for your dark-wild powers, Willem' is one of the few collections that appeared first as a POD and then as a regular edition. And although Benders had also generously sent his own publication to newspapers and magazines, these indeed turned out to be impressed by the collection only after it appeared with a regular publisher, because all the reviews above except Komrij are from the regular publication. Stubbing Out a Nightingale on a Cigarette Berlin publisher Vlak published an English-language collection that Benders had co-composed with American poet Dale Houstman, a poet he knew from the alt.arts.poetry.comments newsgroup. Concept of the collection was a seemingly endless foreword by Houstman that provided the collection with a hostile Takeover - at the same time, Benders enlisted the website Fiverr.com to have all kinds of Americans attack prominent American poets through a promotional video via a rap. That a White European could buy coloured Americans for $5 to attack White American Poets was, according to Benders, a textbook example of the "laziness" preached by Kenneth Goldsmith as a method of achieving poetry. The essential Martinus Benders Publishing house Stanza, run by experimental poet Ton van 't Hof published The Essential Martinus Benders. However, Benders submitted only new poems written in a week to symbolise that, as far as he is concerned, the essential lies in working itself. The collection includes a retranslation of a song by Georges Brassens, Supplique pour être enterré à la plage de Sète. The Book of the Dead Owls In 2015, Benders published a personal anthology featuring the work of a variety of international poets he admires called Book of the Dead Owls. The work and his translation evoked enthusiastic responses including from Menno Wigman, who travelled from Amsterdam to camping de Zwarte Bergen to recite the poem by Czesław Miłosz A confession in the caravan at a party on 11 September 2017.(5) Sauseschritt A voluminous volume with a book of poetry inside that you have to read with a magnifying glass. The title comes from a playful German pop song by the formation DÖF, and the collection includes translations of two European masterpieces: The Dead House by Yannis Ritsos, and The Boy Who Turned into a Deer Screams Through the Secret Gate by Hungarian poet Ferenc Juhász. As if an angel played with it, Juhasz died the same year. Most of the literary discussion provoked by this 220-page