Featuring Daniele Bellomi, Louise Black, Gabriel Blackwell, James Brubaker, Mauro Javier Cardenas, Ryan Chang, Erin Fleming, Tristan Foster, Michaela Freeman, Róbert Gál, Evelyn Hampton, Anton Ivanov, M Kitchell, Sam Kriss, Emily Laskin, Robert Lunday, Stéphane Mallarmé, Nicola Masciandaro, Elizabeth Mikesch, Rebecca Norton, Yarrow Paisley, Andrei Platonov, Alina Popa, Tom Regel, Forrest Roth, Jacob Siefring, George Szirtes, Colin James Torre, Chaulky White

Vestiges_00 : Beauty As an Experience of the Limit: Ex-Stasis

George Szirtes

Nicola Masciandaro

stephane-mallarme

Andrei Platonov

Róbert Gál

M Kitchell

Evelyn Hampton

Elizabeth Mikesch

Forrest Roth

Black Sun Lit

Poetry. Literary Nonfiction. Self- reflective, discursive, and painfully studied, GNOME is a poetic and phenomenological excavation of shadows; the tragicomic dimensions of our inner curiosities and longings that wait pensively to be ruptured into epiphany. Employing a language that devises to question the renegade forces of experience that the soul must both adorn and endure, Lunday confronts the unstable yet tempting relationship between expression and proof, memory and personal reality. Invoking physiological positions from figures ranging from Georges Bataille and Max Picard to Kobo Abe and Elaine Scarry, GNOME is a monologue of mad reveries that endeavors to develop its own impression of love and death, proving that the surfaces we encounter are the materialization of the endless depths at our disposal.

Gnome

Literature & Fiction

Lunday, Robert

Poetry

Featuring Lindsay Remee Ahl, Alexis Almeida, Gabriel Blackwell, Andrew Cantrell, Andrei Codrescu, Iris Cushing, Susan Daitch, S. C. Delaney, Lou Pam Dick, Ted Dodson, Derick Dupre, Adam Greenberg, Tsipi Keller, Jonathan Larson, Tony Mancus, Adam McOmber, Greg Mulcahy, Vi Khi Nao, Geoffrey Olsen, Daniel Owen, Alexis Pope, Daniel Poppick, Agnès Potier, Victor Segalen, Steven Seidenberg, Kyra Simone, Erin Slaughter, Jordan A. Y. Smith, Laurie Stone, Michel Vachey, Nagae Yūki, Marina Yuszczuk

Vestiges_03: Mimesis

Jared Daniel Fagen

Fiction. SITU is a hesitant unfolding of demise, a text that occupies the interstices between diegetic, philosophical, and poetic discursive timbres. From this tension--which finds form in an indeterminate subject's relationship with a bench, his anguished site of rest and motion--the subsequent flux at the center of the narrative voice facilitates a kind of epistemology of volition that both proves and parodies the necessity of the philosophical system for a narrator whose instability gives such exploration its emergent poetic urgency. In the wildly despairing and circular machinations that ensue, this attempt at "thinking thinking" moves in and out of the body of the thinker it observes, displaying a devastating picture of the paradoxes at the basis of all representation, whether willful or inadvertent, an aesthetic act or a causal order inferred through polemic and reasoned pursuit. SITU is Seidenberg's signature style raised to the next level, an accomplishment that calls to mind the literary contributions of Blanchot, Bernhard, and pre-impasse Beckett.

Situ

Seidenberg, Steven

Poetry. Asian &amp; Asian American Studies. Film. SHEEP MACHINE is a textual inscape, a poetically painted nonfictional pasture where mechanical violence and visceral fear coalesce into a kind of science prosody, a post-human panorama whose beauty lies in the ruins of reality it depicts. Influenced by Leslie Thornton's film of sheep feeding in a field as a conveyor belt of cable cars ascend and return from a mountain in the Swiss Alps, Vi Khi Nao takes perception into tumultuous terrains, into a pastoral-celestial void in which temporality is transcended, progress is a bourgeois invention, and god is a liability for our life spent in hunger and grazing. Vi Khi Nao's SHEEP MACHINE is grace said at the ontological last supper.

Sheep Machine

Humor & Entertainment

Nao, VI Khi

Movies

Poetry. Philosophy. Translated from the Slovak by David Short. Illustrations by Viktor Kopasz. Heralded by Joshua Cohen as "The Aphorism Master," Róbert Gál revives the forgotten art of the philo-poetic line with vicious wit and tremendous dexterity. NAKED THOUGHTS--his fourth book to be translated into English--is at once incendiary and revelatory, surprising and instinctual, defiant and delicate, and dares to pursue and give expression to those fugitive inspirations of the mind whose very beauty relies on their performance of contention with the structures of meaning by which they are snared and signified. Weighing the balance between the intensity of emotion and patient contemplation, NAKED THOUGHTS is a book that will satisfy voyeurs and arsonists.

Naked Thoughts

Gál, Róbert

Poetry. "Sea, listen. Cliff, I'm coming." APOSTASY is a becoming and a deathwish--bloom, raunch, wilt, and rot. Ecstatic and erotic, mythic and mystical, fecund and feculent, Katy Mongeau's debut collection of poems expresses at once the delight and despair of discovery and renunciation with ballads to burning horses that drag behind them a deeply fraught and frantic love, galloping us to the gallows by the rhythm of a flame and the withering of a flower. Reminiscent of Acker and Bataille, APOSTASY is the wheat field we visit to die. "At the center of speechlessness Katy Mongeau attempts utterance--recklessly, sentimentally, desperately, sometimes with erasure and cancellation, sometimes with embellishment, hanging on to the vestiges of violence, wreckage and sensation, writing and unwriting, tending the wound at its core."--Carole Maso

Apostasy

Mongeau, Katy

I AM WRITING YOU FROM AFAR is the second book in Dick's neographic (new/iterative, novel-/gospel-tinged, intercompositional, and cross-genre) Evasions Trilogy, which explores ardent yearning via minimalist abstraction, dense speculation, and minxy, vulnerable saints. Engaging with Feldman, Michaux, and Mohamedi, afar posits art as refusal and refuge, rebellion and rapture--a way out of narrative threat and an escape from obsessive/extravagant philosophizing. Dual imperatives of mark-making and emptiness-expanding charge the printed page qua score, shifting connections of sound and sense to create a plurilingual dissonance shot through with transcendent instants. This is a vagabond formalism, transfiguring St. Dympna's patronage of runaways, incest survivors, and mental and neurological deviants into something metaphysical, erratically mystical, erotically transpositional--a polymorphous girlhood graphed toward, onto godfield. Fiction. Poetry. Art. Hybrid. LGBTQIA. Philosophy.

I am writing you from afar

Dick, Moyna Pam

Erotica

Blending autobiographical truth with poetic invention, Vi Khi Nao's Fish Carcass is a pointillist portrait that catalogs a tripartite digestion process of being-in-the-world. Opening with "Victuals," sensuous delight cedes to the shock of larger-than-life forces that constrict the everyday in "Spasms," where impersonal paroxysms negotiate the personal terrain of biology with a chorus of organs which sing the particular textures of their experience culminating in "Corporality." At once polyvocal and joyous, terrified and terrifying, the poems in Fish Carcass register expression across multiple thresholds, suturing physical, metaphysical, worldly, otherworldly, human, and nonhuman domains to create a cornucopia of potentialities as sprawling as life itself. Poetry. Asian & Asian American Studies.

Fish Carcass

Swaying between command and curiosity, acquiescence and destruction, distance and proximity, Jennifer Soong's Suede Mantis / Soft Rage proffers tenderness that teeters on the precipice of loss. Premised on this peril is not a paralyzing grief but a generative poiesis of "cruel desperation," in which poetry pronounces itself in contrasts and conditionals, had beens and renunciations. Like a tongue that tans flesh, like passion that's made pliable by the pulsing and glistening of language, Suede Mantis / Soft Rage is the negotiated labor of a process rather than a product, raising interior operations to the surface while presenting an antithesis to mimetic construction. Neo-romantic and post-pastoral, the poems in Soong's second collection reinvigorate lyric possibility. "As I try to make way through, but ultimately fall--or slide--down the ruins of empire toward what feels like a fast-approaching yet ever more uncertain end, I am finding myself in increasing, practical need of books like Jennifer Soong's Suede Mantis / Soft Rage. With its acid love balladry, affirmational pessimism, and percipient, angular grief, it slows, it is slowing me, down, sharpening my faculties, reintegrating my mind into and, even better, out of itself."--Brandon Shimoda, author of The Desert "In The Words of Selves, Denise Riley writes that the 'self-describing I produces an unease which can't be mollified by any theory of its constructed nature,' and this seems to be the problem that is at the center of Jennifer Soong's engaging second collection. Beginning with a renunciation and then building upon a foundation of dazzling lyric and uncanny koans, Suede Mantis / Soft Rage practices a ranging formal hunger in an environment where the speaker calmly declares 'the object of my life faces the objection of my world.' Soong's poems recall Riley's exquisite verses, certainly, but they also recall the assured, autonomous density of Lissa Wolsak's work, in that their language surprises and baffles, drives into pastoral ecstasy and bleak enstasy. 'The solar pulses beat brilliantly through the trees,' but to 'learn to write it terribly,' we must remember that there is 'no destruction without self- / no destruction without self- / difficulties.' There is a gulf between abolition of self and explosion of self, and Soong's vivid poetry is suspended above that chasm, hovering as if by obscenity or miracle or both."--Ted Rees, author of Dog Day Economy "A series of lyric refractions which wrangle a self and the experience of the world into language, Jennifer Soong's Suede Mantis / Soft Rage engages with poetry's incorrigible taste for plurality, its mutations and re-productions. By turns arch, expansive, and direct, and negotiating the footwork of pronouns, Suede Mantis / Soft Rage works toward the extraordinary understanding that love's poetics might resolve themselves purely as an undoing, a study of unraveled ends, as effacements in the direction of paradise."--Imogen Cassels, author of Chesapeake Poetry.

Suede Mantis / Soft Rage

Soong, Jennifer

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