“. . . . poetry, no matter how badly it aspires to philosophy (or a systematic secular theology), can never completely unclutter itself. Language, if it is really language, has to be crowded with things. And by “things” I don’t mean phenomena. I mean thing-ly things possessed of mass, and texture, and corners that we can’t help but bump into even as we perceive that bumping into those corners might injure us. However, in the case of The Habiliments, I might actually invoke the objective project of Romanticism more so than that of Modernism, inasmuch as they are different projects. . . ” CONTINUE READING
If you live in the Dallas area, please join us for Joe Milazzo’s reading and launch party at The Wild Detectives Coffee Shop on Tuesday, June 28th. Joe will read from The Habiliments and participate in a conversation moderated by Paul Koniecki.
Details hear: https://www.facebook.com/events/1200068016670252/.
An odd paradox underlies all of the poems in THE HABILIMENTS: the ‘habiliments’ or ‘clothing’ of the title refers simultaneously to dressing and stripping bare. The accouterments, costumes, objects, and trappings in which we construct identity are woven into a tapestry of memory, dream, forgetting, and, ultimately, grief. Milazzo uses allusion, antimeria, neologisms, conversions, and logical disruptions
as well as a deep attention to the elusive uncertainties of language to explore how words simultaneously succeed and fail to express emotion, describe reality, or make sense of our relationship with others. Quotidian reality wears a new syntactical and semantic garb as each poem seems to unravel language and a circadian rotation of “dreams”: ambiguously of sleep, of aspiration, of nonsense, of the fantastic, or of the banal. If Milazzo’s poems are a kind of ‘dream song,’ they are constructed in radically different ways than John Berryman’s (though there are formal echoes of that poet’s phantasmagoric layers). In these dream songs, Berryman’s angst and sorrow collide with John Ashbery’s metaphysics of erosion, Rosmarie Waldrop’s semantic drifting, and John Yau’s surreal atmospherics.
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Coming soon . . . . Joe Milazzo’s complex and fascinating work, The Habiliments. Here’s the cover!
Join us at &NOW 2015:
California Institute of the Arts
March 25-28, 2015
Apostrophe Reading & Discussion: Thursday, March 26 • 2:30pm – 3:45pm
Although Apostrophe Books has defined itself as a publisher of “innovative poetry,” our authors have transgressed even this label by making all generic categories of writing somewhat suspect. From Tony Trigilio’s conceptual deformation of Don DeLillo’s White Noise to Joe Milazzo’s bizarre and haunting palimpsests to Gina Abelkop’s sinister and surreal mock romances, Apostrophe writers don’t simply perform “interventions on movements, canons, timelines, and other gatekeepers of the status quo,” they eschew whatever’s on the other side of those gates all together.
The mantra at Apostrophe is not simply innovation, but pataphysical innovation. This means the philosophy of the absurd, the ecology of hypothetical experience, the science of imaginary solutions. Our authors challenge categories and genre distinctions most often associated with literature and poetry via discourse that intersects philosophy, cultural studies, theory, and, especially, pataphysics. By investigating language and consciousness through conceptual operations, parody & pastiche, Oulipo-like methods, surrealist conceits, and cross-genre experiments, these writers expand potential definitions of literature. The intersection of poetic discourse with pataphysics involves an “anti-metaphysical” trajectory that delights in the uncertain and indeterminate nature of human experience; a kind of postmodern negative capability. Our writers subvert the idea of a “well-crafted” poem by disclosing its own operations and undermining presumptions about what constitutes a poem.
After a short introduction from the editors (Mark Tursi and Richard Greenfield), five APOSTROPHE authors (Tony Trigilio, Joe Milazzo, Catherine Meng, Gina Abelkop and Johannes Göransson) will read their work. A panel discussion with the writers and editors concerning the characteristics of our aesthetic followed by questions from the audience.
Thanks everyone for submitting to the 2014 reading period. If you had any technical difficulties or have any queries about the process, please feel free to contact us at email@example.com. We expect it will take between three and six months to read through the submissions and make our decision.