The thirteen poems penned by screenwriter/director Ed Wood during his lifetime will not be found in the Ed Wood, Jr. Collection at Cornell University. Cornell is home to the original draft of Wood’s screenplay “Grave Robbers from Outer Space” (released in 1959 as Plan 9 from Outer Space), as well as his rare novels Killer in Drag (1965), Death of a Transvestite (1967), and others.
There is not, however, a single shred of Wood’s poetry. The only evidence that “the world’s worst filmmaker” was also a poet of equivalent talent are several dozen rejection letters, including one from The New Yorker for a poem entitled “shreik” [sic].
According to Kathy O’Hara (Wood’s second wife), the poet renounced his efforts as “pure crap” in 1968, and buried his thirteen unpublished works at the La Brea Tar Pits. A few days later, O’Hara attempted to retrieve the poems, but they had vanished from the unmarked grave. Wood subsequently coined the term “poesy-snatchers” to explain what had happened to his missing body of work.
Nearly 30 years later the poems were discovered inside an abandoned flying saucer that landed in New Jersey.
A small independent publisher in Coronado, California (HOB Press) purchased the poems and published a “private edition” under the title The Selected Poems of Edward D. Wood, Jr.—a misnomer since the chapbook contained all thirteen, constituting Wood’s collected poems.
Black Scat Books is proud to present these lost odes in a glowing, unexpurgated limited edition. We have erred on the side of caution and retained the original title for—who knows?—perhaps the bard will revisit our planet and pick up his pen.
Indeed, we can imagine him climbing out of his spaceship and barking: “Take me to your reader!”
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Each line that Judson Hamilton invents carbonates your imagination to the point where your brain spills over in a waterfall of fizzy synapses.”
—Carl Annarummo, Greying Ghost Press
The Count of Monty Christo meets Monty Python in this wickedly funny experimental novella. Will Morel and Valentine usurp their respective masters in time for a happy ending? Judson Hamilton‘s tale of class struggle appropriates the language of 19th century literature and turns it against itself. Rad, indeed!
Available in a limited print edition of 150 copies as well as a digital version