First published by Spanner Editions in 1983, "Ideas on the culture dreamed of" provides a glossary for the work "Defamiliarising_____*" and develops the list of jazz dances used as titles in "Gravity as a consequence of shape". The book is composed of alphabetised entries on issues of perception, memory and the vocabularies of physics, many of which were included in the initial chapbook publications of "Gravity..." Pulling together broad-ranging research in bitesized definitions of the project's key terms, such as collage, chreod, acuity, plasma, quasars, red shift and singularity, the text complements and enhances the reading of "Gravity as a consequence of shape", as well as "Defamiliarising____*" and other works underway when that project was initiated.

"The first interview here with Allen Fisher dates from 1973. I took the decision to collect old interviews rather than make an all-new book. I am fascinated by the idea of a very long base line, records of one person's views over 30 years, change as part of the object recorded. Drawing on the creative input of Eric Mottram, Adrian Clarke, and Victoria Sheppard (among others) made the book more robust and embracing." (Andrew Duncan)

Leans is the condition experienced by a jet pilot as he leaves the Earth's gravity. The book brings together four chapter-books and the remaining poetry that completes the poet's twenty-three-year project Gravity as a consequence of shape started in 1982. The earlier two volumes were Gravity and Entanglement, published in 2004 and 2005. The work includes brief and clear descriptions of scientific vocabulary along with poetry that demonstrates enjambment and transformations of poetry derived from collage practice or a practice that uses more than occasion to inform the work all at once in the same place. The poetry continues and extends the poet's concern for how we know anything and what vocabulary humans use to describe it. The texts therefore draw on unusual as well as straightforward words to achieve a rich range from blend to disruption. This encourages the reader's confidence but also provides many instances of surprise.

The Salt Companion to Charles Bernstein presents scholarship on one of the U.S.'s best living innovative poets. Scholars explore major themes in his work, and poets present pieces inspired by his poetry. The book is intended for both scholars looking for informed critical insight into Bernstein's work as well as for students to examine his work. The scholarship covers many of his major pieces and genres, like sound, stage, and poetry. The authors write about his main themes and influences and give insight into some of the major poetry ideas currently being debated in the U.S., such as the nature and future of experimental poetry, the influences on contemporary poetry, the politics of poetry, and wide variety of techniques currently being used. This book is valuable to individuals interested in poetry and libraries trying to stay abreast of the most important recent literary criticism/currents.

Gravity presents the first five books of poems from the sequence Gravity as a consequence of shape, started in 1982 and scheduled for completion in 2005. Gravity includes the books Brixton Fractals, Breadboard, Civic Crime, Dispossession & Cure, and Fizz. The sequence is an inversion of empirical demands. Each untitled poem has been relabelled with a jazz dance from a list of dances, from African Boog to Zip. The design of the overall work uses the model of a crushed cylinder, the process of a crumbling wall and a variety of contingent energies, interrupted narratives demonstrating crowd-outs, descriptions of shifts in focal consciousness, fleeting interruptions that damage continuities and expectations with named actors; Burglar, Badger, Fireman, Mathematician. These narratives are supported by decoherent syntax, moving positions that question strident notions of coherence and over-determined incoherences. This is a syntax that sometimes avoids and sometimes embraces tried stanza structures through the use of unreliable sentences and designed forms that exercise deliberate breaks from golden mean or idealised exactness. The poems rely on inconsistency leading to prepared and unexpected transformations that link or rhyme into following or previous poems. One preparation involved labelling a cylinder with stanza indications to provide sonority, bending the cylinder in upon itself and producing new damaged sonorities from the crushed indications. This transformed geometry energises the process of aesthetic productions in each reader's involvement. One activity transforms words by sound, another by meaning and another by inversion or critique of its proposals. One unrealised proposal is to demonstrate truth. Another is to confirm a lack of reliance upon expectation. The subjects bridge biotechnology and quantum physics through a system of urban gardening and leaking streets. The proposals demand civility and are preposterous.