Euphony: Micro Prose Poems contains works best defined as thoughts, both observational and insightful, expressed in laconic form. The collection delivers the reader through subatomic communiques, electric “jolts of awareness,” about the ever-shifting realm of human emotion and experience––a world both known and exotic. In Euphony over 40 lyrical sketches inspire the reader to thought and inquiry––both familiarly-footed and utterly transcendent––about who we are and why we act as we do.

Euphony by Michael C. Keith is available now.

Keith’s mix of humor and poetry is brilliant.
—Lorette C. Luzajic, author of The Neon Rosary
Keith’s tiny tales, his prose poems, plant thought bombs.
—Peter Cherches, author of Whistler’s Mother’s Son
In a world asleep to both irony and delight, Michael C. Keith offers us this collection of gems, which act like morning bird songs trying to wake us from our slumber.
—Brady Peterson, author of At the Edge of Town
Quirky, wry, ironic, Michael C. Keith’s Euphony delivers unexpected micro-bursts of endorphins at every turn. His nanoscopic revelations, delivered in pointed pings, find hell in the mundane, humor in hell, and wisdom in the tragically absurd. Keith’s finger-snap-sharp pint size prose poems, mini miracles of juxtapose and twist, will sing in your ears and sting like the awakening cracks of a Lilliputian roshi’s stick!
—Marc Zegans, author of Lyon Street and The Snow Dead

Michael C. Keith is the author or coauthor of more than two dozen groundbreaking books on electronic media, which have resulted in numerous awards. Beyond that, he is the author of an acclaimed memoir, The Next Better Place from Algonquin Books and over 25 story collections––his latest titles include Quiet Geography from Cervena Barva Press, The Late Epiphany of a Low-Key Oracle from Scantic Books, Bodies in Recline from Pelekinesis, and All the Noise in the Room from MadHat Press. Keith has been nominated for an IPPY, Pushcart Prize, a PEN/Faulkner Award, among others, and was a finalist for the National Indie Excellence Award for short fiction anthology and a finalist for the International Book Award in the “Fiction Visionary” category. His work has been translated into several languages. He is professor emeritus at Boston College.

Facebook: michael.c.keith.5


Like driftwood, words, phrases and severed sentences come floating by. Part fisherman, part scavenger, I spread my net and rescue these bits of debris from the deep. I can’t say why certain severed statements catch my eye. Floating fragments of meaning, they sparkle and speak to me. And by a peculiar lure beyond my conscious ken, they sometimes come together. The pairings are not always opportune. Some sniff at each other’s nether parts in passing, as dogs do, and promptly part in pursuit of other more enticing scents. But on occasion something clicks. This is my second published assemblage of such felicitous couplings. Some readers may relish the result. If not, just toss it back into the tide.

Driftwood at the River's Edge by Peter Wortsman is available now.

Turning to the instinctive and tactile art of cut-ups reminds me of how a simple process with text itself can prompt such a depth of discussion and thinking, and open up the author’s otherwise empty mind.
—Sarah Tremlett
This poet’s cut-up poems […] find their roots in Dada poet Tristan Tzara’s méthode découpé, and shares scissors with William S. Burroughs’ cut-up method by which the gunman-junkie-novelist made new poems from old material. Wortsman’s approach differs though from his forbears. Central to both Tzara’s and Burroughs’ programs was production by chance encounter — Tzara advocated drawing cut-up words from a hat; Burroughs cut pages into sections, rearranged them, and sought out interesting juxtapositions. The products of these chance operations intermittently provided revelatory insights and proved capable of expanding past poets’ oeuvres by rearranging their language in a manner reminiscent the Musikalisches Wurfelspiel, or musical dice game, attributed to Mozart, by which one could compose a near infinite variety of waltzes from a small body of musical text. Rather than relying on chance as a generative device, Wortsman reads his source material prophetically, scanning texts, selecting words and phrases that attract his attention, and turning these to his ends. […] …emotionally rich and truly original.
—Marc Zegans
Peter Wortsman self-deprecatingly refers to his cut-up poems as ‘strange assemblages,’ which is what I myself might have referred to them as before I encountered them. But, much to my amazement, they read to me as real poems—poems written with the startling help of a muse I myself would hardly have believed in before I read them. But I most certainly do now. These are works which, indeed, have, magically, been able “to find a form that accommodates the mess.” But what they create is anything but a mess… It is truly, much to my surprise, pleasure and amazement, art.
—Michael Blumenthal, the author of ten books of poems, including CORRECTING THE WORD: POEMS SELECTED & NEW, 1980-2024, forthcoming from The Ravenna Press.