Dream Logic

In DREAM LOGIC, Kamenetz deepens the exploration initiated in his previously published YONDER and brings us to the common source of poetry and dreams, which Coleridge named “primary imagination.” He uncovers there an inescapable logic, full of color and association, precise and joyful. He works in the prose poetry tradition of Max Jacob and Russell Edson. These poems are constantly at play with themselves, with a dizzying logic of humor and image. They actively engage questions of identity—the “I” here is not only an other but an evanescence and a lightning burst—and their range of concerns encompasses the climate of childhood and the laws of physics. As the images in dreams do, the images in these poems ask to be encountered on their own terms as living presences.


This collection of prose poems from the author of The History of Last Night’s Dream, The Jew in the Lotus and To Die Next To You brims with respect for the genre, with homages to forebears from Baudelaire to Max Jacob, Russel Edson to Kafka.


“Rodger Kamenetz asks the most accurate and urgent questions in his wonderful new collection—and he has the wisdom not to answer them (except with other, better questions), so that each stop is a starting place, and we are constantly delighted as we discover the limits of what we thought we learned. Recognition and misrecognition are key motifs in these exquisite prose poems, and while it may be in the latter that the poetry of the truth most brilliantly flowers, each step of the process has the elegant and inevitable pacing of a religious vision. Don’t be afraid to be converted! Readers who enter this book will find themselves in a dreamy resonant meditative space of Keatsian uncertainty and Kafkaesque parable, where attention is a devotion, and the lyric speaker seeks a knowledge which brings both redemption and further damage. A splendid antidote to our image and brand-obsessed moment: in Yonder identity is sought in order to be surrendered. Give in! “In dream logic we pour like smoke from one body to another.”
—Laura Mullen, author of Complicated Grief

“The prose poems of Rodger Kamenetz are mysterious. Are they dreams? Or parables? Zen koans? Or surrealist films? Like all of the above, they make a kind of crazy sense, the sort of wisdom only a jester can attain. More puzzling and explosive with every read, these startling revelations are so illogical as to be perfect.
—Kit Robinson, author of Marine Layer

The Lowercase Jew

As dismissal and disdain of Jews speak through the art of some leading twentieth-century poets, so the poetry of Rodger Kamenetz artfully answers, framing in subtle terms the questions that haunt our culture-about the voices through which culture speaks, about the identity of poet and poetry, about the capacity of art to harm and to heal. Whether subjecting the anti-Semitic verses of T. S. Eliot to a literary trial; conjuring the eloquence with which “Allen Ginsberg forgives Ezra Pound on Behalf of the Jews”; or drawing upon personal history, the Torah, and Jewish mysticism to explore the tangled relations of Jewish identity and modern literature, Kamenetz’s poems attest to the inexorable power of language.


“The Lowercase Jew is a book dense with mourning, comedy routines, food, blue tattoos, tribal history and the wheel of time, despair and prayer. It begins with three amazing poems on T.S. Eliot’s anti-Semitism, Allen Ginsberg’s forgiveness of Ezra Pound and an imaginary Holocaust Theme Park and ends with an amazing poem on happiness, riffing on the Bible’s first psalm.”
–Alicia Ostriker

“Rodger Kamenetz is on a spiritual pilgrimage that feels both urgent and timeless. After finding the “missing Jew” of his early poetry at the crossroads of Judaism and Tibetan Buddhism, Kamenetz is now taking on the mantle of the warrior. His new work militates powerfully for the splendor of the Jewish tradition, taking on without hesitation the cultural icons whose malign influence is far from spent. Jewish urgency and Jewish wisdom are combined here to stand poetically firm in another uncertain age.”
–Andrei Codrescu

“The poem on Ginsberg and Pound is magnificent; the poem on T.S.E. is worth the price of admission; and ‘Uncle Louis’ and “rye’ and ‘Tours of Heaven.’ Read.”
— Gerald Stern

The Missing Jew: New and Selected Poems

A poetic examination, as humorous as poignant, of the blessings and curses of Jewish heritage, focusing on how the American Jew has lost his religious and cultural identity through assimilation.


Kamenetz’s poems whirl and shake on the page. He is the poet of the living history of unspeakable names and his book…sings with dark wit the tales of tough family spirits.
–Louise Erdrich, author of Love Medicine

These are very exciting and original poems…a secret and almost intimate meeting place of English and Hebrew.
–Yehuda Amichai, author of A Life of Poetry, 1948-1994 and Open Closed Open: Poems

Stuck: Poems Midlife

These are emotionally powerful poems that speak to the condition of midlife, of being in the narrow place, stuck between the present and the future, between the demands of work and family, between the hope for joy and the desolation of loss. The pain of broken marriage, the tragedy of daily life, the struggle for identity, and the self-doubt of middle age are multiplied into passionate voices that rage, plead, joke, and shout. The language, tough yet dynamic, wraps itself around the images, which are at times deeply disturbing, at times strangely humorous but always honest, open, and real.


These are grim and meaty poems, carefully crafted and tight. The experiences dealt with are those that break people, but these poems are far from broken. For a slender volume, it is remarkably substantial. –Marge Piercy

To Die Next To You

TO DIE NEXT TO YOU, poems by Rodger Kamenetz/ drawings by Michael Hafftka is a unique event in the literary and artistic world.

Two brother artists, both nurtured by the dream world and its imaginal colors and sacred words, have joined to produce a single work of rare quality. More that a collaboration this work is a journey into the power of the unconscious depth of word and image, in which master painter and poet present verbal and visual displays of agony and joy, destruction and falling, love and dying.

This project has taken ten years to produce, from the first poems that emerged from Rodger Kamenetz’ encounter with dreamwork to three years of gestation as Michael Hafftka internalized the poems and reconstituted them in images that serve as imaginative midrash, annotation, anticipation and anti-illustration. The drawings offer brilliant first readings of the poems without limiting their scope, and it is equally possible to read the poems as reflections and interpretations of the drawings. The brilliant design of Andrew Shurtz allows the reader to move between worlds of poetry and painting, without losing trace of either one.


Advanced praise for this new work has been overwhelming. Poet and art critic David Shapirohails Kamenetz as “one of the secret best poets in America” and finds in his work “the fire in the heart of the great transcendental Romantics.” Turning his eye to Hafftka’s”fabulous anti-illustrations” he compares the artist to Soutine and Bacon and finds him “a humanist in the line of Walter Benjamin, Hannah Arendt and Meyer Shapiro.”
John Yau, another greatly accomplished poet and art critic, says that Kamenetz has sent us poems that “are mysterious and open- both parable and their opposite, anti-parable”, while Hafftka “with pen and ink” “registers the turmoil of being afflicting the inhabitants of the strange world called Now. ” Together, Yau writes, poet and artist have “achieved the miraculous.”