Pause before entering this backwoods Airstream trailer built out of family gristle and American scar tissue—Adam Moorad has written the first thing in 2012 to scare the hell out of me. He calls it Oak Ridge (I hear the sound of teeth rubbing together). This is a tale of neglect with swatches of elegant menace-prose and images you’ll have a hard time turning off even after you finish. This is David Lynch via John Waters. Moorad’s oddity family bursts like sudden throat sounds in the dark: “She complains of an odor from a sofa in the middle of the yard, the child’s head in her lap. She braids its hair as the child braids a doll’s. The doll’s head pops off and the child throws the decapitated head like a live grenade. It’s okay, she says. Everyone got their money’s worth.” Oak Ridge is vibrant horror, but with moments of humor and tenderness. Like real life.Oak Ridge is a handsome little chapbook and it will be available from Turtleneck Press on April 7th for five dollars.

Pause before entering this backwoods Airstream trailer built out of family gristle and American scar tissue—Adam Moorad has written the first thing in 2012 to scare the hell out of me. He calls it Oak Ridge (I hear the sound of teeth rubbing together). This is a tale of neglect with swatches of elegant menace-prose and images you’ll have a hard time turning off even after you finish. This is David Lynch via John Waters. Moorad’s oddity family bursts like sudden throat sounds in the dark: “She complains of an odor from a sofa in the middle of the yard, the child’s head in her lap. She braids its hair as the child braids a doll’s. The doll’s head pops off and the child throws the decapitated head like a live grenade. It’s okay, she says. Everyone got their money’s worth.” Oak Ridge is vibrant horror, but with moments of humor and tenderness. Like real life.

Oak Ridge is a handsome little chapbook and it will be available from Turtleneck Press on April 7th for five dollars.

I finished Molly Brodak’s The Flood today—a chapbook of poems from Coconut Books that I received from Brodak while I was in Chicago for AWP. Her ekphrastic poems respond to Uccello paintings and resources like Franco & Stephano Borsi’s Paolo Uccello (Abrams, 1994) and Jean-Louis Schefer essays from The Enigmatic Body (Cambridge, 1995) are credited as “research for this chapbook.” I’m becoming increasingly more fond of this idea of associating creative product with research. I’m not saying that it’s imperative that all creative works come with their own bibliography, but in terms of academia there are a lot of people who disregard the possibility that poetry can be more than a ‘creative process.’ This is why I recently reviewed Michelle Disler’s Bond, James and why I’m so attracted to achievements like that of the poetry in Colin C. Post’s Aleph in the Cellar—an Open Thread chapbook from 2009 that explored the aleph (a mathematical term signifying multiple infinities). In The Flood, Brodak’s poems brilliantly utilize and extend beyond their source material. They dream. They confront. We dislocate,as if right up next to the dying man.You are already late to this image.The “you” in Brodak’s poems scratches at us like time—dilemma-busy and troubling. As the use of “you” interpellates readers, we find ourselves questioning the ways in which we perceive a work of art. When ‘is’ the painting finished? Brodak’s imagery and musings are neither obtrusive or elucidating. The Flood poses readers to challenge mediums before accepting them as truth or finite. You can read poem excerpts from The Flood [here] and [here].

I finished Molly Brodak’s The Flood today—a chapbook of poems from Coconut Books that I received from Brodak while I was in Chicago for AWP. Her ekphrastic poems respond to Uccello paintings and resources like Franco & Stephano Borsi’s Paolo Uccello (Abrams, 1994) and Jean-Louis Schefer essays from The Enigmatic Body (Cambridge, 1995) are credited as “research for this chapbook.”

I’m becoming increasingly more fond of this idea of associating creative product with research. I’m not saying that it’s imperative that all creative works come with their own bibliography, but in terms of academia there are a lot of people who disregard the possibility that poetry can be more than a ‘creative process.’ This is why I recently reviewed Michelle Disler’s Bond, James and why I’m so attracted to achievements like that of the poetry in Colin C. Post’s Aleph in the Cellar—an Open Thread chapbook from 2009 that explored the aleph (a mathematical term signifying multiple infinities). In The Flood, Brodak’s poems brilliantly utilize and extend beyond their source material. They dream. They confront.


We dislocate,

as if right up next to the dying man.

You are already late to this image.


The “you” in Brodak’s poems scratches at us like time—dilemma-busy and troubling. As the use of “you” interpellates readers, we find ourselves questioning the ways in which we perceive a work of art. When ‘is’ the painting finished? Brodak’s imagery and musings are neither obtrusive or elucidating. The Flood poses readers to challenge mediums before accepting them as truth or finite.

You can read poem excerpts from The Flood [here] and [here].




Radioactive Moat Press is hosting an open reading period for chapbook manuscripts of poetry during the month of April. We’ll be selecting one of those manuscripts in early May to publish as a print chapbook.For chapbook guidelines, click [here]Our first print chapbook was Feng Sun Chen’s Ugly Fish. You can read it [here] if you haven’t already.

Radioactive Moat Press is hosting an open reading period for chapbook manuscripts of poetry during the month of April. We’ll be selecting one of those manuscripts in early May to publish as a print chapbook.

For chapbook guidelines, click [here]

Our first print chapbook was Feng Sun Chen’s Ugly Fish. You can read it [here] if you haven’t already.