Kate Greenstreet is the author of case sensitive (Ahsahta Press, 2006) and three chapbooks, Learning the Language (Etherdome Press, 2005), Rushes (above/ground press, 2007), and This is why I hurt you (Lame House Press, forthcoming). Statues, a Big Game Books tinyside, was available briefly in 2006. Last March, Flash+Card published In Paradise there is no art, a boxed set of 12 notecards (fragments of writing & art). Greenstreet's poems have appeared most recently in Absent, Cannibal, Dusie, Fascicle, and KELR. New work is forthcoming in Handsome, The Literary Review, and Wildlife. Her second book, The Last 4 Things, will be out from Ahsahta in 2009.

Other poems by Kate Greenstreet in Verse Daily:
December 13, 2005:   "Pupil" " A genius! they say...."

Books by Kate Greenstreet: case sensitive

Other poems on the web by Kate Greenstreet:
"Conviction"
"safe home"
"Clearing"
"Dusting for Prints"
Three poems

Kate Greenstreet's Home Page.

Kate Greenstreet's Blog.

About case sensitive:

"A life lived at the peripheries is partially cut open into tiny chapters that are then tugged off-camera between erasure and restoration, as an unexplained house awaits its occupant on the opposite coast. This book collects that distance through which the driver-writer hears her own randomness speak, en route, with explicit acuity and fragmented instruction, as if narrated via a brain-fever collage of loving/warning mentors—M. Curie, Modersohn-Becker, and L. Niedecker, for a start. Entering and underscoring these fugal compressions is the ‘lower limit’ of an ongoing mystery story vernacularized through her car’s CD speakers. The result is a poem intrigue of the highest order. Greenstreet has made a brilliant beginning with this first book."
—Kathleen Fraser

"A beautiful dwelling of ideas. case sensitive suggests that there need be no divide between the associative connections of poetry and the extended thinking of the essay. This is a book full of luminous footnotes, details, and attentive readings. It strings together a series of moments to create something resonate, large, and inclusive."
—Juliana Spahr

"Greenstreet’s case sensitive unfolds the ‘begin asking’ that is possibility’s scaffolding, poetry’s too. Resisting the order of story that ‘has to leave out nearly everything,’ she enacts, line by line, narrative’s capacity for synesthesia, for alerting one neuron by touching utterly another, for multiplicity. Greenstreet notices that totality ends, and starts, and its claim is thus false. ‘So much we say to one another isn’t true—it’s just the way it comes out, so we need to be forgiving.’ In the ‘spontaneous luminosity’ of her materials—just words—Greenstreet frays a way through, to where all that stands between need and forgiveness is being’s quiet insistence, simply this: ‘to be."
—Erín Moure