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Nonstop Pop
Becca Klaver

April 2013
Chapbook, Limited edition
5.5 x 5.5, 36 pages
Full color 80 lb. cover
Natural white interior
Hand sewn


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Nonstop Pop is the third chapbook in the 2012-2013 series from Bloof Books. Each chapbook in the series will be released in a limited edition of one hundred numbered copies, followed by a digital release.

Klaver samples movie dialogue, invents new lyrics for her favorite band, recalls a blog post by Eileen Myles, rewrites the dictionary a few times, plays Slip 'N Slide with America, cheekily appropriates testimonials for a popular self-help book, and expresses a few feelings by way of their equivalent b®and names for maximal market penetration in these 22 pop-influenced poems.

New, Not Blue

Today the sun is too bright

to know the moon

so I look it up on my calculatorcat

my automated phase display

my e-modulated moon

my interwebbed sky

and the moon is zero percent of full

zero percent of full

and I think

what an optimistic little moon phase

not empty

a bright and shiny moon wrapped in cellophane

not new

give that moon a pretty little bow

zero percent of full

zero percent of full


The design concept of Nonstop Pop is reminscent of a pop album or CD, in a square shape, with full-color ink jet cover and a snippet of the lyrics on the back. The run of 100 copies are hand-sewn in natural twine.

Becca Klaver is the author of the poetry collection LA Liminal (Kore Press, 2010) and several chapbooks. She is a PhD student in English at Rutgers University and lives in Brooklyn, NY. For more information, visit her blog Pomo Expo.


More sample poems from Nonstop Pop may be found in Eleven Eleven.

Praise for Becca Klaver

Becca Klaver's L.A. Liminal (Kore Press) is another first book that illuminates—"a star show: hip, lit, and hallowed." Read these poems for new insight into Los Angeles, our spectacularly illusory city—by a young poet with incorrigible energy and brilliance.

Huffington Post, Carol Muske-Dukes

[LA Liminal] is a smart and obsessed poetry, a long meditation on a city unreal. Even with details of film school and smoking cigarettes on the balcony of her apartment, Klaver knows her own memories are abstractions. In "How to Abstract A Place," she instructs, "Never go back," and while the old saying, you can't go home again, is always in the background, Klaver faces it head on in one of the prose pieces: 'You can't go home again, but I did and I refused to listen, so that certain things were taken from me, or I made certain sacrifices. There seems to be a distinction there, but the results are the same. You can always come back, but you can't come back all the way.'

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