Scott’s debut chapbook, A Black Wave Cometh, was released in 2015 through Dink Press. His second chapbook, Songs of a Dissident, was published in 2015 through Transcendent Zero Press. His third chapbook, Chaos Songs, was published in 2016 through Weasel Press. A full-length collection, Poison in Paradise, was released in 2017 through Alien Buddha Press.
Scott hosts the site 17Numa.wordpress.com where links to his published poetry, fiction, essays, interviews, reviews, live performances, and books can be found. The site also features resource pages for other artists and writers, one of which includes a list of links to hundreds of literary magazines, journals, blogs, and indie zines.
Scott Thomas Outlar
Outlar’s tone from the beginning is angry and righteous, as it should be; there is lots in this world to be angry about. His brilliant use of metaphor dipped in an almost sacramental fury keeps the reader on their seat. Outlar utilizes verse as a way of demystifying the so called, “News” spouted by the News Industrial Complex and its benefactors. Outlar is a true visionary and dare I say, Revolutionary. This book should be read by everyone. The establishment is not safe with Scott Thomas Outlar around, and I like it. – from a review about Songs of a Dissident.
– Adam Levon Brown, poet; owner of Madness Muse Press
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Building a reputation of a young dissident through his widely-published poems, Scott challenges the lies and questions the official version with the probity of a seasoned lawyer or journalist. Very few poets these days do this job of a compassionate dissident, critical of the power structures and other dominants. The State, of course, is wary of such a hatchet job. But Scott does not care; he willfully takes on the system in his poetry. His sole concern is revealing the truth behind government-speak and deceptions being circulated in the name of administration and governance, supported by the mass media.
– Sunil Sharma, poet; editor at Episteme and Setu Magazine
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There’s a lot of poetry out there, and most don’t know when to actually stop; that don't really understand what it means to get your point into a few short bursts of inspiration. When you’re writing poetry, being concise is really key. Scott’s collection is a great example of what it means to attack readers with tight and gut-punching lines, twisting our experiences and spitting us back out when it’s finished. It’s a great ride, and one that was thoroughly enjoyed. – from a review about A Black Wave Cometh.
– Weasel Patterson, poet; owner of Weasel Press
Scott Thomas Outlar writes with lightning in his fingertips and his words blaze across the page into one's heart! He is one of my favorite poets.
– Stephen Jarrell Williams, poet; editor at Dead Snakes
Scott began submitting his work in 2014, and since that time over 1,300 of his poems have appeared in more than 270 different print and/or online publications. His first published poem appeared in the political newsletter Dissident Voice; he has continued to contribute a weekly piece to the site’s Sunday Poetry Page ever since.
Scott’s work was nominated for Best of the Net in 2015 by The Mind[less] Muse. He was a semi-finalist in Yellow Chair Review’s 2015 chapbook contest. He was a runner-up in Revolution John’s 2015 Highlander Fiction contest. His work was long-listed in the 2016 erbacce prize for poetry. He has won poetry contests in Cultured Vultures, Nibstears, and Yellow Chair Review. He received three Pushcart Prize nominations for his work in 2016.
We live in a world of man-made realities and hypocrisy, but Scott Thomas Outlar slices right through the viscera to the bone of these falsehoods. Nobody is safe from his scathing poetic machine gun as he mows down everything from the more prominent hypocrisies to the regular Joe who does no thinking of his own while living in a world of pure materialism.
– Heath Brougher, poet; editor at Five 2 One Magazine; author of A Curmudgeon Is Born
Scott Thomas Outlar spends the hours flowing and fluxing with the ever-changing currents of the Tao River while laughing at and/or weeping over life’s existential nature. What that means, essentially, is that he lives a simple life in the suburbs outside Atlanta, Georgia where he enjoys reading, writing, taking meditative walks, feasting, fasting, performing his poetry at different events, and doing whatever else he can possibly think of to remain in a constant state of impassioned inspiration.
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The poems are tensile heightening poetic tension and human consciousness. There is anthropological awareness (frequent references to DNA). In fact the entire body of the work deals with a human consciousness, subsumed by god desire. The poems move from a narrative or markedly prose style to short crisp poetic utterances. There are references to a materialistic, insensitive culture, but overcoming all these is the light at the end of the tunnel. The constant interplay between light and darkness, the turning to inwards regarding Man, God, and Life make these poems dense if not esoteric. The rhythmic pattern is present even in the poems which are stylistically or apparently marked as prose, investing these poems with labyrinths of meaning. There is heady consciousness, somersaulting and life giving exultation at the end of the poems. The allusions to different religions or philosophical beliefs such as Karma, Taoism, Jainism give to the poems a pronounced predilection towards exploring different or others' faiths. The deeply woven texture of the poems and their intricacies show how poetry is a subtle art with deft handling of content and form. Some poems are cloud bursts in sunny weather, and there is the question whether the latter condition will be returned to or not.
– Ananya S. Guha, poet; professor; editor at The Thumb Print Magazine and The Peregrine Muse