Mary Ann Caws

Susan Lewis

Matthew Moore

Will Alexander

Wayne Koestenbaum

Chris Campanioni

Tamas Panitz

Ghérasim Luca

Osvaldo Lamborghini

Léon-Paul Fargue

Ted Rees

Denise Newman

Evan Isoline

Sara Crangle

Joshua Bird

Billie Chernicoff

M. T. C. Cronin

Xeno Muir Pam Dick

Spencer Everett

Josh Fomon

Kirsten Ihns

Jack Jung

Jed Munson

Garrett Phelps

Genya Turovskaya

Utterance As a Fraught Passage: Aporia

Vestiges_06

"Vocabularies of decaying presence and economic despair tumble together in Ted Rees's DOG DAY ECONOMY, enacting conflicts of late capitalism where the body is squandered in endless ramshackle systems of flow. This is exacting, spontaneous poetry of intimacy and distance, of longshots and dubious bodily substances. I am reminded of Saint-John Perse's ANABASE, though of course Rees's grandeur comes from the other end of the telescope: 'Like we were riding through desert:/ polite way to say/we were seeing nought but mayhem/in each other's viscera.' The image can go anywhere, but where is it going? Collaging and repurposing gives these poems the external feeling of a sublimely blathering oracle, and by that I mean they hide and reveal fascinating predictions of our doom."--Robert Glück Poetry.

Dog Day Economy

Poetry. California Interest. Dwelling in the interstices, IN BRAZEN FONTANELLE AFLAME is an ornate collapse, a sumptuous yet horrified exploration of the violence inhered in specific landscapes and ecosystems by the logics of capital. It is an attempt to resist what Lisa Robertson calls "the language of genocide" by mirroring, perverting, and subverting that language. Perhaps most importantly, its poetry is a call to bust forth and out against systems of oppression in a "palatial, treasonous moiré."

In Brazen Fontanelle Aflame

Jane Sigaloff

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