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Posts Tagged ‘Brian Kim Stefans

Attention Span 2011 | Román Luján

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Raúl Zurita | Purgatory: A Bilingual Edition | California | 2009

Raúl Zurita | Song for His Disappeared Love / Canto a su amor desaparecido | Action | 2010

Manuel Maples Arce | City : A Bolshevik Superpoem in 5 Cantos / Urbe : Poema bolchevique en 5 cantos | Ugly Duckling | 2010

Myriam Moscona | Negro marfil / Ivory Black | Les Figues | 2011

Uljana Wolf | False Friends | Ugly Duckling | 2011

Carlos Oquendo de Amat  | 5 Meters of Poems / 5 metros de poemas | Ugly Duckling | 2010

Michael Palmer | Thread | New Directions | 2011

Marosa di Giorgio | The History of Violets / La historia de las violetas | Ugly Duckling | 2010

Jose Kozer | Stet: Selected Poems | Junction | 2006

Craig Dworkin and Kenneth Goldsmith, eds. | Against Expression: An Anthology of Conceptual Writing | Northwestern | 2011

Jen Hofer | One | Palm | 2009

Caroline Bergvall | Meddle English | Nightboat | 2011

Charles Bernstein | Attack of the Difficult Poems | Chicago | 2011

Gonzalo Rojas | From the Lightning: Selected Poems | Green Integer | 2006

Juliana Spahr | Well Then There Now | Black Sparrow | 2011

Robert Walser | Microscripts | New Directions / Christine Burgin | 2010

Cecilia Vicuña and Ernesto Livon Grosman, eds. | The Oxford Book of Latin American Poetry  | Oxford | 2009

Brian Kim Stefans  | Viva Miscegenation | Make Now | Forthcoming 2011

Marjorie Perloff | Unoriginal Genius: Poetry by Other Means in the New Century | Chicago | 2010


Román Luján is a Mexican poet and translator currently living in Los Angeles, where he is studying for his Ph.D. in Latin American Literature at UCLA. His books of poetry include Drâstel (Bonobos, 2010), Deshuesadero (FETA, 2006), Aspa Viento in collaboration with painter Jordi Boldó (FONCA, 2003) and Instrucciones para hacerse el valiente (CONACULTA, 2000). Some of his poems and translations can be found at Eleven Eleven, Mandorla, Aufgabe, and Jacket2.

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Attention Span 2011 | Brian Kim Stefans

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Simon Reynolds | Retromania | Faber | 2011

I’m still halfway through this one. It’s a balm for those of us who have no idea why pop music is so terribly uninteresting today—lots of incredible talent with nothing to say—and a bomb for those who thinks it’s all rosy. I’m having my students read it for my L.A. Post-punk/DIY class (a freshman seminar), along with Lipstick Traces and We Got the Neutron Bomb. Reynolds’ book Rip It Up and Start Again, on English Post-punk, inspired the course. I was happy to discover he’d moved to LA some months ago, and have since met him and his wife, Joy Press, whom some of you might remember from the days of the Voice Literary Supplement—and I thought the name was a pseudonym! I met Billy Idol the day I met Simon Reynolds. Oh, yes, the book. It’s very accessible but dense—allusions to Badiou, Bourdieu, Benjamin, Kittler (I think), the fall of Rome, etc.—and is largely autobiographical as he charts his ineptness with, and reservations about, new technology. I think a lot of you have already bought your copy of this book.

Roberto Bolaño | Nazi Literature in the Americas | New Directions | 2008

The Savage Detectives was the best novel I had read in a long time, at times Dostoyevskian in its grandeur, scope, generosity and addiction to visionary pain, and always threatening to have “magical realist” elements (that might have just been me), but never making good on that threat. It ends with the discovery of a concrete poem—who would have thunk? This collection shows the Borgesian side of Bolaño, though never with that ‘pataphysical hook that makes Borges so addictive. I enjoyed it but read it quickly; it’s actually become the model for my anthology on Los Angeles poetry, as I’m realizing that I should really tell stories, rather than convince with keen analysis, in the volume—people might actually read it. I think the issue of what makes these writers “Nazis” might have more resonance with Latin American readers, as some chapters merely touch on this connection.

Alain Badiou | The Communist Hypothesis | Verso | 2010

This was actually a quick read. Badiou will be spending next year at UCLA doing whatever, and I’ve never gotten around to his headier tomes. Some of it is archival—he includes a longish essay he wrote in the late 60s—and some new. Involves new interpretations of the Paris Commune, Mao’s cultural revolution (which he limits to a very short period early on when theory and action seemed aligned, prior to the descent into chaos) and, of course, Paris ’68. It ends with a light recount of his famous theory of the Event, and has a useful critique of the cult of individualism in the States versus living according to an “Idea.” I don’t want to go into it much deeper, except to note that I’m increasingly (ok, I have been for a while) wary of the fetish about of May ’68. I think we should just give it up, start afresh. It’s an attractive moment, when intellectuals (many of whom were great writers) and labor seemed aligned, and the ensuing chaos—contained, in the end—brought a violent poetic spirit to the everyday—but now it merely survives as a tone, a prose style. Ok, that’s dismissive. I also bought a trio of books edited by Zizek, his “Revolution” series, but have only finished Virtue and Terror on Robespierre (I had seen this in a bookstore in Paris and wanted to buy it then, but I wanted to “live in the present,” not fill the place with the ghosts of Danton and Saint-Just). I’ll leave it at that.

Junot Díaz | The Brief Wondrous Life of Oscar Wao | Riverhead | 2007

I don’t read a lot of fiction. I’m teaching Only Revolutions, by Mark “House of Leaves” Danielewski, in my contemporary American poetry class, so I should probably read House of Leaves. I’m also teaching the first section of the Changing Light at Sandover and Alice in Wonderland (the class is subtitled “The Ludic Turn”). Anyway, this was a beach read; I read my stepmother’s copy while I was visiting them in Long Island. I actually did read some of this on the beach. Díaz is obviously talented and very smart, and it didn’t feel like what it is, Bolaño-lite. There is sex, sexual addiction, political violence, abusive cracked parents, picaresque descriptions of overseas travel, and something like tragedy. The major annoyances were the little eye-wink inclusions of academic jargon (it’s a very “teachable” book in that way) which was couched in a pseudo-hipster Latino American speak, to make it go down easy. It’s meta-identity literature, but not meta enough. He created a pretty interesting synthetic language that could accommodate the various audiences he was trying to reach, and deserves credit. In any case, I enjoyed it pretty much. I’m sure Javier Bardam will have a role in the movie.

McKenzie Wark | The Beach Beneath the Street | Verso | 2011

I read none of this on the beach, unless it was the beach beneath Los Angeles counts. Ken lived two doors down from me in Williamsburg, which I only discovered after I was asked to review a book of poems by this Australian guy for PW, Googled him, and discovered I’d been bumming cigarettes off of his wife for a few years. Wark is an advocate of what he calls “low theory,” which is what he described (somewhere) as theory that you don’t need a Ph.D. to read; his previous two books, both excellent, are written in this style as well, and I admire that effort. The book covers many of the figures of Situationism who are major though overlooked—I especially liked the bits about Jorn’s aesthetic theory and the narrative of Alexander Trocchi, though would have liked to learn more about Alice Becker-Ho. Isidore Isou figures prominently, but there is nothing really new about Debord or Vaneigem here. Of course, the fetish of Paris ’68 rears its weird head, but Wark, unlike some, doesn’t fly off the handle with crypto-Marxist, Debordian rhetoric that is always interesting as a style—I’d love to write that way, at least for a day—but ends up, for me, seeming to advertise its impotence. I think Wark’s struggle for a new language is actually a very interesting project I’d like to write about; his Hacker’s Manifesto went so far as to introduce a new class, the Vectorist Class, though I don’t think anyone’s quite picked up on that, and I don’t know how serious he was about that.

Craig Dworkin and Kenneth Goldsmith, eds. | Against Expression: An Anthology of Conceptual Writing | Northwestern | 2011

I gave my author’s copy of this as a going away present to an Italian art historian friend who was staying with me for a month earlier this year—she’s stopped returning my emails. I ordered a desk copy, which I then gave to my sister’s boss, thinking he could plumb it for ideas for outdoor text/light installations—my sister was laid off a month later. This is a dangerous book. It ruins lives, but only slowly. That’s why I’m ordering five more as potential gifts for people I would like to quietly run out of my life. Seriously, the brief introductions to the work are great, and I suspect it’s quite economical and “interesting” given the piles of empty text it is attempting to condense. I can’t offer any intelligent commentary until I order a new one.

Julia Boynton Green | Noonmark | Redlands, California (no publisher listed) | 1936

Green is one of the “lost” Los Angeles poets I’ve been researching for my series of essays, “Chapters in Los Angeles Poetry,” for the Los Angeles Review of Books. She was born in the 1860’s, published two books late in life (her first, This Enchanting Coast, is largely devoted to writing about plants and the landscape, as per the dominant mode at that time in L.A.), and had some excellent anthology appearances. Her satires on technology are quite brilliant, and though quite conservative, she published a lot of poems in Amazing Stories and Weird Tales (which I haven’t seen) probably because of her critical but rich evocations of the promises of science and technology. She’s my great find, but I have no biographical information about her. Nora May French and Olive Percival are the other two poets (can’t find any males that earlier on) of my pre-WWII section.

Walter Benn Michaels | The Trouble with Diversity: How We Learned to Love Identity and Ignore Inequality | Metropolitan | 2006

I don’t know anything about Michaels, though he spoke at UCLA last quarter and I had lunch and dinner with him—a very animated guy, I liked him a lot, but suspect that he thinks he’s a bit smarter than he is. (I only say this because he went out on a limb about all sorts of matters regarding contemporary poetry and minority literature, but when pressed, his knowledge of the fields was pretty shallow). The argument in the book is pretty basic: that institutions like universities would be better off aiming for class diversity rather than ethnic diversity if the idea is to truly achieve a more egalitarian society with wealth spread equally across a wider range of people. Americans don’t like to talk about class—we pretend that upward mobility is an actual living promise—and so divert some of these anxieties to discussions of race, which he says doesn’t exist (not in the way culture exists). Of course, I agree, but then again, I don’t think he’s travelled much, at least not as a black or Asian person. As he did in his talk, there is recourse to statics and charts, but very lightly; he is quite frank, in his afterward, that he wrote this book to make money, and it’s clearly aimed at the same class of people who thought The Closing of the American Mind was a serious statement on the decline of American culture. I like his arguments generally, but I think he loses wind when it becomes apparent that he’s probably written this book about fifteen years too late. I don’t think the cult of diversity is quite as strong as it once was.

Doug Aitken and Noel Daniel | Broken Screen: Expanding The Image, Breaking The Narrative | Distributed Art | 2005

This is a fairly light read, just a bunch of interviews with artists and other folk who are dealing with image and narrative, particularly “non-linear” narrative. I discovered a handful of new artists in this one, some I’d never heard of, some whose works I’d seen but simply didn’t know who made them. I can’t find my copy right now, so I can’t tell you who they are—Herzog, Gehry and Baldessari I remember (of course, I’d heard of those guys). Aitken doesn’t ask terribly probing questions—he always brings it back to non-linear narrative, which I don’t think is that interesting, just like I don’t think appropriation is all that interesting these days, but Aitken lives in L.A., as I do, where we are quite oppressed by an obsession with cheese-ball, leaden, over-determined narratives. You know what I mean. He really aims for conversations and shop talk, which is ok but it let some of the artists “phone in” their contributions. The question of the screen—what is happening now with digital technology, how the photograph, the film, the machine and animation are folding into a single genre—is a question I’m probing, and this book doesn’t quite get there. I’m reading a lot about photography: The Photograph as Contemporary Art (World of Art) by Charlotte Cotton and, finally, Susan Sontag, On Photography—I’d always thought this book was quite boring when I tried to read it before, but got through it this time. I have big chunky books about Thomas Ruff and Sam Hsieh on my table right now.

Jacques Brel | Songbooks

I can’t find these either! But I bought them during my three week stay in Paris, which was filled, appropriately, with heartache, desire, elation and lots of walking around penniless (or at least with a credit card howling with pain—food, hotels, telecommunications). I bought a ukulele in Paris also, and recorded a few songs on my iPad, including a version of the Smiths’ “I Won’t Share You.” I made my debut as a pop singer at a small conference on British Poetry—Keston, Emily, John and Sam were there. Harry Mathews was giving a reading a floor below. Prior to going to Paris, I started writing songs again; Brel’s work, along with the Weill/Brecht collaborations (I also bought sheet music for those) are my guides, along with the Smiths and Scott Walker. I was also reading Les Fleurs du Mal by Charles Baudelaire (Howard edition) and the poems of Arthur Rimbaud (Fowlie edition). My French seemed to have gotten worse as the trip went on—starvation for fluid conversation, I believe. It was quite a trip. It rained a lot.

Joan Brossa | Furgó de Cua (1989-1991) | Quarderns Crema | 1993

 I’m not reading Brossa—who writes in Catalan, and is one of the great, largely untranslated Spanish poets of the last century—so much as looking at the language. He was both a concrete poet and creator of text objects and a high formalist—a large part of his oeuvre consists of sestinas and other invented, intricate structures. I’m trying to find someone to help me translate his work. Know anyone? Since I don’t have much to say about this one, I’d like to tack on…

Mark Zuckerberg | Facebook | The Interweb | 2004-2011

Yes, I think he writes all of it. Facebook is the TV of today. Facebook makes nothing happen. It’s all trivial, and makes many of the people I admire appear quite trivial, which of course isn’t their faults. I just don’t need to know what you eat. I like it when people “like” me, which I don’t like. I’m off Facebook. I was reading it too much. I use Twitter.


Brian Kim Stefans is the author of five books of poems including What is Said the Poet Concerning Flowers (2006) and Kluge: A Meditation (2007), along with Before Starting Over: Essays and Interviews (2008) and Fashionable Noise: On Digital Poetics (2003). He teaches new media and poetry in the English Department of UCLA. Digital works include “The Dreamlife of Letters” and “Kluge: A Meditation.” Recent projects include a column, “Third Hand Plays,” for the SFMoma blog on digital text art, a ten-part column for the Los Angeles Review of Books on the history of L.A. Poetry, and a “freeware” compilation of Los Angeles D.I.Y/Post-punk music.

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Attention Span 2011 | Brian Ang

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Alain Badiou | Conditions | Continuum | 2008

The best introduction to Badiou’s system as immediately useful for literary criticism, due to its accessible thematic organization around Badiou’s four truth procedures of poetry, mathematics, politics, and love: an opening parry and complement to the denser Being and Event. I’ve found Badiou and the strength of his system, as a philosopher proper, to be a cleansing challenge to post-structuralist and Marxist tenets grown dogmatic: philosophy restores contextual problematics to conclusions simplified into the present.

Calvin Bedient & David Lau, eds. | Lana Turner 3 | 2010

A wealth of emergent ideas pursued all year: I’ve returned the most to David Lau and Joshua Clover’s works, and Ben Lerner, Marjorie Perloff, and Gopal Balakrishnan’s works were also highlights. Lana Turner’s sustained editorial argument achieves a hybridism with the capacity to take a stand.

Alastair Brotchie & Harry Mathews, eds. | Oulipo Compendium | Make Now | 2005

Editor Ara Shirinyan gave me the Make Now catalogue when I visited Los Angeles in June. A trove to the endurance of form and stalwart ideas, and an historical authority behind the wager of contemporary conceptual writing.

Joshua Clover | Fragment on the Machine | self-published | 2011

An occasional pamphlet made for the “Can Art and Politics Be Thought?” conference in Los Angeles in June in an edition of 50. Contains Clover’s recent poems “Gilded Age,” “In the City It Was Warmer,” “Poem (Oh capital let’s kiss and make up)” and “Years of Analysis for a Day of Synthesis” in English and French. The first and last were published in Lana Turner 3 and 2 respectively. Clover’s recent poems are his best and most urgent.

Benjamin Friedlander | Period Piece | porci con le ali | 1998

I had correspondence of poems and thoughts with Ben this year and among items received was this poetic tribute to San Francisco Bay Area Language poetry as he knew it. It was a fascinating reading experience, for the effects of Ben’s Bay Area moment are strongly sedimented in the present Bay Area in which I live. It was a helpful work in thinking about historical cultural sediment in both spatial specificity and concept and an affirmation of how poems are a uniquely maximal form of communication over time’s milieus.

Richard Kempton | Provo: Amsterdam’s Anarchist Revolt | Autonomedia | 2007

Read as part of the suggested material for Joshua Clover and Juliana Spahr’s Durruti Free Skool, along with Raul Zibechi’s Dispersing Power: Social Movements as Anti-State Forces and the East Bay Skool specific complement, Silvia Federici’s Caliban and the Witch. I found this book to be the most directly useful of the materials to the immediate situation by the Provo anarchists’ similarity of environment of a modern city and their insistence on playful insurrectionary performance art. It was also a reminder of the importance of a rigorous theoretical understanding of material conditions: the Provos proved not to be sustainable past the exuberance of their moment without a program.

Ron Silliman | The Alphabet | Alabama | 2008

Silliman’s works take such a commitment to read, their experiences are unforgettable and permanently transformative. In the pressure chambers of Silliman’s works, some sentences only read once have echoed in my head for years. Preparing for and presenting at Louis Cabri’s Alphabet symposium in March gave me the necessary energy to finish this. I can’t think of any other book in which time-congealed labor is so palpable in every sentence.

Brian Kim Stefans | Viva Miscegenation | Insert | 2010

I received Insert Press’ PARROT chapbooks nos. 4-7 from editor Mathew Timmons when he read in my apartment in May, and I’ve returned the most to this one. Stefans leans more toward his Ashbery inclinations than his Bernstein ones here, subordinating thickness of language to making an antechamber of communication toward the ineffable importance of a potential recipient, striking an exceptional pleasurable organization between intimate address and expansive play.

Dan Thomas-Glass, ed. | With + Stand 5 | self-published | 2011

Thomas-Glass’ generous experimental sensibility and DIY community sensitivity capture the organic ambiance of the moment and let the spray paint and duct tape dangle. This latest issue is the densest yet and a rich document of the year.

Tiqqun | Call | 2004

I hosted several Talk events at my apartment this year and this was distributed at one of them for discussion. I’ve found the Tiqqun texts stimulating for redeploying Situationist-style energy out from historical contemplation back into urgency in confronting contemporary particulars. Contentions with and lessons from Tiqqun have been immediately contributive in recent activist movements, including for student activists engaged in and coming out of current Californian public education struggles.

Barrett Watten, ed. | THIS 9-12 | THIS | 1979-1982

Barrett gave me these when we both attended the Alphabet symposium in March. It’s moving to read the major poems of Language poetry of the period, including Tjanting, a.k.a., “I Guess Work the Time Up,” and Four Lectures, in their first appearances and organization through Barrett’s visionary editing.


Brian Ang is the author of Communism (Berkeley Neo-Baroque, 2011) and Paradise Now (Grey Book Press, 2011) and the editor of ARMED CELL. Starting in October he will be a Guest Commentator on the PennSound archive for Jacket2. He lives in Oakland, California.

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Attention Span 2011 | Michael Scharf

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Bernadette Mayer | Studying Hunger Journals | Station Hill | 2011

Brian Kim Stefans | Bank of America Online Banking: A Critical Evaluation | Citoyen | 2010

Douglas Piccinnini | Crystal Hard-On | Minute | 2010

Douglas Piccinnini | Soft | The Cultural Society | 2010

 Josef Kaplan | Peace | Poem Trees + Squash | 2010

 Julian T. Brolaski | Gowanus atropolis | Ugly Duckling | 2011

 Lawrence Giffin | Sorties | Tea Party Republicans | 2011

 Susan Howe | That This | New Directions | 2011

 Tsering Wangmo Dhompa | My rice tastes like the lake | Apogee | 2011

 Uyen Hua | a\s\l | ingirumimusnocteetconsumimurigni | 2011

 Vahni Capildeo | Undraining Sea | Eggbox | 2009


Michael Scharf is the author of For Kid Rock/Total Freedom. His collection of critical work, The Res Poetica, is forthcoming. He lives in New York, where he works in natural language processing, and in Shillong.

Scharf’s Attention Span for 2010, 2009200820072006200520042003. Back to 2011 directory.

Attention Span – Brad Flis

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Aihwa Ong | Neoliberalism as Exception | Duke | 2006

Ong’s, if only for its wide divergence from common iterations, is a refreshing theoretical reconsideration of the concept of neoliberalism. Instead of as a quasi-form of government, Ong suggests neoliberalism ought to be thought of as a technology of governing that can be used variously by an array of acting powers.  She provocatively claims that neoliberalism’s new configurations of territoriality, nationality, and identity, though motivated by market logics and self-interest, inevitably create new (hopeful) “spaces” from which populations can make claims to citizenship, human rights, benefits, and recognition previously excluded by state power. A take-to-the-beach kind of book.

Ted Greenwald | 3 | Cuneiform | 2008

Greenwald’s work tends to arrive in waves, but this past year it’s coming in torrents, with 3 being perhaps the most meaty sampling (another Cuneiform Press and a forthcoming BlazeVOX publication flank it). Three separate poems, built out of sonnets, quartets, tercets in series, each creating a centrifugal music by forging the ghosts of common speech out of the chambers of repetitive and modulating line structures. “Day in blue/ Stone in my passway/ Rehumanize/ Day in blue”  This is a much more personal, reflective Greenwald then I think we’re used to. Flawless and resonant, another career achievement in his long history of chart toppers.

Stan Apps | info ration | Make Now | 2007

I fully endorse this totally awesome, gnarly, and radical poetic explosion. All the things you wanted to say about capitalism and American imperialism but were afraid to sound like Keith Olbermann. As the title suggests, Apps dismantles and re-encrusts the critical desire of contemporary infotainment mediaspeak into a stained-glass Voltron of dystopic/ utopic language. “The oppressor was inside everyone/ I was fascinated by the chance to observe.”  Comes with neat Gary Sullivan cover.

John Keene & Christopher Stackhouse | Seismosis | 1913 | 2006

One of those books you keep picking up because new ideas in the interim force you back in. A text-drawing collab between these two artists, it’s the most fascinating argument for a reconsideration of Formalism in recent years, which works against the exploitable grain, from Kant to the New Critics, where the more isolated the presentation of something like ‘pure form,’ the more the mark of its contextual making breaks through. Stackhouse’s hand-drawings, frenzied and organic, are set against Keene’s amazing range of poetic forms, the latter of which concern themselves with the nature of form and abstraction, but restricted to a generally categorical palette of language itself. The result is the long creaking of history, the voice, and communal touching of art production and reception that breaks surface. “Injuring it, when I look./ What am I opening?/ Unlocking or loosing movement, the query of intent./ To enter the fail, the medium falling// in marks and strokes.”

Rob Halpern | Rumored Place | Krupskaya | 2004

Completely incredible. I almost put the book down by the end of the first section, being generally unenthused. So glad I didn’t. By the end of the second section, my understanding of and attitude toward the first completely pivoted. And then again through the next section, and then again, and again. The book roundelays the desire for collective history with a need for collective space. “Desire is a detour”  A masterful display in five parts of narrative reorienting through poetic mutation to wholly gratifying effect. “These shapes in us, negating figures like ‘future findings’—tracing rents in the general intelligence.”

kari edwards | having been blue for charity | BlazeVox [books] | 2007

This is a very strong, very lush book of resistances of all sorts, and a call to question the forms of resistance as it does so. Though its wild carnival of digital and formal interference will disappoint the avant techno novaphile, edwards explicitly theorizes a retreat away from the periphery of absolute break to address the point behind the lines where recognition and resource are not guaranteed but must be recycled from this behind-space. Too much going on in this book to encapsulate here justly, but certainly a record of and sustained demand for constructive presence. Though her last book, I know I will be rereading having been blue for charity for decades more.

Dudley Randall, ed. | Black Poetry | Broadside | 1969

Its full title is Black Poetry: A Supplement, To Anthologies Which Exclude Black Poets, easily the best title of any publication of all time with the exception of Trotsky’s Their Morals and Ours. 24 mostly familiar poets spanning two generations, from Hughes to Nikki Giovanni, packed into fewer than 50 pages, all post-war selections, which includes some exceptionally great poems by (then) Leroi Jones, Giovanni (at 25!), Clarence Major, Ahmed Alhamisi, & Sonia Sanchez. Malcolm X, recently assassinated, is taken up as figure and theme in much of the younger works. I’ve lately been looking for some texts with which to seriously yoke the persistent (insistent) critical hoopla around the New American Poetry Anthology, and this seems like a productive book to begin that retelling.

Hannah Weiner, ed. Patrick Durgin  | Hannah Weiner’s Open House | Kenning Editions | 2007

Not much to add to what oft’s been thought and mostly already been said about this needed book. A phenomenal display of Weiner’s talent and capability. Surely everyone should have read this by now, or else you’re the most unhip gluon. Major kudos to Durgin and the press.

Brian Kim Stefans | Before Starting Over | Salt | 2006

I love this book of essays, (digital) poetics, and reviews more than sin itself. A constant reference for what we need to be talking about and how we might go about it, like a poet’s little red book except kind of chunky (350p plus) and yellowish. Highlights include his letters to editors which are magically explosive given their brevity, while his spats with Silliman prove more than just entertaining, they get under the skin as nano-imperatives.  Overall Stefans is furiously scooping up from the vocabulary bin new ideas, concepts, and language and presenting it, however wet and dripping with goop, in the most generous and advanceable manner. The writing is impeccable, piercing, mellifluous, without a pixel of irony. N00bs & neuro-aesthetes take note.

Lesley Yalen | This Elizabeth | minus house | 2007

“At the end, the husband is strictly scientific.// At the end, someone is mopping like a mommy.// At the end, the glaring absences are back.// The background is ground.” Yalen’s  ten-part poem powerfully and uniquely scrutinizes the domestitcat(ed/ing) liberal fantasies of identity by forcing parodying and paradoxical figures upon a shallow stage. Husbands and moms, street people and lawyers, blondes and doctors all bolster the central figure, this Elizabeth, in a backward unpeeling of race and gender codes which the anti-hero of the poem, the Poet, is forced to reckon with, failingly, with all her aesthetic theory. Formally akin to Deborah Richards’ Last One Out, a solid read and an exquisite chapbook production by the press.

Martha Dandridge Custis, Lawrence Giffin (ed.) | Comment is Free, Vol. 2: Imperialism at Home | Lil Norton | 2008

This will be the book to replace Uncle John’s Bathroom Reader for decades to come. The ad copy reads like this: “Taking the government buyout of Bear Stearns, Custis deftly weaves a wondrous tapestry of the abuse of power and the potential for resistance.” The book’s contents read like this: “There is no accountability left in the ‘system’, only the rich and well connected make up the rules and we all slave to their gains.// I don’t understand why ‘we’ are at fault. ‘We’ are powerless to stop anything.” Imagine your entire collegiate graduating class invited to your house to discuss the economy. Better than the movie.


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