Poetry. Fiction. SOUND/HAMMER resides at the interface of poetry and prose. The first half of the book, "Sound," yields poems that question, and explore, the division between poetry and prose. Some poems embark on narrative flights; others are insistent in letting music trump plot. "Hammer" lets prose do the work. Some stories unfold simple, and just happen. Other stories demand attention to their music, with a few stories evolving into a condition where the music is the story. SOUND/HAMMER tries to bring halves into a whole, to follow diverse yet unified thread, to knit rough seams together invisibly, to be targeted by exploding into multi- directional arrays, to opt for rubbing out the straight lines and shifting focus into the mind's eye.