Fence poet and Capo of the Racine, Wisconsin, Public Library system, Nick Demske, provides a thought-provoking review of Johannes Göransson’s entrance to a colonial pageant in which we all begin to intricate.
“Göransson pays the ultimate penance and shoulders the heaviest burden: to reflect a culture accurately, no matter how disfigured,” writes Demske.
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His art drinks deep of the disease it most fears so that we can learn more from his symptoms. He’s the Poet Laureate of the Coal Mine, our savior canary, dying and producing perpetually death-obsessed art that we might all be spared. So for all its ugliness—all its child predators and body dysmorphia, its castrations, its Ronald Reagans, its hate crimes and artists and anorexia, everything—Entrance is the dubious gift of the diagnosis we’ve been too afraid to confront on our own. It’s embarrassing, it’s frightening, but it’s also potentially the long-neglected first step in addressing a major disease.