Noah Eli Gordon is the author of six collections, Novel Pictorial Noise (selected by John Ashbery for the National Poetry Series), Figures for a Darkroom Voice (in collaboration with poet Joshua Marie Wilkinson and artist Noah Saterstrom), A Fiddle Pulled from the Throat of a Sparrow, Inbox, The Area of Sound Called the Subtone, and The Frequencies. His reviews and essays have appeared in numerous publications, including: Review of Contemporary Fiction, The Denver Quarterly, Jacket, The Poetry Project Newsletter, Talisman, and the book Burning Interiors: David Shapiro's Poetry and Poetics. He writes a column on chapbooks for Rain Taxi and teaches at the University of Colorado at Denver.

These poems first appeared in: Columbia Poetry Review, English Language Notes, The Modern Review, Web Conjunctions and Zoland Poetry.

This collection is mostly serial prose poems (8 to 10 pieces in length) written in gramatically correct bonifide post new sentence sentences without funny animals or inanimate objects that talk like most American poeteasters have inflicted upon us through a thin vaneer of unsubstantiated surrealism. As an example of a non-prose poem, and to ruin the ending, here is the last poem.

An Acoustic Experience

Inoculate with ones & zeros the sound of the human voice

You have a computer's unrequited compassion & I, the outline of an ostrich torn in half, tacked to a pixilated heart

The perfect companion's a photograph of sand

Unexpanding, elegant universe something something something the end