Poetry

Amy King: The Missing Museum

Nothing that is complicated may ever be simplified, but rather catalogued, cherished, exposed. Amy King’s The Missing Museum spans art, physics & the spiritual, including poems that converse with the sublime and ethereal. The poems act through ekphrasis, apostrophe & alchemical conjuring. They amass, pile, and occasionally flatten as matter is beaten into text. Here is a kind of directory of the world as it rushes into extinction, in order to preserve and transform it at once.

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Johannes Goransson: The Sugar Book

“Doubling down on his trademark misanthropic imagery amid a pageantry of the unpleasant” (PUBLISHERS WEEKLY); “Göransson is certainly of the Left, but his work is as savagely anti-idealist as Burroughs or Guyotat or Ballard.” (JAMES PATE, ENTROPY MAGAZINE); “Language smeared with bodily fluid and sex, language spackled with violence and death…. It takes the reader far beyond their comfort zone, as poetry should. Just like Los Angeles herself, the poems inhabit that glittering/grotesque duality of Kardashian Family and Manson Family” (CARLEEN TIBBETTS, AMERICAN MICROREVIEWS & INTERVIEWS); “I’m not sure that even Rimbaud would title a poem ‘My Sperm Gets in the Flowers’” (JOHNNY PAYNE, CLEAVER MAGAZINE).

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david wolach: Hospitalogy

“An extraordinary work that takes us into the complex guts of the ‘hospital-hotel complex.’ Here the body rebels, redacts, pulls, and sings between patient and patient. wolach performs a radical somatics, procedural anatomic work, queer narrativity.'” (ERICA KAUFMAN); “The strange tearing apart held inside that holds you inside, singing static and shrapnel…. Dear ‘jesus of the pain.’ Welcome to david wolach’s beautiful corrosion.” (FRED MOTEN); “holds the space of the clinic we don’t yet have, the dark we need, the chronic we might dream rather than undergo.” (ELENI STECOPOULOS); “documents the soft rebellion of staying alive, articulating the transition from invisibility to indecipherability.” (FRANK SHERLOCK)

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Johannes Goransson: Haute Surveillance

“[A] feverish and explicit set of images and ideas revolving around power, fetish, porn, media, violence, translation, punishment, performance, and aesthetics….. kind of like a novelization of a movie about the production of a play based on Abu Ghraib, though with way more starlets and cocaine and semen.” (BLAKE BUTLER, VICE); “part epic poem, part science fiction, part pornographic film, and all literature” (JOHN YAU, HYPERALLERGIC); “so filled with invention and wit and ferocity that I was compelled to read it, at times against my will, mesmerized, enthralled. (CAROLE MASO)

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Kim Gek Lin Short: China Cowboy

Set in a technicolor timewarp called Hell, Hong Kong, Kim Gek Lin Short’s China Cowboy follows wannabe cowgirl La La, who is hellbent on realizing her dream to be a folk-singing sensation even as she tries to survive her kidnapper, Ren, who is just hellbent. Ren thinks he’ll win, but La La, dead or alive, always wins. “both devastating and uncomfortably enjoyable” (AMERICAN BOOK REVIEW); “a satanically intricate narrative with seemingly infinite vantage points in space, time and sympathy … a zone where elegance and grace can gambol with the just-plain-fucked-up” (HTML GIANT), “leaves one’s nerves exposed and moral fortitude shaken” (FACT-SIMILE). “Excruciatingly compelling, so infernal…in languages variously pornographic and desperately, radically tender…. A bold, imaginative, timely work from a courageous and complex thinker” (HEIDI LYNN STAPLES) “Grossly disturbing and excruciatingly seductive… Tales of fierce femme survival…. (JAI ARUN RAVINE)

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Jenny Boully: not merely because of the unknown that was stalking toward them

In not merely because of the unknown that was stalking toward them, Jenny Boully presents us with a “deliciously creepy” swan song from Wendy Darling to Peter Pan. As in her previous book [one love affair]*, Boully reads between the lines of a text—in this case J. M. Barrie’s Peter and Wendy—and emerges with the darker underside, with those sinister or subversive places merely echoed or hinted at. “[T]o delve into Boully’s work is to dive with faith from the plank — to jump, with hope and belief and a wish to see what the author has given us: a fresh, imaginative look at a tale as ageless as Peter himself.” (BOOKSLUT) “Simultaneously metaphysical and visceral, these addresses from Wendy to Peter in lyric prose are scary, sexual, and intellectually disarming.” (HUFFINGTON POST); “Jenny Boully is a deeply weird writer—in the best way.” (ANDER MONSON)

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Johannes Goransson: Entrance to a colonial pageant in which we all begin to intricate

“I don’t know where else you could contract the plague in these words but by ten TVs at once. On the TVs play: Salo, the weather channel, 2x Fassbinder (any), Family Double Dare, ads for ground beef, blurry surgical recordings, porno, porno, Anger (all)…. You’ll need a machine gun and a body double…. Burroughs and Genet and ‘Pac are dead. Long live Goransson” (BLAKE BUTLER); “a discomfiting, filthy, hilarious, and ecstatic piece of literature that is cocked and ready” (BOOKSLUT); “Page after page begins to infect the reader, begins to parasite the reader as host, parasite the host’s inner child … before immolating the host, the reader” (PANK MAG); “a pile up of sequined things and fleshy things…. The audience is often implicated. After all, torture and interrogation is not borne out of individual will and action alone…. All aboard” (HTML GIANT)

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Sarah Goldstein: Fables

Departing from the Brothers Grimm to approach our own economically and socially fractured present, Fables constructs a world defined by small betrayals, transformations, and brutality amid its animal and human inhabitants. Goldstein weaves together familiar and contemporary allegories creating a series of vibrant, and vital, tales for our time. “Goldstein’s vision and approach is wholly new. Her work in this collection is more than translation and transcription: Fables contains poems that whisper tradition but fully stand on their own.” (THE IOWA REVIEW); “Horrifying and humbling in their imaginative precision” (THE RUMPUS); “In the meadow of fairy tale, Goldstein unrolls ribbons of story that fly gamely and snap with brilliance.” (DEB OLIN UNFERTH)

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Shelly Taylor: Black-Eyed Heifer

Shelly Taylor’s debut collection of poems is a “mosaic of form and language, childhood and adulthood, the American South, horses, gravel roads, and light. It is a riptide pulling its readers out into the deep, powerful currents of nostalgia. It is unrelenting” (TRIQUARTERLY); “Radically innovative use of language” (JIM HARRISON); “Language you haven’t heard before but know, right away, to be urgent…. Hell-bent, mad-cap adventures whose diction & syntax defy category.” (JANE MILLER); “A mighty anthem to down home local culture … the feisty, sustaining rhythm that saturates the land…. Abundant vitality and wide-eyed beauty” (BRENDA IIJIMA)

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