Guy R. Beining (b. England/USA)
1938
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BOOKS OF POETRY
Razor with No Obligation (Michigan: Arbitrary Closet Press, 1976); City Shingles (College Park, Maryland: Sun & Moon Press, 1977); The Ogden Diary (Newburyport, Massachusetts: Zahir Press, 1979); Backroads & Artism (La Jolla, California: Moonlight Publications, 1979); Ice Rescue Station (New York: Gegenschein Press, 1980); A New Boundary & Other Pieces (Wisconsin: Woodrose Editions, 1980); Waiting for the Soothsayer (East Lansing, Michigan: Ghost Dance Press, 1982); The Raw-Robed Few (Long Beach, California: Applezaba Press, 1982); Stoma 1322. Haiku Pieces (Toronto: Curved H&Z Press, 1984); Stoma: All Points & Notions (New York: Red Ozier Press, 1984); Stoma (East Lansing, Michigan: Ghost Dance Press, 1989); Collectables (Toronto: The Horse Press, 1990); No Subject but a Matter (Toronto: Pangen Subway Ritual, 1991); Upper & Lower Translation of Beige Copy Text (Toronto: Nietzsche's Brolly, 1991); 100 Haiku Selected from a Decade (Houston: O!!Zone Press, 1993); Damn the Evening Garden (Toronto: The Berkeley Horse Press, 1994); Too Far to Hear (Buffalo, New York: Leave Books, 1994); Stoma (Huntington, West Virginia: Aegina Press, 1994); Curved Erosion (Seattle: Elbow Press, 1995); Axiom of a Torn Pulley (Elmwood, Connecticut: Poets & Poets Press, 1995); Too Far to Hear II (Morris, Minnesota: Standing Stone Press, 1997); Beige Copy II & III (Toronto: Nietzsche's Brolly, 1997); Inrue (2008); Word Pig 1-34 (2010); Out of the Wood into the Sun (Stockholm: Kamini Press, 2011); nozzle 1-36 (Rockford, Michigan: Presa:S: Press, 2011); The Silence of My Room (Chintamani Press, 2018)
╬Winner of the PIP Gertrude Stein Awards for Innovative Poetry in English
2005-2006
seerstuckher
scene I
on a beach, one branch
level with eyes, holds a
copper bird that chirps into
grease of afternoon.
the owner of the eyes
is chewing on a string
that comes from a ball
of yarn that is placed
a picture book away.
scene II
light bows from corners, cracks,
& holes in curtains.
the common ground of this metaphor
has scratched away all distance.
floss mixes with dust & balls up.
the book on war has been erased
once again during this feverish silence.
_____
Reprinted from The New Review of Literature, III, no. 1 (October 2005), Copyright ©2005 by Guy R. Beining.
1938
Born Guy Robin Nicholas Beining on September 26, 1938 in London to an aristocratic mother from Russia and a middle class Norwegian father, Beining arrived in New York City in spring of 1940. Throughout his youth he lived mainly in Connecticut.
From 1951-1954 he suffered bouts with rheumatic fever, which caused him to have to take school courses later from the University of Indiana (1955-57). He attended the University of Florida between 1958-1960, enjoying classes with Barry Spacks and novelist Andrew Lytle.
After leaving the Army in 1963, Beining settled in New York City, where he remained until 2000, with a few escapes to New England. A 1965 novel, rejected by Athenaeum Press, drove him to write poetry. He first chapbook was printed in 1976, followed a year later by City Shingles, published by Sun & Moon Press as a chapbook.
In September 1978 he began his longest series of poems, Stoma (Selected Poems 1985-1989), published in 1990, and Stoma of 1994.
In 1995 two more poetry collections appeared, Carved Erosion and Axiom of a Torn Pulley (appearing in a limited edition of just 30 copies). He also had two prose poem chapbooks published, Too Far to Hear (Part 1) (1994) and Two Far to Hear (Part II) in 1997.
His most recent publications have leaned toward the visual, although, he observes, "after a five-artery by-pass, I have written a substantial number of poetry books, which are now making the rounds."
BOOKS OF POETRY
Razor with No Obligation (Michigan: Arbitrary Closet Press, 1976); City Shingles (College Park, Maryland: Sun & Moon Press, 1977); The Ogden Diary (Newburyport, Massachusetts: Zahir Press, 1979); Backroads & Artism (La Jolla, California: Moonlight Publications, 1979); Ice Rescue Station (New York: Gegenschein Press, 1980); A New Boundary & Other Pieces (Wisconsin: Woodrose Editions, 1980); Waiting for the Soothsayer (East Lansing, Michigan: Ghost Dance Press, 1982); The Raw-Robed Few (Long Beach, California: Applezaba Press, 1982); Stoma 1322. Haiku Pieces (Toronto: Curved H&Z Press, 1984); Stoma: All Points & Notions (New York: Red Ozier Press, 1984); Stoma (East Lansing, Michigan: Ghost Dance Press, 1989); Collectables (Toronto: The Horse Press, 1990); No Subject but a Matter (Toronto: Pangen Subway Ritual, 1991); Upper & Lower Translation of Beige Copy Text (Toronto: Nietzsche's Brolly, 1991); 100 Haiku Selected from a Decade (Houston: O!!Zone Press, 1993); Damn the Evening Garden (Toronto: The Berkeley Horse Press, 1994); Too Far to Hear (Buffalo, New York: Leave Books, 1994); Stoma (Huntington, West Virginia: Aegina Press, 1994); Curved Erosion (Seattle: Elbow Press, 1995); Axiom of a Torn Pulley (Elmwood, Connecticut: Poets & Poets Press, 1995); Too Far to Hear II (Morris, Minnesota: Standing Stone Press, 1997); Beige Copy II & III (Toronto: Nietzsche's Brolly, 1997); Inrue (2008); Word Pig 1-34 (2010); Out of the Wood into the Sun (Stockholm: Kamini Press, 2011); nozzle 1-36 (Rockford, Michigan: Presa:S: Press, 2011); The Silence of My Room (Chintamani Press, 2018)
╬Winner of the PIP Gertrude Stein Awards for Innovative Poetry in English
2005-2006
seerstuckher
scene I
on a beach, one branch
level with eyes, holds a
copper bird that chirps into
grease of afternoon.
the owner of the eyes
is chewing on a string
that comes from a ball
of yarn that is placed
a picture book away.
scene II
light bows from corners, cracks,
& holes in curtains.
the common ground of this metaphor
has scratched away all distance.
floss mixes with dust & balls up.
the book on war has been erased
once again during this feverish silence.
_____
Reprinted from The New Review of Literature, III, no. 1 (October 2005), Copyright ©2005 by Guy R. Beining.