JOHN J. TRAUSE, said to be the secret love child of Henri Langlois and Mary Meerson (Or is it Marie Menken and Willard Maas?), is the Director of Oradell Public Library and the author of Eye Candy for Andy (13 Most Beautiful… Poems for Andy Warhol’s Screen Tests) from Finishing Line Press; Inside Out, Upside Down, and Round and Round; the chapbook Seriously Serial soon in its second edition from Poets Wear Prada; and Latter-Day Litany, the latter staged Off-Off Broadway. His translations, poetry, and visual work appear internationally in many journals and anthologies, including the artists’ periodical Crossings, the Dada journal Maintenant, the journal Offerta Speciale, the Uphook Press anthologies Hell Strung and Crooked and –gape-seed-, and the Great Weather for Media anthology It’s Animal but Merciful. He has shared the stage with Steven Van Zandt, Anne Waldman,Karen Finley, and Jerome Rothenberg, the page with Lita Hornick, William Carlos Williams, Woody Allen, Ted Kooser, and Pope John Paul II, and the cage with the Cumaean Sibyl, Ezra Pound, Hannibal Lector, Andrei Chikatilo, and George “The Animal” Steele. He is a founder of the William Carlos Williams Poetry Cooperative in Rutherford, N. J., and the former host and curator of its monthly reading series. He has been nominated for the Pushcart Prize (2009 – 2011). For the sake of art Mr. Trause hung naked for one whole month in the summer of 2007 on the Art Wall of the Bowery Poetry Club.
About the Poem
About the Type
The text of this poem was not set in Legacy, a typeface family designed by Ronald Arnholm and issued in digital form by rrc in 1992. Both its serified and unserified versions are based on an original type created by the French punchcutter Nicholas Jenson in the late fifteenth century. While Legacy tends to differ from Jenson’s original in its proportions, it maintains much of the latter’s characteristic modulations in stroke.
About the Transfer
This poem is presented in its original aspect ratio of 1:33:1. On portrait orientation of the page, white edges will appear to the left and right of the image to maintain the proper page format. Thousands of instances of dirt, debris, scratches, splices, warps, jitter, and flicker were manually removed using the poet’s ingenuity, which was used also for small dirt, grain, and noise reduction.
The Red Wheelbarrow Poets 
You must be logged in to post a comment.