Station Note Readings
Friday, May 13
Come join us for the 4th installation of the Station Note Readings!
Same time Same place = 7:30 @ the gallery space of 3S Artspace
Besides the poets that we feel should see the light of your day, and vice-versa, for this particular month we’ll be featuring a singer-songwriter that is something of a cult classic to the area, Guy Capecelatro III.
We hope that you’ll join us for a night of supreme lyrics.
Emilia Phillips is the author of two poetry collections from the University of Akron Press, Groundspeed (2016) and Signaletics (2013), and three chapbooks. Her poems and lyric essays appear in Agni, Boston Review, Gulf Coast, The Kenyon Review, New England Review, Ninth Letter, Poetry, Ploughshares,StoryQuarterly, and elsewhere. She is the Assistant Professor of Creative Writing at Centenary College of New Jersey.
“The insightful poems of Emilia Phillips’ Groundspeed juxtapose the frail and sensuous human body with the detached, projected image: television show, airplane entertainment system, YouTube, hospital monitor. “This is America,” she observes, “where no one witnesses and everyone watches.” When more and more of the horrors of contemporary life seem to reach us through electronic screens, Phillips examines how what we see and how we’re seeing it is redefining what it means to be human. That she does so with wit, compassion, and the eye of an exquisite cinematographer is a great gift to her readers. This is a timely and indispensable book.”
—Nicky Beer, author of The Octopus Game
Duncan D. Campbell’s poems have recently appeared in The Crab Creek Review, Dukool, El Aleph Magazine, Tinderbox, and West Branch, and his work has been nominated three times for the Pushcart Prize. Duncan’s first chapbook, “Farmstead, Fire, Field” is available from ELJ Publications and a second, “Joysong Demarcation” is forthcoming from Tree Light Books. He lives in Vermont and makes his living as a youth programmer. In addition to all of this, he co-edits poetry for the multi-genre print journal Paper Nautilus.
Bucolic and brutal, Farmstead, Fire, Field moves us through landscapes of farmland and longing. These poems explore the complexity of the rural with keen observation and gorgeous images: sugar maples trickling “in unison / from metal taps, sap boiling / off as honeyed vapor,” the barns and houses all painted the same “cheap red, / because, of all things, it is rust / and blood that are plentiful.” Campbell’s collection moves beyond these quiet fields and into the tough honesty of universal human feeling, where sometimes the most tender act is not so straightforward, as in “Juvenilia,” with a speaker who is fearful of crayfish, and a girl who “maimed one crayfish / just so I could hold it.” —Lisa Mangini
Guy picked up the guitar when he was 10 years old, allegedly “never getting any better at it” after 20-something years of playing. Growing up in Mamaroneck, New York, high school memories are “driving to the Bronx at lunch time for bags of crappy pot sprayed with hairspray to make it seem more bud-like.” He left that all behind in order to study philosophy at Plymouth State College. Quitting after two years, he traveled around the U.S., hitting 42 of the 50 states. He moved into Portsmouth in 1987, resuming his studies at UNH while enjoying public transportation (though he had a car) as it “provided a lot of fodder for stories because freaky people take the bus,” and graduated with his philosophy degree in 1989.
Between 1988 and the birth of his record label Two Ton Santa, Guy was in the bands Fancy Pants, Toast, Size of Guam, The Driveways, Up-a-Tree, Beekeeper, The Pants, Bob & Guy, and The Crotch Wax Menace, “and probably some others I’m forgetting as well,” he guesses.
Sometimes, it was a one- or two-gig existence for the band, sometimes not. Sometimes, it was just a matter of trading musicians in and out of bands because everyone was connected to the same people and places. He played with the country band The Buckets, now based out of San Francisco, and comprised of Ray Halliday, Mary Lou Lord and Carrie Bradley. He headed up Two Ton Santa (the band, not the label), a two bass, drums and guitar ensemble with one singer. Guy’s band Milk of Magnesia, “a psychedelic band, almost,” opened their first show at The Rat with a faux imbibing of magnesia milk, inspiring audience members to volunteer their own drinking efforts, only they swallowed the real thing, which Guy seems to think they enjoyed quite a bit.
Between all that, running Two Ton Santa Records, and cameos at The Friendly Toast, he continues to write his mostly abbreviated songs, which he lovingly describes as “little story vehicles” – “like a paper boat. Sliding into the ocean. On fire.”