This book is impossible to comprehend but it's the sort of text that sticks with you. Rattray's work is like a contact high because in it you feel the urgency of a mind pushing at the boundaries of what language can do.
Former Chicagoan Amina Cain's mysterious, carefully honed stories pitch you into a strange state of suspension. Like Monica Vitti's character in Red Desert, the creatures who populate Cain's world never seem sure of their position vis a vis geography: where does landscape end and selfhood begin?
A kind of shadow oral history, this book preserves the talkiness and loose, associative quality of an interview. Goldman's feminism is refreshingly intersectional: women of color like Poly Styrene, Palmolive, Grace Jones, and Neneh Cherry are placed at the center of the discussion, and the complexities of their subject positions are engaged head on.
Conrad's writing is always confrontational, which can be a great relief in a time when even poets don veneers of staid professionalism. Insistently queer, working class, witchy, and anti-war, Conrad speaks his truth and doesn't care whether you're ready for what he has to say.
Just after Trump got elected, Levin toured across the country with poet Eric Sneathen reading the same essay condemning Reaganism night after night. Their latest book emerged out of a set of questions the poet JT Jennifer Tamayo posed: "What does it mean to you to be a white? How does that show up or not in your work? What is justice?" Levin's self-critical response takes the form of fragmentary notes, giving voice to the complex interplay of learning and everyday life.
This 2012 book, galvanized by the Occupy movement, looks at the abstraction of life under finance capital and analyzes this in relation to the slippage between sign and referent that occurs in poetry. Unlike finance, which alienates people and subjects language itself to an increasingly mechanized role in society, poetry “reactivates the social body” and makes possible new forms of relationality outside of those prescribed by capital. Funny, weird and sweet, you could easily knock this out in a single sitting. See the 2018 sequel of sorts, Breathing, for a more freewheeling elaboration of the book’s ideas.
High-stakes writing that imagines an outside to empire while trapped inside its blinding glow. Attending to the connections between subjecthood and state terror, the text continually circles back on itself as if to put theories of fugitivity into practice via poetic form. (What the hell is form? is among the questions the collection ponders.) A riotous book that refuses available representational paradigms, never content to accept the conditions of appearance that colonizers take as the given reality.
