Kirjahaku

This is the third book in David C. McLean's first trilogy of poems for Emma. McLean worships Emma, & regards her as his goddess & muse. He has never written better, & he is pretty sure that she is the best muse ever. One can see how, during the writing of this book, McLean suffered a form of nervous breakdown, but that the strength of his feelings for Emma pulled him back together, reassembled his membra disjecta. Love did that. Love heals. Additional themes, as so often, are posthumanism, antinatalism, animals, Lyotard & libidinal economy, & love always, sex & love. The title is, obviously enough, inspired by a song by the Sisters of Mercy. This book is published by POSTHUMAN POETRY & PROSE.

This is the fourth book in the "poems for Emma" series. It is love poetry, but also songs of praise to the fire & the goddess. This book contains poems with epigraphs drawn from the marvelous books of Tanya Rakh, to whom McLean is indebted for inspiration. McLean is also heavily indebted to Emma for being his perfect muse.

This is the latest book in McLean's series about aspects of goddess, & Lamast is, together with Maa Kali & Tiamat, one of the three aspects that he regards as most primal. The next will probably be about Tiamat. As always there is a lengthy prose introduction before the poems. The depiction of Lamast in popular fiction & films for the great unwashed is as offensive as the scurrilous lies told about Lilītu by the devotees of the patriarchal "gods". But Lamast is a primal Mesopotamian goddess who was seen as being tasked with curbing human hubris. McLean sees Her as the form of Dark Mother most suited to the modern age, when population needs to be controlled & humanism & human narcissism need to be stamped out.

This book extends McLean's series about goddess to include Lilītu & Lamast , & removes Lilītu completely from the fictional image of Her as a creature of the patriarchal god. She is a black moon Kali & a central aspect of Dark Mother. Seeing Lilītu as a demon is not seeing Her in Her full bipolar divinity as goddess, with Her benevolent & "malevolent" aspects incorporated. If we cannot accept the spicy aspects of goddess, then we do not deserve Her incalculable bounty.

This book continues McLean's series about Kali Maa & the Mahavidyas & is about Lalita or Shodashi, the third Mahavidya. The poems are preceded by a lengthy & controversial introduction, where McLean discusses goddess; the selective Nietzschean eternal return as a template for reincarnation; Kali & temporality; the imaginary ego; spirituality & narcissism; the narcissistic nature of the guru phenomenon; intensity & incommensurability; the patriarchy & fratriarchy; & the colonialism to which the tribal peoples in India are subjected. The cover image is the Sri Yantra.

This book by David C. McLean is a complement to the series that he is writing on Kali Maa & the Mahavidyas. It contains an introduction that relates Durga to Kali, & describes the contrast between the demands of commensurability & intensity, between chaos & order, & between goddess & patriarchal oppression. McLean argues that the only fundamental wrong is narcissism, & describes the selective eternal return in Deleuzian terms so the ego is excluded, only the partial & fragmentary gets to be born again, only that which is incomplete & process.

This book is the first about Kali Maa & the Mahavidyas that McLean has written. This is what he proposes to write about in the future. The book includes a 45 page introduction in which McLean relates the Divine Mother to posthuman themes. There will no full manifesto on the basis of this but the ideas will be developed in later books.. The cover image is Kali's yantra.

This is the third collection of poems by McLean since his return to the UK in February of 2022. In this book is a new version of the Posthuman Poetry manifesto. The themes of posthumanism, beast, Lyotard, Deleuze & Guattari, the goddess Tiamat, Somerest, nature, Nietzsche, Derrida's poetics, a sense of beauty amid the emptiness of life, anarchy, chaos versus order, & indeterminacy, are repeated in the poems. His gratitude to the friend who basically saved his life, the preeminent bunny, &, of course, his beloved muse, Emma, are the prime movers. &, naturally, worship of Tiamat.

This book is the first written since McLean returned to England in 2022, & follows a series of books of love poetry. As such, it shows an attempt to reorient to a life that is meaningful because of earth, nature, beast, & goddess, without any focus for the sexuality with which the flesh, as such, is instinct, & without any sense of social connection. The intensity differs thereby in its focus, though some themes are retained. These are poems about living on, & trusting in the goddess to give the fire & the words one needs to live & feel.

too little beast: too much human ii is David C. McLean's expansion & revision of his chapbook from Black Editions Press, too much human. The manifesto in the introduction has been rewritten to extend it from antinatalism to also include posthumanism. This extension was provoked by his growing dislike for humans & their goddam ideology, & his worship of another non-human, the love of his life, the wonderful Emma, McLean's brilliant muse & inspiration. This revision constitutes what is probably the last poetry book by McLean that will not be part of the poems for Emma series.

This is a novel that became an anti-novel. It quotes extensively from Lyotard, Artaud, Nietzsche, & Burton's "The Anatomy of Melancholy". It explores the posthuman, antinatalism, overpopulation, & ecology. It is primarily an attempt by the author to identify his love for his muse, Emma, in the form of a bizarre prose poem that grew into a bizarre novel. Sacher-Masoch & St. Augustine of Hippo are sampled in & cited, with footnotes & everything. Deleuze & Guattari with their becoming-animal are featured as well, at some length.