Note: The two of us will be shuttering this website on 25 July 2015. Derek Pollard has already launched a new site. Information about Derek Henderson's new site will be available on his Facebook wall and elsewhere in the coming months. 


Please scroll down to view more information about Inconsequentia, Thus &, and Songs.



Inconsequentia is available at BlazeVox; at, in both print and Kindle versions; at Barnes & Noble; and at Small Press Distribution. The book is also available for sale at St. Mark's Bookshop in Manhattan; at The Raven Book Store in Lawrence, Kansas; at The King's English Bookshop and at Weller Book Works in Salt Lake City; and at other independent bookstores across the United States.  



Thus &

Derek Henderson's second collection Thus & is available for sale online at If P Then Q.

Ted Berrigan’s seminal The Sonnets is renowned for its famous use of cut up technique and reconfiguration throughout the sequence. Derek Henderson’s erasure Thus & eliminates all words and typographical duplications. In addition to the strikingly beautiful, often minimalist, sonnets created by Henderson, Thus & asks new questions of each Berrigan sonnet and the sequence as a whole. Thus & reveals (conceals) not only the clusters of phrases/lines that were cloned by Berrigan but also words which he repeated; many obviously subconsciously. What is left in Thus & is part skeleton, and underbelly, of maître-sonneteer Berrigan’s The Sonnets and part alien remix by techno-magician Derek Henderson. - James Davies



The poems in Derek Henderson’s Songs are “translations” of a film cycle of the same name, shot by American filmmaker Stan Brakhage (1933-2003) to document his and his family’s life in Colorado in the mid-1960s. Where Brakhage’s films provide a subjective visual record of his experience bewildered by the eye, these poems let language bewilder the space a reader enters through the ear. Henderson tenders the visual experience of Brakhage’s films—films of the domestic and the wild, the private and political, the local and global—into language that insists on the ultimate incapacity of language—or of image—to fully document the comfort and the violence of intimacy. Songs expresses the ecstasy we so often experience in the company of family, but it just as urgently attests to ecstasy’s turbulent threat to family’s stability. Like Brakhage’s films, Henderson’s poems carry across into language and find family in every moment, even the broken ones, all of them abounding in hope.



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