Andrew Cantrell


In the oldest till of the region is the oddest till of a messianic religion or rather is beech and poplar and a popular misunderstanding of loss as or where loess is reasoned about later and later in greater seasons which have in an earlier where stilled in a tilled and shaking there which caused a thinking of sand in one moment or one thousand as location or as progress as was appropriately detailed in forty-eight characteristics of four sides of a three-year hew and just south in a subsequent where is a fundamental there founded and foundered upon a militancy that’s all of an everywhere but before but for weeks crouched in a creek-bed and reaching far north on guerrilla beaches whose till units are stilled and useless but included in the oaks along the heaviness at least for what is well-known is that its properties have been mapped but have different soil types and till courses and high in historical consciousness they hie south toward Illinois.


Southeast later the course sections as it covers a bouldered lag in every direction of poorly laminated rock. In its stock and root we can envision a usage path or route in part and in a time made later by the historians who latterly have mapped the formation of its artifice in the tracks of forest-ice. It is narrower in time as was every angel in sharply the quieter waters of this schooling source of till and sand. It subsequently will be known by its own red color delivered in sections by every generation. By something like its known area shown on its own pebbles. Each of them as much of how latterly an illusion lagged as instead also capable before ice-fronts. The reason the Lake Michigan shoreline will narrow now in an arc measured in seconds not hours down southward from the total of this.


Description is that human place in each haven member where there are monuments for those who remember to a secret struggle. By this as much as by subjects we are overlain by the tilled monad which also serves the oaks as a secularized waiting. It’s drawn in from its dawning as the most noteworthy characteristic of reference to the historical part of our position. Where our thinking exposes new calendars and toil correlates there with the subject and to dead material things. To this our marks responded. To this the laminated letter pages in the latter ages of this tilled outwash formation corresponded. For whom does the thing itself or the few people with whom we travel or slightly more the same thing for whom the nature of the past lies in the oak-woods themselves constitute at heart a human being? In its ceasing our minor history sees the political highway toward and simultaneously within a stand of secularized oaks.


Light tailor angle of notice to such gray nothing as regional it’s an extent as near to melancholy as to another actor or another agon of lost years or so it’s urged to be and still more as a haven member is by far or by much better looks exposed in the here-and-now. Where nearby accident thuds lobbed apparent notebooks for as much as is normal past the time of theory’s dangerously laden and attentive look. An anger that multiplies long youth’s novel grain in the struggle for or about the wealth of the anymore corrupted and southern cities. Where another question that’s new or another actor who’s gauged by name or by quiet numbering is characteristic of the net gain of the southern section. Where its exposures improve for the historian not in a history but a theology grown young accordingly in the lower half of the here-and-now.
Artist’s Statement

These poems are part of series that re-mixes and writes onto one another the idioms of glaciology, Imagism, abstraction, and revolutionary possibility. They began with writing I was doing as I lived, hiked, and participated in worker struggles in Wisconsin. They attempt to construct in poetic language a virtual convergence of these idioms with the natural and human features of the post-glacial landscape of eastern Wisconsin that serves as a figure for the layering and ablation of moments hope and despair in personal history, worker organizing, and class struggle.

Andrew Cantrell has recent work appearing or forthcoming in SPECS, Arsenic Lobster, Beecher’s Magazine, Emergency INDEX, Heavy Feather Review, Lana Turner, Upstairs at Duroc, AlteredScale, Pocket Litter, and Anomalous. He lives in Chicago where he works as a union organizer, does things with words, and co-curates PSA Projects, an itinerant, experimental screening series. He recently completed a residency in Literary Arts at the Banff Centre.
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About Posit Editor

Susan Lewis ( is the Editor-in-chief and founder of Posit ( and the author of ten books and chapbooks, including Zoom (winner of the Washington Prize), Heisenberg's Salon, This Visit, and State of the Union. Her poetry has appeared in anthologies such as Walkers in the City (Rain Taxi), They Said (Black Lawrence Press), and Resist Much, Obey Little (Dispatches/Spuyten Duyvil), as well as in journals such as Agni, Boston Review, The Brooklyn Rail, Conjunctions online, Diode, Interim, New American Writing, and VOLT.