Two more sonnets from my ongoing sequence, “2015.05” and “2015.06,” were just published in no. 16 of Epigraph Magazine. A .pdf of the issue can be found here.
Bradley J. Fest’s second volume of poetry, The Shape of Things, continues his project of poetic assemblage. Written in an age of ubiquitous algorithmic surveillance and increasingly catastrophic climate change, these poems both describe the shape of things in the overdeveloped world and endeavor to challenge the widespread feeling that the imagination has been foreclosed in the twenty-first century. An ambivalent hyperarchive, the collection draws influence from a number of seemingly incompatible lyric registers, including the language of contemporary theory. The Shape of Things culminates in an eponymous long poem that asks if a poiesis of “network being” is possible and suggests that there might be some other way to dance to the sounds of our present.
If Whitman and Adorno had a knife fight on the ruins of the floor of the New York Stock Exchange, The Shape of Things would be the perfect voice over. Which is to say, though it’s not a pretty scene, there’s pleasure and beauty to be found in the action and music of the syntax and in following the wild movements of this poet’s mind. Truly original, dazzlingly smart and game for anything, Fest writes of lives and desires torn apart by the neoliberal security state. Jolting between paranoiac rage and orgasmic bliss, between all- out negation and Wordsworthian swoon, these poems describe the awful implications of a contemporary moment in which “we have made ourselves a gallows of a house.”
–Sten Carlson, author of Fur & After
To call The Shape of Things “post-apocalyptic” would be a mistake: its poignant present tense anxiety unfolds in the apocalypse now. Ataris and hunter-gatherers lean together over the edge of time, commingling in harrowing yet pleasurable ways. But this is no book of “detached mirth.” Hear in Fest’s singing the quiet pathos of humans and machines out of time. While Fest’s human creatures have lulled themselves into submission—”There may be something (virtually) / on fire. More likely our expectations are being met . . .”—his work nudges middle class late capitalist culture awake into the disturbing awareness that “a prolonged adolescence is the shape of things.”
–Robin Clark, author of Lines the Quarry
I am delighted to announce that I have accepted the position of Assistant Professor of English at Hartwick College in Oneonta, New York, where I will be teaching creative writing, poetry, and twentieth- and twenty-first-century United States literature and culture. I will be joining Hartwick’s English Department this fall and will be teaching three classes: Introduction to Creative Writing (ENGL 213), Reading Modern Poetry (ENGL 250), and Creative Writing: Poetry (ENGL 312). I am really excited about this new chapter in my life and career. Thanks to all those–too numerous to name–who have supported me along the way; your indefatigable encouragement has meant so much.
“Toward a Theory of the Megatext: Speculative Criticism and Richard Grossman’s ‘Breeze Avenue Working Paper,'” the first essay from a new project on what I have been calling megatexts, will appear in Scale in Literature and Culture, edited by Michael Tavel Clarke and David Wittenberg. The collection of essays will be published by Palgrave Macmillan and will hopefully come out later this year. More information to come.