Trembling Pillow Press

Tag Archive: Music


CUNTRY front cover

CUNTRY front cover

by Kristin Sanders

$16.00 | May 2017

US Domestic Shipping Only


CUNTRY girl chases her American dream the wrong direction, from California to Tennessee, and reveals how she is simultaneously made, turned on and damaged by the heteronormative wreckage on display in country music lyrics and porn.  In these wall-to-wall poems about voyeurism, sexuality and consent in the Internet age, Kristin Sanders “look[s] back at a man / looking back at the woman” and also back, directly, into the gaze of the gaping reader, putting on display for us the conundrums and complexities around how the feminine self “learn[s] young how to man the automatic grief machine.” CUNTRY is a burning ring of fire. Fall into it.
–Arielle Greenberg, Locally Made Panties and Slice

Sanders writes pornographic poetry with a twang. Like the best genitals, it drawls, drools, hollers, and hides. If Anne Carson’s cunt sang, it would weep duets at the moon with this book.
–Myriam Gurba, Dahlia Season and Painting Their Portraits in Winter

In Cuntry, Sanders exfoliates the porn moments of her life through critical (yet unsolved) reflections of her collision (and collusion) with porn culture. From an initial bedazzlement to a steady deflation of it, Sanders has found a clear bandwidth with which to have a telling of it, all the while scrupulously avoiding the pitfalls of overt titillation, or worse, a studied coyness. These deft meditations are amplified by splicing in dozens of ingeniously ludic, détourned country song lyrics that re-scramble the increasingly fixed coordinates of Porn’s Progress. The result is a brave, risky project that will embolden many of the less brave among us who’ve buckled at such open public testimony. We can, I’m sure, be a bunch more Cuntry now.
–Rodrigo Toscano

CUNTRY is an elegant excavation of Sanders’s twinned obsession with pornography and country music. Effortlessly slipping between poetry, memoir, and music criticism, Sanders disrobes the country song of the 90’s and uses it as a lens to expose our culture’s sanitized images of femininity. CUNTRY not only skewers the objectifying nature of pop culture but also explores the pleasures of objectification, of “lingering in the gaze.” It is a story about how the very desires that make us also undo us. Which is to say, it is a story about failure. Also: singing. The necessity of talking back to the song, the book, or the film because, as Sanders reminds us, “the desire of the cunt is always left out except where I write it in.”
–Elizabeth Hall,  I Have Devoted My Life To The Clitoris

About the Author

Kristin SandersKristin Sanders is the author of two poetry chapbooks, Orthorexia (Dancing Girl Press 2011), and This is a map of their watching me, a finalist in the 2015 BOAAT Chapbook Competition. She has taught at Cal Poly, San Luis Obispo; Loyola University, New Orleans; Belmont University; and Louisiana State University. She is currently a poetry editor for the New Orleans Review and a contributing writer at Weird Sister. CUNTRY was a finalist for the 2015 National Poetry Series.






Song of Praise

Song of Praise

Song of Praise-bookby John Sinclair

$19.95 book | $15.00 cd | 134 pages | 2011
ISBN: 978-0-9790702-59
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Book ($19.95):

CD ($15.00):

Kindle Edition: $3.99


On the book

[John Sinclair is] … deep inside a tradition beginning with Whitman, Williams, and Ezra Pound, and continuing through Charles Olson and Ginsberg.
—Dennis Formento, from the afterword

John Sinclair’s writing about “The Music” has always been well informed and inspiring, from his early Detroit-hip days. So it’s important to gather this writing to show where he and we have been, and the great period of American Classical Music we lived through and particularly the marvelous revelation that John Coltrane provided everybody who could hear.
—Amiri Baraka

Poet, activist, major jazz head, John Sinclair’s Song of Praise is a wild outward/ inward ride through time like any of Trane’s great solos. It’s a surge of time travel from the ‘60s breakthroughs & breakdowns as reflected in the revolutionary free jazz awakening as well as in the political uprisings of that time that changed the world.
—David Meltzer


On the CD

Song of Praise-CDFinally, John Sinclair’s legendary performances and tributes to John Coltrane are available together in this collection; Sinclair has long been on the scene recording the history and extolling the beauties of these life changing moments in music. The entire suite HOMAGE TO JOHN COLTRANE was first performed by John Sinclair’s newly-formed Blues Scholars—Michael Ray, trumpet; Richard Theodore (Harry Lenz), alto sax & bass clarinet; Nick Sanzenbach, tenor sax; Phil deVille, guitar; Lucky Joe Drake, bass; Michael Voelker, drums—at Kaldi’s Coffeehouse in September 1994 in conjunction with John Coltrane’s Sept 23 birthday. The moon was full that night and the DAT recording by Keith Keller became Sinclair’s first album, FULL MOON NIGHT, on Alive/Total Energy Records in Los Angeles. The first version of “I Talk with the Spirits” is from Sinclair’s second Alive album, FULL CIRCLE, recorded in Los Angeles in 1996 with Wayne Kramer, guitar; Charles Moore, trumpet; Ralph “Buzzy” Jones, tenor & alto sax; Craig Stewart, alto sax; Paul Ill, bass; Brock Avery, drums, and the shortened suite HOMAGE TO JOHN COLTRANE—spiritual, consequences, blues to you, i talk with the spirits—is from a live broadcast on KXLU-FM in Los Angeles in August 1997 with the same band less Craig Stewart and with Michael Voelker in place of Brock Avery, issued on Sinclair’s 2000 album UNDERGROUND ISSUES. The opening reading of “spiritual” is a duet with Marion Brown, alto sax, recorded by Mark Bingham at the Louisiana Music Factory in February 1993, first issued on the 2nd number of the WWOZ ON CD series in 1994. Available as well is the companion book, SONG OF PRAISE Homage To John Coltrane by John Sinclair, which contains poems, reviews and further tributes to the legendary performer: John Coltrane.

CD also available for digital download through CDBaby and iTunes:

John Sinclair and His Blues Scholars: Song of Praise


About the Author

Author, poet and activist John Sinclair (born October 2, 1941, in Flint, Michigan) mutated from small-town rock’n’roll fanatic and teenage disc jockey to cultural revolutionary, pioneer of marijuana activism, radical leader and political prisoner by the end of the 1960s.

In 1966-67 the jazz poet, downbeat correspondent, founder of the Detroit Artists Workshop and underground journalist joined the front ranks of the hippie revolution, managing the “avant-rock” MC5 and organizing countless free concerts in the parks, White Panther rallies and radical benefits. In 1969 Sinclair was railroaded off to prison on a 9½ to ten year sentence for giving away two joints to an undercover policewoman. While he was in prison, Sinclair wrote the books Guitar Army: Street Writings/Prison Writings, a collection of his writings for the underground press between 1968-71, and Music & Politics, co-written with Robert Levin. Sinclair was released from Jackson Prison when the twenty nine month campaign to gain his freedom climaxed in the mammoth “John Sinclair Freedom Rally” in Ann Arbor, Michigan on December 10, 1971, where John Lennon and Yoko Ono, Stevie Wonder, Allen Ginsberg, Phil Ochs, Bobby Seale and others performed and spoke at the eight-hour long event in front of 15,000 people. Lennon wrote and performed his song, “John Sinclair,” later released on his Some Time in New York City album. Three days after the concert, the Michigan Supreme Court released Sinclair, and later overturned his conviction.

Following his release from prison, Sinclair got back into music management and promotion and hosted popular radio shows on WNRZ and WCBN, founded the People’s Ballroom, the Free Concerts in the Park program, and the Ann Arbor Tribal Council, and played a leading role in the success of the local Human Rights Party that resulted in the election of two City Council members and the institution of the legendary $5 fine for marijuana possession in Ann Arbor. For the next fifteen years he raised his family in Detroit and worked as editor of the Detroit Sun newspaper, founder and director of the Detroit Jazz Center, adjunct professor of popular music history at Wayne State University, artists manager and concert producer, WDET-FM program host, director of the City Arts Gallery for the Detroit Councilof the Arts and editor of City Arts Quarterly.

Sinclair moved to New Orleans in 1991 and joined the volunteer staff of WWOZ radio. In 1992 he formed his band, the Blues Scholars (founded in Detroit ten years earlier), recorded his first CD in 1994 and began to tour the United States as a performance artist backed by jazz, blues and rock ensembles. Sinclair has published several collections of his poetry along with his major work in verse, Fattening Frogs For Snakes: Delta Sound Suite, an investigation in verse of the Delta blues and the world that produced it. He has released more than fifteen CDs of his work with music & verse, including Volumes 1 and 2 of Fattening Frogs For Snakes: Delta Sound Suite, Full Circle and White Buffalo Prayer with Wayne Kramer.

Sinclair relocated to The Netherlands in the fall of 2003. One of the pioneers of podcasting, his weekly internet program, The John Sinclair Radio Show, is the flagship of Radio Free Amsterdam.