Bibliography

• the butterflies and the burnings (2009, dusie press)
• correspondence with nobody (2008, ellectrique press)
• memory's morning (2008, Shearsman Books)
• hairpin loop (2007, Bright Hill Press)
• worked on screen (2005, Poetry Salzburg)
• that those lips had language (2005, Plan B Press)
• from eternity to personal pronoun (2005, Heliotrope)
• the blue pearl (2003, Salt Publishing)
• sand.soda.lime (2002, Broken Boulder Press)

Poems published in among others: Tears in the Fence (2010/2007); Cambridge Literary Review (2010); Word For/Word 16 (2010); Infinite Difference: Other Poetries from U.K. Women Poets, ed. Carrie Etter (2010, Shearsman Books); Salt Magazine Issue 2 (2009); The Copenhagen Review (2009); dusie Issue 6 (2009); Denver Quarterly 42(4) (2008); Interim vol. 24 (2006); Descant 135 (2006); The Argotist Online (2006); Notre Dame Review 20 (2005); Colorado Review 31(1) (2004)

Read until
           impromptu
         never extenuates selfing
reads each disturbing phrases as
    nominal dandelions              unherbing
 eternal spaces

clearings of night fumblings of noon
                dust unembraceably
      embraces something
a voice enploring
                                          consequences

levantined
                          echo
swirls attributes bearing light's
                                       erosions
glassworded resplinterings
              irritate snow

caresses edges
       nothing-
  dreaming
-repertoired edges

vocabularies resinate among
              interpretensions
relaxing eyes find us greeting

         errers.

'These poems also seem to shimmer on a border. The poems are liminal and have the brightness and evanescence of dreamed material intermingled with something nominally more solid — daily life. The works notate various parts of daily life — work life, literary life, relational life. The texts seem to want to make a third space, a third way, a third "stanza" or room in which materials kept apart (job/personal life; dream waking; fantasy/reality) are fused together. This might be the reason for the invention of a multiple-volta "sonnet"; in all these works, Blonstein communicates a sense of "between" — an evanescent, mobile space in time, fixed only temporarily by holding these works on the page.' --Rachel Blau DuPlessis, In the Wunderkammer, Word for/Word 16 (2010)

'The project is heir to Benjamin's "Theses on the History of Philosophy," capturing the courage and intelligence of history's forgotten ones, rendering them anew, under the aegis of a Jewish woman's language experiments. This is a fascinating and, for many of us, compelling development in contemporary poetry and deserves far richer exegetical attention than a book review can provide: this work deserves its own notarikon process to justly embed it anew in an analytic chrysalis of syllables and contexts, such as the one in which it has embedded at least this reader.' --Maria Damon, Cathedral / palimpsest, Jacket 28, 2009