The Ravickians
by Renee Gladman
Dorothy Project, 2011
168 pages / $16  Buy from Dorothy Project or SPD

The second volume of a trilogy of novels exploring the crumbling, war-torn imaginary country of Ravicka, The Ravickians is less an exploration of the people and culture of Ravicka than it is a breathtaking book-length meditation on loss. The book moves through what it means to be lost, to get lost, to lose connection with your fellow humans and surroundings. This is all done in a brief novel divided into three parts: 1) a first person account of a day spent wandering by The Great Ravickian Novelist Luswege Amini; 2) a poetry reading that same day given by Amini friend Zäoter Limici; and 3) 52 pages in twelve sections of unascribed dialogue spoken during a night out in the broken down capitol city of Ravicka that includes Amini, Limici, other writer colleagues and some new characters not mentioned earlier in the text.

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I Don’t Mind If You’re Feeling Alone
by Thomas Patrick Levy
YesYes Books, 2012
100 pages / $16  Buy from YesYes Books or SPD

I love a book about you and I. I’m not always convinced there’s anything else. One of my favorite pigeons of love, Raul Zurita, speaks in his book, Song for His Disappeared Love, of how impossibly big you and I can mean to each other, and yet, he emphasizes over and over how you and I always seem like they are on the heart twisting brink of falling apart in their own mouths. “Now the entire universe is you and I minus you and I / After the blows ended, we moved a bit and destroyed I was / only one you felt come closer” (6). What a cloth house we all are when we try to together/two gather. I’m never sure if we’re standing up or collapsing with love. I think it is going to have to be both ways if we’re actually going to climb much of anywhere. At any given point in Thomas Patrick Levy’s book, I Don’t Mind If You’re Feeling Alone, you and I are at different distances from each other, at different points of collapsing or standing with huge love. They reek of the empowered fragility that Zurita tries to illuminate for us. Levy puts you and I in cornfield after cornfield. He puts you and I next to corn-infused products and corn-infused foods and watches you and I squirm full of kernels (Why, oh why, aren’t there more glorious poems involving the most American of foods, corn?). His you and I struggle often in the house and in the bedroom of the house before they get dropped down the front of Scarlet Johansson’s dress. His you and I wake up on an island for the third time and they smell like the different kinds of cars they ride in. You and I make strange, domestic circles around each other, they sometimes touch. They sometimes speak despite all the leafy prose swaying between them.

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War on a Lunchbreak 
by Ana Bozicevic
Belladonna Material Lives Chaplet Series, #137
Belladonna Collaborative, 2011
17 pages / $4.00 each; $6.00 signed   Buy from Belladonna
 

Croatian-American poet Ana Bozicevic’s new Belladonna chaplet, War on a Lunchbreak, is a short, intense collection both carefully and carelessly written, working against the confines of time in an always clocked-in environment, where we can’t afford to lyricize.

I love this: writing about not having the time to write, and so positioning the poem as a reclamation of stolen time, founded in its own impossibility, embodying its own disembodiment. That is to say she completes the poem stealthily under the panoptic gaze of the boss, the clock, and so performs what French social theorist Michel de Certeau in The Practice of Everyday Life (University of California Press 1984) calls “la perruque”—“the worker’s own work being performed at the place of employment under the disguise of work for the boss. Nothing of value is stolen; what is taken advantage of is time” (Weidemann 2000). Bozicevic’s work speaks to this need to write in a society that has no need for poetry, and negatively appropriates the surveillance-productivist logic of our laboring culture into the content of the poem, informing us of the circumstance both preventing and, thru la perruque, producing the poem.

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We Bury the Landscape
by Kristine Ong Muslim
Queen’s Ferry Press, April 2012
168 pages / $12.95  Buy from Queen’s Ferry Press or Amazon

 
If for one minute, I got lost in the galleries of Kristine Ong Muslim’s mind, I don’t know if I’d ever be able to leave. We Bury the Landscape is a collection of one-hundred ekphrastic works of flash fiction and prose poetry pieces that act as glimpses— better yet— conduits, into parallel universes constructed and inspired by a surreal, but brilliant, forge of one-hundred unique paintings. Visceral is a word that gets overused. But in this case, the text leaps off the pages, claws it ways onto your bones, gnaws and tears and embeds itself inside the cavities of your brain. Many of the stories are short and can be quickly read, but each of them lingers hauntingly as in, “The Taxidermist and the Girl Made of Dead Things:”

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God Head
by Leonard Cline
Northern Illinois University Press, May 15 2012
168 pages / $16  Buy from Amazon or University of Chicago Press Books

This month, Northern Illinois University Press will release its republication of Leonard Cline’s God Head. First published in 1925, Cline’s debut work was received by enormous critical acclaim.

“Leonard Cline could write rings around a half dozen of our ten best novelists,” proclaimed the New York World. “When a new novelist, who is really good shines forth, we are supposed to be first to review or, as you might say, revere him. Well, Cline is such a new novelist,” affirmed the New Yorker.

Given his substantial literary merits, one wonders what had to happen to Cline to prevent him from achieving the iconic literary status of a Fitzgerald or a Hemingway.  As it turns out, a lot happened. Two years after the publication of God Head, Cline was convicted of manslaughter for shooting a good friend while drunk. Two years after that he died of heart failure. He was thirty-six.

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Aliss at the Fire
by Jon Fosse
Dalkey Archive, 2010

This was a really haunting read. The book takes the form of an extended interior monologue written in a terse, stripped-down prose that enacts an intense and haunting landscape of loss and memory. The ghosts, both of the dead and live, intermingle in a strange drama. I felt like I was overcome by a subtly increasing anxiety as I read this in one sitting.

How I Became A Nun
by César Aira
New Directions, 2007
This was recommended to me by my friend Felipe, the back cover toting the impressive blurb from Roberto Bolaño: “[Aira] is also one of the three or four best writers working in Spanish today.” Indeed, the strange hyper-reality of the six-year old boy/girl narrator that revolves around an incident involving strawberry ice cream is a strange trip. The narrative convulses with the narrator’s delirious perspective on the world, a precise dark humor, and the sense of listening to an oddly but hyper-calculated musical composition.

The Great Fire of London
by Jacques Roubaud
Dalkey Archive, 2006

Self-labeled as a “bi-furcated novel,” this is one I might dare call a “masterpiece.” It is a difficult read, and also difficult to really explain, but the narrative is compulsive in its expansion, the density and beauty of the interstitual prose offering a sense of continuous simultaneity. Probably the easiest way to summarize the project is to say that this is a novel about the failure to write a novel, the ruins and grief turned into novel, questioning too the very nature of a “project.” The Loop and Mathematics are already in my queue.

Conspiracy Cinema
by David Ray Carter
Headpress, 2012

With the statement, “Conspiracy theories are a type of rebellion,” I was really intrigued to delve into the book. Reading the introduction got me excited and sort of wanting to play a game of Illuminati. The body of the text itself, though, is more appropriate as a primer or reference book, offering a vast list of films and works falling under the banner of “conspiracy cinema” with brief descriptions and thoughts. What I wanted honestly was a deeper analysis and reflections on these works’ significance in a broader context, though perhaps this volume helps to set the stage for more studies in this area.

Nick Demske
by Nick Demske
Fence Books, 2010

I was just thinking the whole time, how did I not read this earlier? The back of the book: “He desensitizes your obscenity-mometer” which I misread as “obscenity-monster.” An excerpt from one of my favorite sonnets in the collection “As Far Away”: The Holocaust never existed. What are you going to do / About it? The Holocaust never happened, but your mother’s autopsy reveals / It can if you just believe.” Most of my thoughts on this book are fragments, shards, but yes: intense, obscene, honest, repulsive, contemplative, hallucinatory, & really smart.

Psycho Dream Factory
by Caroline Picard
holon press, 2011
111 pgs / $20  Buy from The Paper Cave

 
In line at the grocery store Shiloh perches in Angelina’s arms and Whitney Houston is dead. Celebrity eyelids: collated rainbows. All the flesh slick, like paper money.

      Celebrity

millions upon millions upon millions of images of Marilyn

                        Monroe:

her absence.

Psycho Dream Factory sat in a prominent area of my home for most of winter so I could see it because it’s beautiful.

One page is a glossy, hot pink. On it, Mark Fisher, author of Capitalist Realism:

One morning in December I took the book off the table and brought it down to the floor. On my knees I opened it. A slip of paper tumbled out: white postcard bleating sleek, black, hyper-large:

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The Blazing Fireplace of Guardianship
by Shana Moulton
Content, Winter 2012
80 pages / $10  Buy from Content or SPD

Shana Moulton’s collection of found and altered images, The Blazing Fireplace of Guardianship, is the Winter 2012 edition of the Content series (which Blake wrote about here). This is a tender and enigmatic assemblage almost entirely devoid of words, which reads like a challenging and hysterical existential essay, an empathic exploration of modern spiritualism, a cynical contextual analysis of the marketing of the new age, a personal memoir, a mockery of a certain trend towards neo-mysticism in modern art or a map through “the decadent maze of spiritual liberation.”

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Philip K. Dick: Remembering Firebright
by Tessa B. Dick
CreateSpace, March, 2009 & 2010
228 pages / $15.77  Buy from Amazon
&

Daughter
by Janice Lee
Jaded Ibis Press, 2011
144 pages / Color Ed. $39  Buy from Amazon or Jaded Ibis
B/W Ed. forthcoming Summer 2012

The last thing Philip K. Dick’s work needs is another philosopher’s commentary. After Fredric Jameson’s “synoptic” reading of Dick’s corpus and Laurence A. Rickels’ 400-plus page I Think I Am: Philip K. Dick, it might seem prudent, indeed respectful, to refrain from any further philosophical discussion of PKD. However, after spending some time with Tessa B. Dick’s “memoir” and Janice Lee’s “novel,” I am inclined to discuss a dimension of Dick’s that neither Jameson nor Rickels were able to deal with in their commentaries: namely, the particularly contemporary problem of living without myth. Anthropology tells us that peoples of the past actually believed in their myths; a mythological framework provided by the gods presumably told you how to lead your life and what your ultimate place in the universe was. Now that all of our myths have been more or less discredited by the advent of modernity, how might a viable contemporary myth cope with the disintegrating social edifice and the resulting modern subject who minimally experiences the “death of God”?

We’ll start with a strident way in – that of Daughter’s vision of “the head of a human figure with a terrifying face, full of wrath and threats” appearing to the protagonist “in the sky, on a night when the stars were shining and she stood in prayer and contemplation.” These two elements – the terrifying face of the big Other, and the lost subject in search of meaning and the miraculous – are constants in Philip K. Dick’s biography. In the late seventies, Dick recalled: “There I went, one day [in 1963], walking down the country road to my shack, looking forward to eight hours of writing, in total isolation from all other humans, and I looked up in the sky and saw a face. . . . and it was not a human face; it was a vast visage of perfect evil.”  To the psychological impact of such an encounter, Janice Lee supplies a concrete example: “At the sight of it, she feared that her heart would burst into little pieces. Therefore, overcome with terror, she instantly turned her face away and fell to the ground.  And that was the reason why her face was not terrible to others.”

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Tall, Slim & Erect: Portraits of the Presidents
by Alex Forman
Les Figues Press, 2012
131 pages / $15  Buy from Les Figues Press

James Monroe was the third president to die on the fourth of July. Franklin Pierce was arrested for running a woman over with his horse. James Buchanan carried his head cocked to the side like a poll parrot (whatever that is). These and other trivial-pursuit answers are drawn from Tall, Slim & Erect: Portraits of the Presidents, Alex Forman’s compelling and often very funny book of short presidential biographies. With text appropriated from dozens of sources, Forman presents us with a surprisingly dishy view of our first thirty-seven leaders that, through her light touch, still manages to bring up some highly relevant questions about our expectations of history and our chaotic construction of public figures.

In his introduction to the text, Ben Ehrenreich characterized Forman’s effort as one to humanize the presidents, and the portraits are, indeed, deeply human, with a heavy emphasis on personal foibles and physical oddities. The Presidential body is essential to these portraits. Of course we might claim that the presidential body is essential to a great deal of political discourse—from Obama’s smoking and Cheney’s beat-less heart to that final dictatorial accessory, the glass coffin—but what Forman gives us is something different, not the body as symbol or the body as tool of power, but the body as body. Grant “had unusually small hands and feet,” Coolidge was “deficient in red corpuscles,” and while Washington’s famed wooden teeth don’t make an appearance, his pockmarks and bouts of dysentery do. The bodies depicted here are intimate bodies, embarrassingly physical, and not fit for public perusal—which makes it especially striking that this book is, in large part, a compilation of public perusals. Drawn from a few centuries worth of news, diaries, histories, speculations, Wikipedia articles, and gossip, Tall, Slim, & Erect is a distillation of the public gaze.

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None of This Is Real
by Miranda Mellis
Sidebrow, April, 2012
115 pages / $18  Buy from Sidebrow or SPD

O, the subject of the title story of Miranda Mellis’s collection of short and long fiction, None of This Is Real, seeks solace (he has headaches—better to say “pain management,” then? we’ll see) in something called “Path to a Position™,” purveyed by its shadowy practitioner, Tiara Scuro: “She outlined for O the steps by which he would, with her, find his position. . . The old school believed the antidote for despair was courage, she said, but the real anti to the dote is a comforting distortion; this is what I call somatic realism.” “Somatic” realism? Is there another kind? Or do we deal in phenomenology?

“For years I had been removing the ground from under my clients,” she tells him,

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White Horse
Multi-authored chapbook (Including work by writers: Harold Abramowitz, Saehee Cho, John Cleary, Traci O Connor, Jennifer Denrow, Andrew Farkas, Sandy Florian, Paul Gacioch, Evelyn Hampton, Paul Hardacre, HL Hazuka, Kristen Jorgenson, Carrie-Sinclair Katz, Bob Marcacci, rob mclennan, Shane Michalik, Megan Milks, Cathi Murphy, Eireene Nealand, Kristen Orser, Kristin Prevallet, Zach Savich, Michael Sikkema, Jason Snyder, & James Wagner)
Sidebrow, March 2012
78 pages / $12  Buy from Sidebrow

Being a combinatory effort from a number of authors, it should strike one as no surprise that White Horse seems to be a dialogic narrative. The title remaining somewhat obtuse, save for a specific reference near the end (and tho how can we assume a meaning over all), haunts the work as a whole. In consideration of a multi-authored novel there are two routes one can take—the first being to consider the book as a book, authorless, the second being to consider the book a work of collaboration.

While I had a hope that the book would read authorless, it’s unfortunate that this is not the case. The authors are given attribution at the end of the book, and there are striking divides within the stylistic approaches each few pages take. One can feel the authors who repeat. This posits the book ultimately within the realm of collaboration, and ultimately more of a multi-person dialog than anything else. A novel experiment, it ends up seeming more of an exercise in curation rather than a coherent whole.

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(!x==[33]) Book 1 Volume 1
by .UNFO
Blanc Press, 2011
776 pages / $50  Buy from Blanc Press

To be clear: (!x==[33]) Book 1 Volume 1 is a reformatting of Adolph Hitler’s Mein Kampf. The book itself, a conceptual work by .UNFO (a collaboration between Dan Richert and Harold Abramowitz) published by Blanc Press, acknowledges its source only obliquely. The publisher’s website simply tells us that this series “seeks to indexically lengthen the world’s most monumental texts through failed software operations”—that is, by filtering existing texts through the eponymous formula, redistributing chapters and paragraphs into chunks of approximately 33 syllables (rounded to the nearest whole word). On the book’s title page we find an innocuous url for a “0200601.txt” containing a (different) English translation of Mein Kampf archived by Project Gutenberg Australia. Indeed, the source text is apparent enough. We read the signature that follows the author’s forward, the table of contents, the recurring page header: MEIN KAMPF. It seems evasive, even disingenuous, certainly loaded, to characterize this project in such detached terms as a conceptual exercise, a “failed software operation”—the predictable imperfection, somehow poetic, of a system applied to lived reality. This instrumentalization maintains the willfully problematic stance that words are just words—stuff, material, to be shoveled around at will.

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Threats
by Amelia Gray
FSG Originals, February 2012
288 pages / $14  Buy from Amazon

You’re in someone else’s body but you’re not really in someone else’s body, you’re in your own body, lying next to someone else’s body. “An embarrassment of childhood odor” – is it coming from your body? – steams around you, and you may or may not be wearing a fireman’s suit. This is what it feels like when Franny dies.

Franny: a large woman who wears five layers of lipstick and “smells like stones.” Franny: your wife. How she died, although you were there with her when she did, remains a mystery, even to you. A mystery: this is what it feels like to live.

This is also what it feels like to read Amelia Gray’s debut novel, Threats, out from Farrar, Straus and Giroux last month. To read it is to succumb to the emotional torpor and physical disorientation that is life after the death of a loved one. This means: a fair amount of hallucination, an undertone of deep sadness, intermittent boredom, and shots of curious paranoia. This means: laughing out loud and worrying that you shouldn’t be laughing because, hello, someone died and life is sad. This means: being as confused as David (our numb hero) is when he receives the “threats” the book is named for, finding a terrifying note in the crack behind the mirror, not worrying about what it means, or else worrying a lot, wondering who the hell has left it for you, who might be out to get you, and if Franny might be – tragically, for that would mean she’s left you – still alive.

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Punchline
by Nick Courtright
Gold Wake Press, April 2012
96 pages / $12.95 Buy at Amazon or Powells

The title of Nick Courtright’s full-length debut suggests a book of jokes. However, the well-wrought poems in Punchline undermine these expectations. The joke is actually on all of us, the poet included. In Punchline, Courtight peers beneath the surface of the joke of existence, to see if he can better understand the comedian, the joke-writer, or the Grand Master of Ceremonies, if any of these exist.

Courtright’s revelatory odes to the mysteries of philosophy and science come right out of the visionary tradition, though they are filled with enough irony and self-doubt to avoid soapbox crankery (not that there’s anything wrong with that). In fact, it is Courtright’s embrace of the principles of uncertainty that give these poems life and beg us to re-read them, in order to be interrogated by them again and again. Courtright has the cold, hard stare of the soothsayer; it just so happens that everything in his world appears to be out of focus.

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Erik Satie Watusies His Way Into Sound
by Jeff Alessandrelli
Ravenna Press, 2011
66 pages / $11.95  Buy from Ravenna Press

 
One of the first things readers of Jeff Alessandrelli’s Erik Satie Watusies His Way Into Sound will notice is the fact that the back cover contains biographical material for both the author and Erik Satie; upon opening the book, the front matter contains acknowledgments from both men as well. The collection’s copy and front matter signal, it would seem, a playful engagement with identity and proper nouns. Specifically, Alessandrelli conflates himself, the speaker of his poems, and Erik Satie in such a manner that all three personalities become intimately entwined. The book’s first iteration of the list poem “A Game of Numbers” twice addresses this melding:

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Drive Me Out of My Mind: 24 Houses in 10 Years
by Chad Faries
Emergency Press, 2011
280 pages / $16  Buy from Amazon

In his 1958 book, The Poetics of Space, Gaston Bachelard writes, “if we want to go beyond history, or even, while remaining in history, detain from our own history the always too contingent history of the persons who have encumbered it, we realize that the calendars of our lives can only be established in its imagery.” The Poetics of Space describes a philosophy of poetic Imagism (precision of imagination) coupled with, in part, a phenomenology of the home as (not just) mortar, 2×4, and stone. In my reading of Bachelard, our histories are only as real as the Images that embody them.

I was reminded of The Poetics of Space when I read Chad Faries’ memoir, Drive Me Out of My Mind: 24 Houses in 10 Years. The book is separated into a chapter-per-house-lived-in, each chapter begins with a street-and-town, a year, and some song lyrics—a soundtrack to the book that almost acts as white noise on which we can focus when the screaming and partying in the foreground get too depressing. Each chapter ends with “and then we moved.” The book begins at Faries’ birth in 1971 and moves its readers through a difficult–sometimes funny, sometimes grotesque–landscape of pick-up-and-go with his drug-booze-and-sex addicted mother, her family of women, and a wild cast of male characters, to 1981. Drive Me is not only scaffolded by the houses the author lived in before he hit puberty, but Faries’ houses exist in a space created by the coupling of memory and imagination in order to forge the memoired homestead. “Our whole house,” Faries writes early on, “was made of the shadows of others, and we sucked that gray light into our guts to push the total darkness away and claim everything as our own.”

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Unknown Arts
by William Walsh
Keyhole Press, 2012
142 pages / $9.99  Buy from Keyhole Press or Amazon

Unknown Arts by William Walsh (Keyhole Press, 2012) is a collection of critical appropriations sourced from James Joyce’s Ulysses, Finnegan’s Wake, A Portrait of the Artist as a Young Man, Dubliners, and more. A book about Joyce’s books, Unknown Arts can be read as analysis, distortion, homage, and/or a work of art all of its own. It is doubtless a contentious book that will likely add fuel to the ongoing and often fiery debates around contemporary criticism, the imprint of influence, and the nature of creativity. Controversial or not, the collection is a valuable artifact that allows rare access into what are for many the impenetrable works of a literary master.

Here’s an excerpt from one of the many texts in the collection appropriated from Ulysses (1922), titled “Sunny Jim 2”:

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