader. Several of our most famous writers pursue the same muse. You can come to terms with John Ashbery if you really want to work at it, but you have to work. Poets have always delved into themselves. John Keats's ODE TO MELANCHOLY gives us some of the most powerful insights into depression available. But modern poets often encode what they have to say into images and symbols that sing from experiences and insights that can be related to, but only after an intense decoding process.
“What is powerful about Cain's work is the rush of startlingly original images: ‘blood of the mallard is/ancient waves, bitter pounding,’ he writes in THE UNSILENCEABLE BELL. Wow! ‘i had thought that/dragonflies were the sun’ he says in THE LEMUR OF THE HOLY GHOST. ‘the rose-throated becard/screamed herself into/skin entangled by/ice’ he notes in THE HEARTH CAT.
“Often Cain seems intoxicated by the rush of images, symbols, and referents: In QUALMS, the cacophonies of images tumble over each other, rushing headlong toward a climaxing image that seems to mark who he is as a man. Point/counterpoint — winging through disparate images and meaning that reach and reach until, finally, he has become in the poem what he wants expressed. This is not either an easy, or comfortable, vocabulary — stars, shouts and hails, a rook, fireworks, rice, lightning, tormented dolphins, hailstones, soaring, unloosing — until, in his intoxication of images, he believes that he could throw down a star.
“But what does Cain mean with all of these images that are symbols? After reading most of what is available on this website, I came to the conclusion that he is trying to show the unity of the world and universe, ‘hanuman,’ as he says in THE UNSILENCEABLE BELL, but more even than the human/animal roots of his personal word. For inside the ‘hanuman’ of his universe are mountains, stars, blossoms, and the whole mixture of the universe and even the supernatural world thrown together, forcibly, sometimes angrily, sometimes in an ugly way, sometimes beautifully. And this washing machine tumbling of images ends up expressing that unity that is still mysteriously disunited and oppositional.
“Cain's poetry begs the question, what is the purpose of poetry? Is it to delight? Inform? Explore? Mean? Is it palpable like fruit as Archibald MacLeish insisted? I recognize what he has written as poetry. I, personally, would find more clarity more comfortable. But still, he made me see with intoxicated eyes even though, in these times, I am most sober.”
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Willem den Broeder [visual artist] http://www.surrealisme.nl Amsterdam, the Netherlands
“I am very impressed by the last passage of the poem WAR; it is very beautiful. And I love the poem TOMORROW! More strongly, I love HISTORIES, PERISCOPES, BLACKBIRD, RAZORS and all the other poems from Cain's mind! I have a deep respect for the architecture of Cain's mind, that he should speak with his own words! I also love the illustrations by the artist J. Doroff Tanner.”
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Marcello Diotallevi [sculptor and painter] — the breathing — is strictly contemporary. It is a hymn to nature (Is Cain influenced by the Italian poet Dino Campana?) which has as its protagonists many animals, vegetables, minerals, but whose center is human! The poems I prefer are ‘The egg in metal coils,’ ‘The stone lanterns,’ and ‘The perfect serpent,’ because they are much more exciting.”
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John Dunne [actor] Galway, Ireland
“I am pleased by the poems of Séamas Cain. The imagery seems fascinating, and poignant!”
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William I. Elliott [poet] Director of the Poetry Center, Kanto Gakuin University, https://www.1stdibs.com/creators/arturo-fallico/art Saratoga, California
“I found the poem booklet ‘INDEX OF REFRACTION’ very interesting as well as original in prose-poetry.”
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Peter Finch [Prif Weithredwr] Former Chief Executive of Yr Academi Gymreig [The Welsh Academi] First CEO of Literature Wales ... http://www.literaturewales.org/home http://www.peterfinch.co.uk Caerdydd [Cardiff], Wales
“Impressive! Good poetry and graphics!”
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Sarah Fox [poet] 2002 Bush Foundation Fellow in Poetry http://www.thedrunkenboat.com/fox.html Minneapolis, Minnesota
“I think the Poems of Séamas Cain web-site is beautiful — very well designed, very accessible, and the poems are simply lovely! Thanks! I will forward information about this web-site to other poets.”
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Jim Ganahl [poet] Ely, Minnesota
“Séamas Cain seems to have inherited the music and imagery of Gerard Manley Hopkins, the playfulness of James Joyce, and the sensual complexity of William Burroughs. In artistic terms his poems are assemblages, mixed media pieces, which are better suited for experience than understanding. Cain and I definitely agree about one of the basic tools of poetry. We both put a big emphasis on the music of our language. After that, he likes to be mysterious while I try to be as clear as a photograph. It's the difference between assemblage and super realism, or something like that. Nevertheless, it pleased me a great deal to see his delightful mysteries once again. It was wonderful of him to introduce me to his ibises and zebras and saxifrages.”
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Wendell P. Glick, editor THE THOREAU QUARTERLY University of Minnesota, Minneapolis
“I have read the little volume of poems INDEX OF REFRACTION, by Séamas Cain. I count it a remarkable and daring achievement, by a poet who is clearly very gifted and insightful. I applaud the Silver Birch Press for the willingness to publish it, for the audience for such brilliant work is patently small, and the justification has to be aesthetic rather than economic. Though I know nothing of Cain's plan for a sequel, I hope the relationship of the Silver Birch Press with him will continue, to mutual benefit, and the benefit of readers.”
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Roger Hanson [color expressionist] http://www.doubletakeart.com Hutchinson, Minnesota
“The poetry of Séamas Cain is inciteful, intense and imbued with understanding of the reality within and around us.”
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Jeff Harrison [poet] Dardanelle, Arkansas
“Another excellent poet is Séamas Cain ... His lines are worlds of their own, a sign of true poetry. He's also one of the best theatre authors around.” -------------------------Helen Hoff [photographer] Casper, Wyoming “I am writing with regard to the ‘INDEX OF REFRACTION’ by Séamas Cain. I prefer poetry simple and straightforward. This is thicker than an Irish brogue to understand, but just as musical if you don't wrestle with it and just let the words flow over you. That is, I enjoyed the way it was said, rather than digesting what was said. Reading it was like wading through molasses, re-reading it was a joy. I ate it for the initial taste sensation, not the later impact on digestion. There were a number of morsels I found especially tasty.”
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Frank Hoffman [painter, and poet] Rosemount, Minnesota
“The imagery of Séamas Cain is poignant and beautiful — wonderful metaphors — I'm absolutely mesmerized by some of his word choices and image juxtapositions. Ah so good to read his work! So pleased he hasn't quit or given in to commercial dictates — as so many I used to know seem to have done.”
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Cene gál István [painter] http://cenegal.hu Cered, Hungary
“I read the poems of Séamas Cain. I am glad for these works!”
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Kedrick James [poet] Editor of ANERCA, http://lled.educ.ubc.ca/profiles/kedrick-james Vancouver, British Columbia, Canada
“BIRD'S FOOT is good. INDEX OF REFRACTION is great, myth language dream, etc., but quite evenly modulated in pace/rhythm tone and skew — a fairly consistent cant which shows that Cain is working in a directed frame of mind and with particular intent — although that means one tends to approach the poems singly rather than read through the books as a ‘piece.’ Also the form Cain generally uses feels ‘tight,’ restrained, i.e., the page is merely a place for receiving ink, words, not used to create a gesture of the eyes. The way he stacks up commas approximates such gestures. The whole thing very much adamic the naming of internities, primal, but how to overcome the entropy naming incurs, and integrate the transient images? Love!”
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John Kennedy [novelist, and poet] Dublin, Ireland
“Thanks for the poems of Séamas Cain! He has a vivid, if stark, style. I liked the last part of WAR and the lace-maker section of HISTORIES. I write love poetry mostly, so the emphasis on nature alone without the softer humanity wouldn't altogether appeal to me. Cain's poetry errs on the complex side; most popular poetry is more accessible. He may not want that, of course; he wants to be true to the artist in him. I published three books since November 2000: one a literary novel entitled AFTER MEN AFTER WOMEN. Next up will be the poetry collection and a novella. When Cain is in Dublin, we can meet up and exchange literary criticism and even books. Best wishes!”
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Linda Kinnunen [photographer] Tucson, Arizona
“I enjoy the use of word imagery by Séamas Cain. He is a brilliant writer.”
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Sharon F. Kissane, Ph.D., KISSANE COMMUNICATIONS, LIMITED South Barrington, Illinois
“The INDEX OF REFRACTION by Séamas Cain is a joy to read and re-read. His allegorical style, rich in animal imagery, causes one to pause and reflect. I feel Cain's voice is unique and has some of the fetching quality of Dylan Thomas. In poems such as ‘The Emerald Stone,’ Cain employs the repetitive technique of Gertrude Stein ala: ‘sky is green green cormorant green.’ Memorable lines abound throughout this chapbook. I like the stirring introductory lines to ‘The Delectable Mountain & The Silver Mountain.’ I am proud to possess a copy of this chapbook and I hope to enjoy future chapbooks from this gifted poet.”
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Edward O. Knowlton [visual artist] Malden, Massachusetts
“Autumn Greetings! This previous week I had the pleasure to read two chapbooks of poetry by a certain Séamas Cain then published by the Silver Birch Press and the Duluth Art Institute. After scanning the material in poet Cain's chapbooks I sense that he's developed a sincere dedication that allows him to express language in refined and beautiful styles. Out of my opinion, poet Cain has the ability to bring color to a variety of the more disenchanting aspects of existence which are often difficult to ignore. Indeed, Cain creates an inward power of attraction to everything he writes of. I trust that readers will consider his further works as they may hopefully continue. You've made a truly fruitful selection.”
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Márton Koppány [poet] Director of the Institute of Broken and Reduced Languages, http:/www.thing.net/~grist/ld/koppany/koppany.htm
Budapest, Hungary “Re: the marsh-hen dies among the crickets! I've been reading the poems of Séamas Cain with real interest — and with two huge dictionary-volumes on my lap. But as I see and/or feel, imagine — Cain represents with great precision and with a good deal of existential humor the averbally — or, better, aconceptually — rich flora and fauna of THIS moment...”
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Dennis Koran [poet] Editor of PANJANDRUM, http://prabook.org/web/person-view.html?profileId=217326 Los Angeles, California
“I enjoyed reading the poems of Séamas Cain. I wish him luck in his endeavors.”
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Jeffery Lewis [poet] Minong, Wisconsin
“I read sizable portions of Séamas Cain's work. BIRD'S FOOT, the first book I read, has no personal pronoun or focused point of view in it. Poems are like tortured dream landscapes, inscapes with a real Boschian feel, flare, where things just happen. There is evidence of acute intelligence and poetic ‘gift’ in the original and often beautiful imagery — but I don't really like the surreal landscapes and obviously intentional impersonality of the writing.
“The second book I read, INDEX OF REFRACTION, more recent, is quite different, and much more likeable. Something seems to have happened to Cain between the two books. He now uses, albeit tentatively, a small ‘i’ to focus the poems. Also, instead of a dangerously berserk poetic-spirit-body landscape moving to some ‘golden spur’ of an unintelligible whim, there's now — something different — a sense of a personal anchor set down in the roiling metaphysical, a planet as alien as any in any solar system. I can't discern, given Cain's very personal use of imagery, precisely what it is that has happened. Personal agony for one thing. Maybe it is also a matter of form as he's dropped all poetic artifice including the annoying capital letters that began each line in BIRD'S FOOT. This makes these newer poems easier to read, more engaging. There's a torment here — almost of — words, of language, of the body of language — of the Holy Ghost becoming animal becoming symbol becoming tendon in some awful alchemical process. Perhaps there's a sense of the Word gone mad, insane, no creator reining it in, no human creator daring to assert order here. There is also hatred for the flesh, flesh a trap — for light? Angel trapped in rhino, Passion trapped in tropism, Dylan Thomas lost and drunk in a Ford factory, the singing being processed by robot welders, earthquakes in old testaments, horror dipped in varnish to make it forever. And an ‘i’ in here. But an unconvinced i, ego. Maybe a slight recovery of the metaphysical will in the berserk semen of God. But still the small i fears to touch, blames itself for nightmare metamorphoses that are not its fault. The small i still unwilling to turn all this Spirit upside-down and call it flesh, call it all flesh, even the metaphysical, not Holy Ghost, not God's Word. I sense a capital ‘I’ as a potentially revolutionary act in these visions, an assertion of divine power, a cure for the Fall.
“I hope this reading does some ‘justice’ to Cain's intent. I think he is a poet of considerable power!”
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James Liddy [poet] County Wexford, Ireland
“I am thankful for the poetry of Séamas Cain!”
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LITTORAL ARTS [environmental artists Ian Hunter and Celia Larner] http://www.littoral.org.uk Turn Village, Lancashire Britain
“Well done! More poems with pictures please! Meanwhile; the bus workers in Belfast and the hill farmers in Lancashire work with writers and artists!”
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Harley W. Lond [poet] Editor of INTERMEDIA http://www.intermediamagazine.com Los Angeles, California
“The chapbooks of Séamas Cain are lovely!”
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"+ lo_y. +"
http://www.freewebs.com/lo_y loy@myrealbox.com
"( the comments page is full of praise allready, so instead of adding to it i lo_y'ed Cain's poem EXTINCTION – hope you like it ) kind regards,
lo_y
EXT.NRACKL-I
ey.f[p]ll+ w/nravf_i-pesa shich/p.r =h t a.w/heswo fa/i/sd-heio/l-n, w+ ut amonwo upoutymurtho r.ma/n.s throov w_n'mwls_t.pout/b/r[ll]th@tionto+ ss c c a/n/m/s-wit t w-ing, ans pr-the w/lli.p/[t-io]fnn theran t_fed t, a grt_ animtrie wel-t[m]o/yuld-p a on t-lvaid t-otne/k/w[in]d
( after EXTINCTION by Séamas Cain )"
lo_y
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Noemie Maxwell [poet] Editor of SUB ROSA PRESS Teaneck, New Jersey
“The work here is certainly worth sharing; I'm glad Mr. Cain wrote these books. What I am struck by most is the calling-up of so many senses through the evocation-of-objects, each object significant in itself. This sets up colorful progression/counter-progression in the mind of the reader, which is satisfying. Good work, well-conceived and executed, deserves to be read!”
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Eóin McKiernan, Founding Director of An Foras Cultúir Gael-Mheiriceánach, Professor Emeritus of the University of St. Thomas in St. Paul, Minnesota
“I see from these poems that Cain is familiar with the Celtic mythology — and uses it well. There is sensitivity and sensibility present! He has a nice power of atmosphere, mood. I do not know what to attach to the sexual imagery.
“Cain has perceptivity. He should keep it alive. One danger to it is the rarefication that COULD set in as a result of too much distancing from Mother Earth. ‘Snow With Outstretched’ and the ‘Stone Cutter’ — in THE MAGIC OPAL — I liked the best.”
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Thomas J. Mew [visual-artist] Dana Professor and Head of the Department of Art at Berry College, Rome, Georgia
“I've just read Séamas Cain's INDEX OF REFRACTION and wanted to write and say how much I enjoyed it. The imagery hints of Dylan Thomas but Séamas Cain makes it very much his own. I was particularly impressed with how visual the words were and how each poem was, in its own way, like a little painting, mysterious and shimmering. The Silver Birch Press and the Duluth Art Institute are to be commended for publishing this fine body of work.”
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MEZ [writer, and net-artist] http://www.hotkey.net.au/~netwurker netwurker@hotkey.net.au Wollongong, New South Wales Australia
“l][m][att][r][ice] .][.][....][.....] net.wurker][mez][ .loose. .static. .disappointment.goes.here. xXXx ./. www.hotkey.net.au/~netwurker [....][.][.??? .......] hi ..... i'm not really 1 to offer a critique on traditional poetry, as my expertise lies elsewhere... i did enjoy reading the poetry though:) and 2 u, Bestwishes. mez breeze”
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Clemente Padín [net-artist and visual poet] http://pan-paz.crosses.net http://escaner.cl/netart/padin1.html Montevideo, Uruguay
“Dear friends, I visited The Poems of Séamas Cain web-site. It is excellent! I thank you for Cain's words. Fraternally!”
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Jean-Charles Perrey [visual artist] Mill Valley, California
“Thank you to Séamas Cain and to Silver Birch Press for this poetry. We are all perishers of pearls! The role of poetry is not always to gossip but sometimes to put ourselves in front of a sudden evidence. The powerful and graphic images of Séamas Cain are not disillusion for our world. In this poetry I discovered humour, which is a source of optimism. Many of these poems leave the reader in no doubt about the state of mind of the author. Cain's poetry unveils an essence, a substance, an aspiration, the dream of a world reconciled with itself even if red deer and fallow deer are sometimes confused!”
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Peter Philpott [poet, and publisher] http://www.greatworks.org.uk http://www.modernpoetry.org.uk Bishops Stortford, Hertfordshire England
“I find the poems of Séamas Cain to be interesting, powerful and pointed, with a strong and distinctive voice, or attitude behind a voice. Cain's web-site contains some interesting, richly textured poems! I have placed a link to Cain's site on my own web-site, www.greatworks.org.uk. Best wishes!”
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Nguyen Phuoc [visual artist] St. Cloud, Minnesota
“Wonderful website!”
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Robert Pillsbury [botanist] Bowling Green, Ohio
“I like these poems but can only read a few at a time because for me they all seem to possess the same intensity and tone which would begin to dull my appreciation of them if I read them all at once.”
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Irene Plazewska [poet and visual artist] Gorey, County Wexford Ireland
“Greetings from the Celtic mists, smogs and slimes! This poetry has arrived just in time — many thanks. The poetry of Séamas Cain is flowing through us like smooth stones and bird flight.”
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Lanny Quarles [writer] PHANERONOEMIKON, http://users.speakeasy.net/~subtext/poetry/raphael/index.html Portland, Oregon
“I read three books by Séamas Cain, total stranger from Northern Minnesota; poems rectangular and stanzaed, titles like ‘The Poacher,’ ‘Orchards’ and ‘Thunder.’ Expectations. Try a reading of ‘Thunder’! My first reaction is relief and joy in the word-blasts and backwoods surrealist fantasies here in Cain's BIRD'S FOOT, the best of the three I read.
“A friend took a look and wondered if the poems had been done by computer. It's true that Cain stays within ordinary sentence syntax. A general problem with ‘un-logical’ word-choice is people can think the method is surrealist word-lists or some other type of mechanical substitution. To counteract this misjudgment, a sense of the motives underlying the author's word-choices needs to be communicated. This communication may not be representative/linear, but spacial/ cumulative/impressionistic; so the reader's sensibility and openness are part of the communication process. Try a reading of ‘The Frieze and the Nitrate’! Here and elsewhere, the natural referants are used to disturbing effect, bringing the jumble-jive of city speed and discordance to the lush, active and stark outdoors, or is it the other way around. Most of the lines in Cain's poetry are closely cadenced. At times, the assonance seems shrill.
“Going one book back to THE EXHUMATION OF MOZART, some of the methods underlying BIRD'S FOOT become more apparent. Many of the poems in MOZART are ‘experimental’ in the literal sense — exercises with recognizable patterns, often centered around alliteration.
“Séamas Cain is clearly developing through these books. What I look forward to in future works — besides a continuance of the language flow amidst the careening natural imagery, which I greatly enjoy — is a stronger human pulse, be it through more expressive vocal/sonal rhythms, or through the poet giving a stronger heart-sense of the energy impelling his words.”
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Floreal Rodríguez de la Paz, Coordinator of SIEMBRA, http://www.laverdad.es/alicante/v/20121203/provincia/floreal-rodrguez-libertario-20121203.html Alcoy-Alicante, Spain
“Séamas Cain is a companion in liberty. In liberty, we discovered his interest in the arts. It pleases us to know of Cain. For us, it is important that there be CREATIVITY in Arts and Letters, as well as in everything else. We are always planting the seeds of liberty that we need, by all the universe. What a simple thing it would be to practice and to enjoy the acratic social knowledge that we praise!
“In the measurement of our free time, we have examined the poems of Séamas Cain. There, we find everything as it is lived right now throughout the majestic world — that we have and that provides life to us — and interests to us of a very special way, a human way. However, wars and miseries are the result of ferocious pathologies of the same humanity, which does not stop in its conquest of the power to autodestruct.
“In our magazine SIEMBRA you will know our work by the four pillars that the idea of literary freedom maintains: Art, Culture, Solidarity, Freedom. That is everything at the moment! We thank Séamas Cain for his writing, his great and sincere expressions. Throughout the Iberian peninsula we are working very seriously. We wait for important results in the short term! With embraces from Alcoy-Alicante in Spain — Salud!”
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Stephen Ronan [poet] http://www.poetspress.org/guests/ronan.shtml Berkeley, California
“Can you imagine a painting that is the perfect extension of all that came before it yet that is far outdistancing and is pure art? Such works — and I see them all the time in museums and art schools — tend to leave the vast numbers of people uncomprehending and cold. The artist's only hope for deliverance is in the reception of other artists and, presumably, critics. In the field of poetry I feel similarly about the work of Séamas Cain with its Stone Lanterns and its Hanuman Langur. What could better embody poetry today? A clever rhyme? The complacent extrusion of some academy? I think not. As the poet becomes an endangered species in so many places I commend the Silver Birch Press and the Duluth Art Institute for their propagation of the work of Séamas Cain. Best regards!”
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Franklin Rosemont [surrealist] Chicago, Illinois
“I read the poems of Séamas Cain with interest and appreciation.”
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Andrea Rugg [photographer] http://andrearugg.com Minneapolis, Minnesota
“Very beautiful poetry. The poems make the reader ponder the writer's personal history. Possibly a portrait would be a good idea on the web-site as well.”
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Chris Shillock [poet] http://www.mindspring.com/~jcsiii Minneapolis, Minnesota
“The poetry of Séamas Cain is work of intelligence and passion and often a sharp and thorny beauty. The images are often stunning, sometimes just puzzling, but always surprising. I found the best way was to just let them flow over me, so the poems I liked best were those that provided the most repetition to carry me along like LULLABY and QUALMS. Of course, WAR was the poem that grabbed me most. I especially appreciated the fact that Cain is politically conscious without adopting a standpoint of moral superiority to the reader.”
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Shozo Shimamoto [performance-artist] http://www.amazon.com/The-Heart-Of-An-Animal/dp/1460931718 New York, New York
“I felt, on reading Cain's poems, the same sensation as that when I first encountered the poems of Paul Celan. A layer of spasmic quietude surrounded my lips, reading, knowing that here was a voice from out of the infinitude.
“Cain's language is structured around languages dead and forgotten, they communicate, we watch them emerge from their cacophonous states and signal us, the most dead, to begin the march at times absurd and irreverent, at other times sorrowful in transic prayer. In his newer poems he seems to have disembodied himself completely. The poet is the seen and not the seer. Each leaf of a tree ponders itself and what's around him. The poet is transfixed by his shattered state, the pieces of himself are the objects around him, existents and non-existents, and they question him. But he has the aloofness of a god and gives his answer only to his favorites. His favorites, as with any real god, are those the farthest from him.
“In these poems I read, spanning twenty years, there is a purity of vision which propelled me outside of myself. It is contagious to be so close to a raging fire, you begin to think as an arsonist. Purity of function, of purpose, of will, that is what keeps our eyes glued to the page, that enables us to think.
“This is the ending of one of Cain's poems, ‘every man knelt / before the unicorns / every man knelt.’ And I am still kneeling now.
“What I would like to say now is that what has kept this man underground is exactly that purity of purpose of which I wrote of above. He knows, does not think, HE KNOWS...
“Cain is, to me, the most important poet of the age. I will light a candle for his arrival. I am dumbfounded. I am not exaggerating when I write that I find Cain the most compelling and innovative writer today.”
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Homer L. Springer, Jr. [visual artist] Farmville, Virginia
“Séamas Cain, thank you for the gift of your poetry. I enjoy it.”
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Rod Summers [sound-artist, and poet] http://www.artpool.hu/events/ArtTour82/Maastricht.html Maastricht, the Netherlands
“My first impression — the imagery of Séamas Cain is clearly drawn; it invites reading. Each line is a sliver of a broken mirror, reflecting the variety of real dreaming. I am very interested in how a poem sounds — and when I saw Cain's name I immediately assumed he was writing from a brown small-windowed room overlooking the river Liffey and the voice I heard was suitably accented.”
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Rosalie Sundin [poet, writer, and visual artist] https://www.linkedin.com/in/rosalie-sundin-9b58b24b St. Paul, Minnesota
“Séamas Cain's disturbing imagery demands the reader stop and read the poems again, more slowly — the vocabulary of the poem WAR drips with the senseless loss of human life. I found myself grateful that thus far in my life I've been sheltered from war's realities. My personal favorite of Cain's works is the much more gentle SNOW WITH OUTSTRETCHED; its delicately woven words calm the soul.”
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Bryan Thao Worra [poet, and arts advocate] PAJ NTAUB VOICE, the Hmong Literary Journal, https://en.wikipedia.org/wiki/Paj_Ntaub_Voice St. Paul, Minnesota
“I've only begun to take a look at the work of Séamas Cain, but it's clear that he's won his admirers for a reason. It's a joy to see a poet attack the language with such artful enthusiasm, and I have little reason to doubt that we'll be hearing more from him in the future. I hope his work inspires many others to create. I'm looking forward to seeing what gems he brings to his readers next.”
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Marc Thompson [poet] http://www.mnartists.org/marcthompson http://www.worldhaiku.net/poetry/eng/us/m.thompson.htm Minneapolis, Minnesota
“I've been slowly working my way through the Séamas Cain web-site. I like the presentation, especially the graphic with each page. The camels that go with WAR are my favorite. I like Cain's poetry style — there is a feeling of a traditional narrative ballad coupled with modern techniques.”
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Andrew Torch [surrealist artist, and organizer] http://www.Torchart.com St. Louis , Missouri
“I found the poetry of Séamas Cain to be lively and filled with daring verbal imagery that is refreshing in this sometimes bleak world.”
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Joseph A. Uphoff, Jr. [literary critic] Director of the JOURNAL OF REGIONAL CRITICISM http://www.mycoloradogazette.com/photo/photo/listForContributor?screenName=0rnawdbtnor00 Colorado Springs, Colorado
“To my way of thinking the chapbook represents a more important phase of the publishing phenomenon than any other. When a writer is working in private, perhaps in secret, a great chaos regulates the event of composition. Things are rearranged and changed, advice is given, discussions held. There may be a tension of suspense in the atmosphere of the work. The production of a chapbook resolves everything climactically. It is the artist's assertion that a final result has been obtained.
“The poems of Séamas Cain strike me as being either slightly premature or of a sensibility somewhat different from my own as I know post-modern work is inclined to be. I have always felt that contemporary poetry could be distilled just a touch more than it has been. Poets often have an apprehensiveness that leaves them loath to review concluded matters.
“The poems of Séamas Cain were a joy to read, and I would like to see others. Cain's style is brilliant, and his eccentric images are very powerful, shattered progressions. The abstract quality well tempered by surrealist comprehensibility in the symbol, he has the free association of his mind almost under control. He fails in losing the edge of originality, a loss based in obsessive — hopefully not paranoid — realities, something that could be considered a plague of our time. These slight degradations seem to me like the extraneous material that is filed off after a sculpture is cast.”
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Davey Williams [musician, composer and poet] https://en.wikipedia.org/wiki/Davey_Williams_(musician) Birmingham, Alabama
“Please accept my appreciation of the writing of Séamas Cain as a genuine contribution to the surrealist revolt of absolute divergence in the service of life, love, and liberty. This is to say: BIRD'S FOOT in particular for me has some utterly stupendous, magnificent pieces. Same for THE MAGIC OPAL, actually. I must admit that I'm put off by alliteration somewhat, though Cain handles it very well; I'd be interested to know if this device is for him a method of automatism. At any rate, don't take this as a criticism of his work; I'm just very interested in it. Cain is obviously working in a really interesting and vital zone there.
“Finally, I am really intrigued by the amazing disparateness of Cain's imagery; it almost reminds me of some collective process, except that these poems were done by one person, a remarkable achievement I must say, and one that arouses my curiosity as to method. Anyway, it's great stuff; keep up the marvellous work, and remember: There are snakes in the kitchen; and there are fish swimming in and out of your eyes. They are looking for rainbows to breathe instead of tides!”
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Jay Woolrich [visual artist] Leicester, England
“The poetry of Séamas Cain seems to me to be highly original, a genuine contribution in a genre which sometimes seems to attract poets who are content to merely recycle what has gone before. The juxtapositions are fresh and often startling, the language dense in a way that rewards repeated reading. Thank you for pointing me in the direction of this poetry. I like what I've read so far very much!”
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Yoyo Yogasmana [performance-artist] Bandung, Indonesia
“First, congratulations! I like Cain's work. Good work, perfect! I believe everything's ready for him, so please with my pleasure!”
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Daniel P. Zielske [composer, and multimedia artist] Mankato, Minnesota
“I find the work of Séamas Cain very timely and inspirational in a time when much of the media is focused on war and corporate concerns. As environmental concerns are pushed to the back it becomes even more important for the Artist to cry out against injustice. Through the Artist's dream we find a new focus that will bring about a new and better world. My words to Séamas Cain are ‘Keep crying out; the earth will hear you and respond.’ Best wishes for the future!”
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