Ryan B. Richey’s archived record includes Five Poems, from baby, and the collaborative from Hannis Pannis with Chris Lin. The thirty-third installment preserves Five Poems at title level. The canonical record also preserves from baby as a documented title. The thirty-seventh installment supplies the full surviving text of from Hannis Pannis, a long sequence built from persona, performance, music, visual art, popular culture, travel plans, apologies, jokes, remembered scenes, and the unstable life of an invented band.
Five Poems
Five Poems establishes a serial frame. The surviving source confirms Richey’s authorship, the collective title, and its place in the thirty-third installment. The individual poems are absent from that record. The group title gives the contribution a clear architecture based on plurality and sequence.
Readers exploring poetic forms can treat such grouping as part of presentation. A set of five creates an ordered field in which separate works share one publication space.
From baby
The title from baby introduces another kind of frame. The word “from” marks the piece as an extract from a larger work, while “baby” supplies the named source. The surviving canonical record supports the title itself. Its poem body is unavailable in the current source set, so interpretation remains centered on the documented fragmentary presentation.
Within poetry, an excerpt title can make incompleteness part of the reading experience. It identifies a visible section as one portion of a wider composition.
Hannis Pannis with Chris Lin
from Hannis Pannis is credited jointly to Ryan B. Richey and Chris Lin. The surviving text develops Hannis Pannis as a performative persona surrounded by band mythology, gallery events, karaoke, travel, managers, friends, songs, visual art, and comic failure. The sequence moves through compact titled sections such as Pannis, Sega Genesis, Wet Pillows, All Veg, Gallery Uno, Hall and Oates, and Movie.
This shared composition belongs naturally beside experimental poetry that uses collaboration, persona, collage, anecdote, and performance culture as compositional materials.
Music, art, and pop culture
The collaboration is saturated with cultural references. Swedish dance-pop, talk radio, Michael J. Fox in Back to the Future, Elvis impersonation, MySpace, Queen, Donovan, Hall & Oates, karaoke, ukulele playing, gallery performance, and art-school settings enter the sequence as parts of everyday identity. These references create a social world where artistic ambition and comic self-invention continually overlap.
Readers exploring modern poetry can follow how the sequence absorbs media and performance into literary narrative. Songs, films, websites, exhibitions, and remembered conversations become part of its vocabulary.
Apology and shared life
One later section turns toward a postponed Indiana performance and an extended apology to Hannis. Scheduling, food, sleeplessness, unanswered calls, friendship, advice, and the promise of karaoke give the invented artistic world a recognizable emotional center. The project’s comedy sits beside genuine attachment and frustration.
The sectional design gives readers interested in contemporary poets a strong example of small-press collaboration shaped by performance, friendship, popular culture, and shared artistic mythology.
Reading Ryan B. Richey
Richey’s archived record moves across three distinct scales: a five-poem group, an excerpt from a larger work, and a substantial collaboration with Chris Lin. The full text of from Hannis Pannis provides the richest surviving evidence, revealing a practice comfortable with collage, persona, jokes, music, gallery culture, anecdote, and collective invention. The other titles preserve additional points in Richey’s publication history and widen the formal range of the record.