NEW / NOW:
Two Reviews of Kate Durbin’s Kept Women
By the end of Kept Women, Durbin successfully changes the viewing activity of reality-as-entertainment into an active reading of trauma, or post-trauma. Readers become increasingly self-aware as the speaker’s emotional detachment from the scenes feels tensely at odds with the negated inhabitants. The women’s physical bodies are acutely absent from the poems, as if the speaker is treating a fresh crime scene like a museum tour.
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Burial
Claire Donato
A dark, multivalent, genre-bending book.... Composed with unrelenting, grotesque beauty.... Exhaustive recursive obsession about the unburiability of the dead, and the incomprehensibility of death.—Publishers Weekly Starred Review & PW's "Best Summer Reads"
Donato makes and unmakes the world with words, and what is left shimmers with pain and delight.—Brian Evenson
Haute Surveillance
Johannes Göransson
So riveting, so fiercely imagined, so febrile and alive to the violence of our moment, so passionate — its images unbidden, its narrative a continual surprise.... I was compelled to read it, at times against my will, mesmerized, enthralled.—Carole Maso
Salamandrine: 8 Gothics
Joyelle McSweeney
He who shrinks from the flames will never command Salamanders.—Arthur Edward Waite
One would not make love to a Salamandrine during a sandstorm.—Aleister Crowley
Hospitalogy
david wolach
A radical somatics, procedural anatomic work, queer narrativity....—Erica Kaufman
Welcome to david wolach’s beautiful corrosion.—Fred Moten
Documents the soft rebellion of staying alive.—Frank Sherlock
Holds the space of the clinic we don’t yet have, the dark we need.—Eleni Stecopoulos
More News
Blake Butler at VICE reviews, excerpts Johannes Göransson’s Haute Surveillance
Johannes Göransson’s Haute Surveillance (Tarpaulin Sky Press 2013): “A feverish and explicit set of images and ideas revolving around power, fetish, porn, media, violence, translation, punishment, performance, and aesthetics. Taking its title from a Jean Genet play of the same name, it’s 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.”
Johannes Göransson’s Haute Surveillance and Uche Nduka’s Ijele reviewed by Stacy Hardy
Writes Hardy: “The narrative of [Göransson's Haute Surveillance] is itinerant, slippery. It unwinds, confused by voices, rhythms, and accents, ‘interlingual puns’, ‘auto-translations’ and ‘automutilations’ that befuddle the desire for a secure semantics. It is at once a prose poem, a ‘novel dedicated to the homos and the awkward perfumists’, a biography of its author, an ‘autobiography of a foreigner’, ‘a fashion show dedicated to a riot’, a film script and a theoretical text…. ‘This is the first lesson in haute surveillance: Always write like you’re a teenage virgin. Always reach for the gun.’
“A similar trickster aesthetics is at the heart of Nduka poetics. A Nigerian writer, working out of Germany and America, Nduka, like Göransson, has the unbordered tongue of an immigrant. Also like Göransson he suggests that it is only in the oblique gaze and the excessive and errant language of poetics that we manage to travel to where the rationalist analytics of the social and human sciences do not permit….”
Laura Carter reviews Johannes Göransson’s Haute Surveillance at Fanzine
“Imagine that you are on a secret journey through the life of Jean Genet, through the shifting framework of a character made by Johannes Göransson,” writes Carter, who imagines no small number of scenarios for readers of Haute Surveillance (TSky Press, 2013), in a review that’s worth reading as a thing unto itself. “You are a teenage virgin,” Carter continues, a few sentences later, “the marriage of pornography and Art, which will, in the long run (as many Woody Allen movies suggest) turn you into a Dictator.”
Andrew Zornoza’s Where I Stay reviewed at Hyperallergic
“A really strange and beautiful use of photography in experimental literature,” writes Allison Meier, Where I Stay (TSky Press, 2009) is “compact prose set to the rhythm of poetry,” a “both spare and sprawling interpretation” of “dislocated loneliness in being unmoored, in drifting away from connections and places until you become stuck somewhere again.”
FROM THE ARCHIVE
Tarpaulin Sky Online Literary Journal Issue #6 / Spring-Summer 2004
Featuring work by Jenny Boully, Julie Carr, Mark Cunningham, William E. Dudley, Jamey Dunham, kari edwards, Michael Gottlieb, Sojourner Hodges, Jason Huntzinger, Louis Jenkins, Jake Kennedy, Jeffrey Levine, Norman Lock, Thorpe Moeckel, Eugene Ostashevsky, Matthew Shindell, Sarah Sonner, Jane Sprague, and John Warner.
