Two Poems
Anna Crews04.07.17
“Reading is boring” Two new poems by Anna Crews, via late winter poetry editor Aurelia Guo.
Body Horror: Eating disorders, anatomy, and place (2)
Oliver Zarandi04.06.17
Part 2 of Oliver Zarandi’s meditation on body, gore, consumption, and physical influence, steering now toward the worlds of Cronenberg, Basketcase, and Travis Bickle.
Body Horror: Eating disorders, anatomy, and place (1)
Oliver Zarandi04.05.17
Oliver Zarandi’s essay in two parts on filmic gore, body image, and physical affect cruises through the unnerving anatomical matter found in Day of the Dead, Hellraiser, Frankenstein, and more. To be continued tomorrow.
Tired and Glitzy and Profound: JH Phrydas’ Levitations
Avren Keating04.04.17
JH Phrydas’ debut book of poems, Levitations, examines the socio-political boundaries of queer embodiment and community. Avren Keating reviews.
INTERVIEW WITH AN EDITOR: GRAMMA POETRY
Shelby Shaw04.03.17
Shelby Shaw interviews Drew Scott Swenhaugen, editor of Gramma, a new poetry publishing imprint out of Seattle, WA.
Three Poems
Ed Luker03.31.17
“But every possession is marked / By its own undoing, this giving / Without being given that within” Three new poems by Ed Luker, from late winter poetry editor Aurelia Guo.
So Long and Thanks for The Fish: The Beautifully Absurd in Snowpiercer
John Venegas03.30.17
John Venegas on the value of absurdity in the construction of plot, taking a deep eye into the strange conceit of Snowpiercer.
from GAG
Grant Maierhofer03.29.17
“I WOULD NOT ASK YOU TO LEND PERSPECTIVE TO MY LIFE IN MUD.” An excerpt from GAG, a new novella by Grant Maierhofer, out tomorrow from Inside the Castle.
HER COMPANY: A REVIEW OF C.D. WRIGHT’S THE POET, THE LION…
Sean Pears03.28.17
Sean Pears reviews C.D. Wright’s The Poet, the Lion, Talking Pictures, El Farolito, a Wedding in St. Roch, the Big Box Store, the Warp in the Mirror, Spring, Midnights, Fire & All.
Ideal Home Noise (11): Kieslowski, Foy, Pettibon
Jeff Jackson03.27.17
The latest installment of Jeff Jackson’s column focuses on a massive set of subversive biblical films from Poland, D. Foy’s exploration of the father, and the pen-and-ink noise of Raymond Pettibon.
