Like a poem, code makes an approximation of an ideal in the way that metaphor attempts to grasp something larger than itself with varying degrees of fidelity and success. In fact, #! expands the kinds of successes that code-based poetry can achieve.
In the way that Eliot’s essay is a kind of periodic table, a structure that can both account for current and anticipate future development or discovery of new elements, Michael Leong’s Cutting Time with a Knife functions as quasi-historical and predictive matrix of possibilities.
Wintz’s text behaves like the textual equivalent of an uncertainty principle: if at any time a reader is aware of physically where they are, they have lost track of time; if a reader is sure of “when they are,” there is no certainty of where.
In Mr. West, Blake attempts a conversation with myth, trying to navigate and break down the barriers that surround the construction of persona using Kanye West as a vehicle and a mirror for the concept of humanity.
it is almost as if Bury’s constraints create a full-contact experience out of the notion of constraints, each being an almost visceral way to experience a given author’s work. In some cases is it literally visceral, in others it certainly feels like it comes as close as literature can.
In the poems that comprise The Things I Heart About You, being able to see the speaker’s faults, failures, and attempts to crystallize their position on what they choose to communicate allows the “mistaken,” and the inexact, to remain visible.
Amongst the twists and turns of dejectedness and despair, and realizing that we are not as alone as we may think we are, Robert Fitterman’s No, Wait. Yep. Definitely Still Hate Myself explores moments where everyone certainly feels like it.
Flynn is very aware of the potential for a volume of information to minimize the impact of horror, shaping his poems to focus on what is perhaps more horrifying: the chronicle of what happens at the edges of the darkest moments.
Part catechism, part scripture, and part parable, The Source serves the larger purpose of becoming an odd type of creation story that uses text to redefine the role and creation of texts.
Shut Up Shut Down is not a set of narratives that wish to ameliorate or downplay conditions, but to expose and educate about the day-to-day struggles of many Americans who find themselves difficult economic positions.