My Latest Books

 

 

 

 

 

 

All of my print books are available at $7.99, $8.99, & $9.99 or less, and the ebooks are mostly $2.99 with the latest at $3.99, and a couple larger books at $4.99 – a few others that are higher will be lowered in price once they come off their Kindle promotion.

Especially in the moment for the new books:

I want these books to be read and enjoyed, so the price is an accommodation to what Amazon allows to be charged with a very small sum allocated for myself – usually slightly over a dollar in case of the print books, far less than that in regards to the ebooks which are priced at $2.99 to $3.99, including the ebooks for my latest books.

You can buy the print version and get the accompanying ebook for only 1.99 and .99 from Amazon.

Ebooks at $2.99 –

THE MOON WORN TIDES, Vol.1, The Prose Poems

SOLILOQUIES OF THE HORIZONS, VOL. 2, The Prose Poems

PROVENANCES AND PAROLES

THE POETRY HOTEL

THE MYTHOLOGIES OF LOVE

THE LOST CANADIAN, VOL. 1

THE LOST CANADIAN, VOL. 2

MEASURING GRAVITY BY GRACE, VOL. 1

OUR GEOGRAPHIES, VOL. 2

TORMENTING THE MONKEYsatires

COUSIN HAROLD’S ADVENTURES IN THE REAL WORLD – satires

Ebooks at $3.99 –

CELESTIAL MIGRATIONS IN THE EMPIRE

OF THE DOMINIONS UNLEAVENED

ALL THESE BEING HINTERLANDS

DARK EARTH

SILENCE LOUDER THAN A TRAIN

BLOOD UPON THE MOON

THE TRANSITS OF REVELATION

THE ESCHATOLOGICAL DOG

Ebooks at $4.99 –

IN RIPARIAN FIELDS

OF FLESH SCULPTURES AND ABANDONED LOVE

CELESTIAL MIGRATIONS IN THE EMPIRE published on Dec.20/17, and OF THE DOMINIONS UNLEAVENED, published a few weeks ago have a companion volume:

The third volume in the unofficial trilogy, ALL THESE BEING HINTERLANDS, my 25th book is published.

None of these were rushed out, thrown together in any hasty measure, but with care and dedication combined to come together in the writing, editing, and process of publication for a period of well over a year +.
It wasn’t until I began winnowing out any number of poems that didn’t fit with the themes I saw developing that the fact that there would be a few books, and then a third brought itself to light.

Enjoy.

[these books are very inexpensive $3, $4, $5 – why ‘click’ without a decision to buy?]

©Dean J. Baker

https://www.amazon.com/Dean-J.-Baker/e/B00IC6PGQM

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IF YOU LOVE POETRY…You cannot miss CELESTIAL MIGRATIONS IN THE EMPIRE… its companion volume .. OF THE DOMINIONS UNLEAVENED.. and ALL THESE BEING HINTERLANDS

if you love #Poetry you cannot miss these #books… more especially Celestial Migrations In The Empire.…you will be glad you own this book….

you will definitely want the companion book then Of The Dominions Unleavened

AND the final companion volume All These Being Hinterlands

https://www.amazon.com/Celestial-Migrations-Empire-Dean-Baker/dp/1981806571 #amwriting #Poems #poetrycommunity #Poet #Literary

 

These books are also available as Ebooks –

https://www.amazon.com/Dominions-Unleavened-Dean-J-Baker-ebook/dp/B078SZM6V1

if you decide to own these books, let me know as I would be interested in your reviews, as I have been in reviews of my prior books

©Dean J. Baker

 

Review of DARK EARTH by Dean J. Baker


Posted by Craig Hickman in Book Reviews, poetry

“I keep walking, making calls which few recognize, eventually sure that one day when I have passed that way, suddenly a porch light will shine in the evening and another timelessness reign.”

Dark Earth, Dean J. Baker

Been reading Dean J. Baker’s latest offering of poems of late, Dark Earth. Of course Dean is an author, composer, and performer who was born in Toronto, Canada, to a Ukrainian/Polish father and an Irish/Scottish mother. Attended the University of Guelph, and later won book awards from them, along with several unsolicited Ontario Arts Council awards, best poems published in a year in literary journals, and The T.S. Eliot Society of Miami’s Calendar Poet award. He has several other works out: Baker’s Bad Boys, Silence Louder Than A Train, The Mythologies Of Love, and The Lost Neighborhood each of which can also be found on his amazon.com page.

What struck me intensely about Dean’s poetry is this sense of earthiness and despair tinged with a dark humor that I so love. An ongoing walk through these dark times is an underlying expectation, an almost uncanny movement toward hope; yet, not hope itself, rather it’s a sort of orientation to the future or forward looking gaze that can almost see between barbed wired clouds on the darkest horizon something strange almost shining through only to be sealed off immediately by the Reality Police who trap us in this bleak corner of the universe. Now by this I don’t mean that Dean is some kind of blipping optimist, no he’s a pessimist or realist like most of us. No that would make things a little to easy and rosy, and Dean is more of a bleak and transgressive churning below the muddy waters. He lives down where the alligators and moccasins move in those black ponds, waiting, harboring nothing but deadly thoughts. Dean’s world is to poetry what David Goodis in Street of No Return is to noir. In that bleak book the main character loses the girl, kills the villain, returns to skid row with a bottle under his arm for the boys in the cold wet sunless streets, where life is nothing but this hollow gesture, a desperateness toward the last dark weave of things: where losers sit in some dark alley passing the bottle around, and nothing could touch them nothing at all.

But then again what does touch us is Dean’s poetry, and it touches us hard and quick like some dark message out of hell; but this is no metaphysical charade – it is our hell, our lives in this god forsaken universe where the thought of salvation isn’t some dream of transcendence, but is rather a movement toward another order of indifference, another and hopeful purgatory across some bleak landscape beyond the lies and deceit of this one.

Do you not see how
they drive:
to meet the grinning, opened mouth.

In Dean’s Widows he challenges our sense of propriety, brings us two death’s: the death of child, and the death of something else. Even the use of the plural – Widows, as if one may suspect some murderous collusion amongst “black widows”; or, rather the natural order of some dip into Shakespeare’s widowed “witches” from Macbeth; or, more likely just three old mean women out of some southern gothic world who, as the interlocutor tells us – as if it were some dark and sinister story, to be hushed up in polite society – a memory of another child: “the unlovely child you always knew too much about”. And, the interlocutor continues with a double refrain, one that tells us these dark widows are “carrying themselves” and “carrying themselves / with taunts of Spring”. The interlocutor will not say what cannot be said, what it is that these widows have done, or what secrets they hold to their black hearts. But he knows, and for him there is a bittersweet revenge in knowing that what they are moving toward as “they drive” is a meeting with that “grinning, opened mouth” – a death at once comical and grotesque that will undo these murderous widows and their secrets in ways beyond telling.

This is the key to Dean’s art, the subtle narration of certain moments that are never revealed in the full natural disclosure of facts, but are rather revealed more subtly in the voicing of certain affective relations between memory and mind in this ongoing inquisition with the sordidness of our unlived lives. It’s as if in each poem we are seeing slices of a pain, a snapshot of horrors, a visitation of certain indelible blood-lettings that continue to keep the wound of life open to the world. For isn’t that truly all that remains? How many of your memories are of joy? Oh I don’t mean the picture memories you can snap out, I mean the affective memories that stick in the crawl of your thick mind like a bad taste in the mouth. How many?

Dean is a true comic poet as well, full of those sly interventions and evasions, slights of self, incriminations and elisions: “It is you, who have ruined / your life, / with the comparisons … elegies outworn: / embarrassing”. And, even the muse is a fickle mistress a tormentor “the muse still torments me every now and then”, and yet she’s a comical waif as well:

She thinks a psychiatrist / may do the trick: forgetting / she had a hand in the mess.

What I admire is Dean’s pulling out all the stops, no sublime romanticist here; no, instead he’s taken notes from the underbelly of those masters of the macabre and grotesque. All those little oddball peculiarities of the absurd, bizarre, macabre, depraved, degenerate, perverse that are the hallmark of the best of that dark haunting literature, both humorous and earthy, grotesque – can be found here. As Philip Thomson tells us of the grotesque in literature and visual culture: he calls it ‘the unresolved clash of incompatibles in work and response’ and, he continues, ‘it is significant that this clash is paralleled by the ambivalent nature of the abnormal as present in the grotesque’. I like to go back to Baudelaire who perfected this mode after his careful perusal and translations of that master, Edgar Allen Poe. For Baudelaire it was to know that one was dammed in this life from the beginning; but it wasn’t a religious knowledge, no it was a secular knowing that this world, not some future abode of despair already harbored enough hate and crime to fill ten thousands hells. Maybe this is why even Sartre would seek in Baudelaire a brother of that darker existential pain that is existence with others, and go on to see “hell is other people”.

One of my favorites of this mode from Dean’s work, and the last one I’ll quote (I want you to cherish a first reading of the rest for yourself) is “Queen St. East”

The jaw slacks, with the weight
of the body’s loss,
to an inexorable acknowledgement

The brain is unfettered
in its jug; spilling over
with the nostalgia of alcohol

Flat on their backs, near Moss
Park, curled fetus-like, the
inhabitants whirl in a static frenzy of

Enfeeblement, any amusement here
sublingual: the posthumous twitching
of cynics en masse

That, my friends, in one succinct movement is the Grotesque Sublime: “the posthumous twitching / of cynics en masse”. It is also the dark knowing of a grotesque humor named “Dean J. Baker”. Rabelais and Hieronymus Bosch look out of dark chinks in these poems… instead of Emerson’s “Whim” above Dean’s lintel we might assume “Melancholy” resides here… that dark brooding that laughs below, and rises through the bones to jerk you awake from your too lazy sleep of existence.

Please visit Dean J. Baker’s wordpress.com site: https://deanjbaker.wordpress.com/
and his poetry can be found: http://www.amazon.com/Dean-J.-Baker/e/B00IC6PGQM and https://deanjbaker.wordpress.com/awards/all-print-books-links/

1. Edwards, Justin; Graulund, Rune (2013-05-29). Grotesque (The New Critical Idiom) (p. 3). Taylor and Francis. Kindle Edition.

http://darkecologies.com/2014/07/28/dark-earth-poetry-of-dean-j-baker/

now posting here – https://socialecologies.wordpress.com/

Dark Earth, is available here –>http://www.amazon.com/Dark-Earth-Dean-J-Baker/dp/150052591X

from review quotes of Dark Earth: “Dean is a true comic poet as well, full of those sly interventions and evasions, slights of self, incriminations and elisions.. He’s the kind of poet that gets under your skin and stays there like a song in some dark noir alley that sings to you of love and death suckled on good old home grown truth.”

https://deanjbaker.wordpress.com/awards/reviews/

https://deanjbaker.wordpress.com/awards/a-reason-why-you-need-to-own-dark-earth/