Gospel of Regicide

Eunsong Kim

Eunsong Kim’s debut is stunning, a necessarily traitorous rebuke of the systems and hierarchies that strangle. Replete with a webbing of Judas Escariot, the economics of raced and gendered performances that shape non-white experiences within the staging of capitalism—it is “the story of money,” of debts; the story of lies that are the “only foundation;” the story of how to be a non-white body in white spaces is to be a “them”; a plotting that is a living, breathing, and subjective body—a body that experiences a world that builds them out of it. Gospel of Regicide is satisfyingly unapologetic in its propositions for alternate futures, histories, and homes. In this regicide, home is only safe when and where the king has been deposed. You must read this book. When Kim states that “Traitors are more prepared than you are,” you will shiver to think of what side you’re actually on.

Lillian-Yvonne Bertram

In Gospel of Regicide, Eunsong Kim develops a thrilling method for unwriting lyric even as she reimagines it, creating a socially engaged poetry of and for our time. Anticapitalist, feminist and anti-racist yet critical of non-intersectional understandings of identity and selfhood, she is unafraid of drawing the sacred from the pedestrian, and unbeholden to whiteness as foundation. These poems, mutable in form and style, yet cohesive in their vision, suggest a complex and different order allowing us to “complete the story.”  Kim kills the king, and blesses us with a superlative collection as a result.

John Keene

Near the start of Gospel of Regicide, Eunsong Kim writes: “i hate everything about your presence.”  It’s a turn in the work that ruptures the phatic communion between vocal, inhibited and non-maternal participants: the agreed-upon exchange of what is uttered and then named.  It’s not simply, in this instant, that a colonial  self splits off, but also, that the economic category of compensation has reached its limits.  Ardor, aversion and courage are all present in this line, a charge which carries this much longed-for book by a writer who has been dazzling me since I first heard her present an incredible talk, Rogue Count, at a conference on race and creative writing in Spring 2015.

I also want to note the experience of narrative time in this extraordinary work: the “stories that do not remember them.”  Here, story itself becomes the very place that works against nostalgia, autobiography, the reification of memory in all its forms. Instead, Kim writes the void-pivot of “a plot without faith.” By evoking a space that can’t be catalogued or recuperated by conventional means, Kim is able to develop her work in the axial space of duration, performance and the extreme poetry that accompanies the “revisions” [deletions, mutations] of both these scripts. 

Gospel of Regicide is a brilliant book.  I want to start a trans-global book club to think about it more.  Would you like to join?

Bhanu Kapil

Eunsong Kim is an Assistant Professor in the English Department at Northeastern University. Her essays on literature, digital cultures, and art criticism have appeared and are forthcoming in: Journal of Critical Library and Information Studies, Scapegoat, Lateral, The New Inquiry, Model View Culture and in the book anthologies, Poetics of Social Engagement, and Reading Modernism with Machines. Her poetry has been published in: Brooklyn Magazine, West Branch, Denver Quarterly, Seattle Review, Feral Feminisms, Minnesota Review, Interim, Iowa Review amongst others. In 2015 Flying Object published the first set of her pamphlet series, Copy Paper: Ream 1She was awarded Yale University’s Poynter Fellowship in 2016 and was the recipient of a 2015 Andy Warhol Foundation Arts Writers Grant for the arts forum contemptorary, which she co-founded and co-edits.

Reviews and News

2017 Winners of the Noemi Press Book Award for Poetry

The editors of Noemi Press are excited to announce the winners and finalists for the 2017 Noemi Press Book Award in Poetry.

Winner: UNMANNED by Jessica Rae Bergamino

We will be also publishing Inland Empire by Leah Huizar


Orient by Nicholas Gulig

Ochre/Orpheus by Meredith Stricker

Bodega by Su Hwang

STET by Dora Malech

We Are Too Big for This House by Sara Borias

2016 Winners of the Noemi Press Book Award for Poetry

The editors of Noemi Press are excited to announce the winners, finalists, and semi finalists for the 2016 Noemi Press Book Award in Poetry.

Winner: Indictus by Natalie Eilbert

Finalist: Careen by Grace Shuyi Liew

We will be also publishing Gentry!fication: or the scene of the crime by Chaun Webster and A Problem and Some Space by Hannah Ensor


The Devil’s Workshop by Xavier Cavazos

Hagia Animalia by Sara Biggs Chaney

Medusa Reads La Negra’s Palm by Elizabeth Acevedo

The Leaving Impulse by Rachel Martin

Manipur by Robin McLachlen

The Historians of Redundant Moments: Novel in Poems by Nandini Dhar

Northern Ledger by Kate Partridge

Probable Garden by Bronwen Tate

Saints and Cannibals by Robert Lunday

Winter Swimmers by Carolyn DeCarlo

Woman, Yielding by Andrea Blancas Beltran

un/documented—kentucky—songs by Steven Alvarez

2015 Winners of the Noemi Press Book Award for Poetry

The editors of Noemi Press are excited to announce the winners, finalists, and semi finalists for the 2015 Noemi Press Book Award in Poetry. We received about 400 poetry submissions this year and thank all the writers who submitted for trusting us with their work.


Bone Confetti by Muriel Leung



Natality by E. G. Means

MOUTHS by Claire Marie Stancek


We will also be publishing finalist Vanessa Villarreal’s manuscript Beast Meridian in the Akrilica series.


Poetry Semifinalists

They Go In Pairs by Samuel Ace

Arcadia, Indiana (a tragedy) by Toby Altman

You Can Take It Out by Cheryl Clark Vermeulen

Red of Split Water-A Burial Rite by Lisa Donovan

Century Worm by Todd Fredson

Actual Echo by Matthew Mahaney

A Turkish Dictionary by Andrew Wessels

Review of Between Grammars at Entropy

Vogel describes her early experiences of reading and writing as “a bridging between [her] voice and [her] body,” as a kind of communion. “Language slowed the world for me,” she recalls, “it gave me a sense of tactility, a skin to encase my thinking.” Vogel’s visceral experience of language is palpable in Between Grammars; there is a sense of tactility ever-present. Beyond the philosophical exploration, reading this book is as much a sensory experience as an intellectual one, the text shot through with light, sound, and touch.


Read the rest at Entropy.

Rain Taxi review of The Ghost In Us Was Multiplying

Armendinger is a master at using fragmented language with precise purpose. His poems experiment with language and form—this collection includes a poem delivered in the form of an instant messenger conversation, and a poem placed as a footnote within another poem—but never read as mere avant-garde posturing. Instead, Armendinger again and again finds new ways to use defamiliarized language to access the unsayable.

It’s a rare and wonderful thing to find a poet who can so powerfully, vividly, and gracefully engage with the problems of language and the world. The Ghost In Us Was Multiplying is a vital book: experimental, substantial, fragmented, unified, unsettled, and unsettling, Armendinger’s work is key reading for all those who care about what our broken words can do.

Read the rest at Rain Taxi.

Cleaver Magazine reviews Change Machine

Change Machine Book CoverJ. G. McClure reviewed Bruce Covey’s Change Machine for Cleaver Magazine:

Think about the change machine outside your car wash: you put in a dollar, the machine spits out coins. Not a neat bundle, but a jangling tray-full. Now think of William Carlos Williams: “A poem is a machine made of words.”Now give William Carlos Williams superpowers and have him beat the hell out of the car wash while musing on Pokémon, Barthes, and metapoetics, and you’ve got a sense of Bruce Covey’s Change Machine.

Read the full review at Cleaver Magazine 

$15 Paperback | Published 2017
ISBN-13 978-1-934819-69-2