(Miley Cyrus told Australia’s Daily Telegraph, via the New York Daily News.)

(Miley Cyrus told Australia’s Daily Telegraph, via the New York Daily News.)

I co-edited the sixth issue of SLAB (Sound & Literary Art Book) last year alongside Tristina Marx. It turns out that the issue has been selected as the winner of the AWP National Program Director’s Prize for Undergrad Literary Magazines in the Category of Content. This year’s judge, Elise Blackwell, had this to say:"SLAB manages to combine cohesive editorial vision with diversity of content, favoring language-conscious prose and poetry that takes risks of one kind or another. The journal publishes a strong mix of emerging and somewhat more established writers, offering a venue for interesting work that falls just outside the purview of some better-known publications.”And what’s more important than “content?” A huge thanks again to all of the incredible writers that contributed to the journal! Cheers!

I co-edited the sixth issue of SLAB (Sound & Literary Art Book) last year alongside Tristina Marx. It turns out that the issue has been selected as the winner of the AWP National Program Director’s Prize for Undergrad Literary Magazines in the Category of Content. This year’s judge, Elise Blackwell, had this to say:

"SLAB manages to combine cohesive editorial vision with diversity of content, favoring language-conscious prose and poetry that takes risks of one kind or another. The journal publishes a strong mix of emerging and somewhat more established writers, offering a venue for interesting work that falls just outside the purview of some better-known publications.”

And what’s more important than “content?”

A huge thanks again to all of the incredible writers that contributed to the journal! Cheers!

my statue of liberty costume
looks way different
than yours



foamghast—my second e-chapbook of poems—will be released by NAP this month.

J.D.A. WINSLOW READING "I HUG YOU FLUFFY BUNNY BECAUSE YOU ARE THE BEST BUNNY" DURING STEVE ROGGENBUCK’S SPREECAST ABC FAMILY RALLY LAST WEEK.REALLY ENJOYED WINSLOW’S VOICE/DELIVERY.AND LOOK AT STEVE DOWN THAT SLICE OF VEGAN PIZZA.HEAVENS.(ALSOTHIS IS MY 666TH TUMBLR POST!!!!!!!!!)

J.D.A. WINSLOW READING "I HUG YOU FLUFFY BUNNY BECAUSE YOU ARE THE BEST BUNNY" DURING STEVE ROGGENBUCK’S SPREECAST ABC FAMILY RALLY LAST WEEK.

REALLY ENJOYED WINSLOW’S VOICE/DELIVERY.

AND LOOK AT STEVE DOWN THAT SLICE OF VEGAN PIZZA.

HEAVENS.

(ALSO

THIS IS MY 666TH TUMBLR POST!!!!!!!!!)

FRIDAY THE 13TH CABIN RETREAT - AKA THE ‘I’M SO PRETTY’ PITY PARTY 2012

GOOD NEWS—WE WILL NEVER HAVE TO SAY “PRESIDENT SANTORUM”

BUT BE WEARY OF THE OTHERS. BE WEARY OF THE MOVIE STAR FACE WITH THE RELENTLESS CHARISMA TEETH.

AMERICA DOES NOT HAVE TO BE THE BLOOD NOT EVEN RAIN CAN WASH AWAY.

SENSIBILITIES CAN CHANGE

 ?

AMERICA DOES NOT HAVE TO RUB AND STROKE ITS LAZY FATHER-ORGANS.

SEX IS FOR THOSE WHO LOVE AND LOVE IS DISARRAY—SEX AND LOVE SHOULD NEVER BE REGULATED. BE IN LOVE. PLEASE.

A MOUTH IS YOUR OPENING. LET YOUR FAT, BEAUTIFUL TEETH COME OUT. PLEASE. LET YOUR FAT, BEAUTIFUL VOICE COME OUT. PLEASE.

SALIVA WILL MAKE SOUNDS IN 2012. PLEASE.

TEAR BACK THIS AMERICA THAT WANTS TO LEAVE YOU DEFORMED AND CRYING OUT. THERE WILL BE TIME TO CELEBRATE AND OVEREAT WHEN WE’RE ALL HOARSE AND TIRED OF SCREAMING.

“PRESIDENT” IS A HORRIFYING PREFIX. DON’T LET IT FUCK YOU.

“NO” MEANS “NO.”

I AM TOO MUCH FOR MYSELF TONIGHT

THESE “KEEPSAKE” TITANIC 3D GLASSES I STOLE FROM WORK ARE MAGIC

"I WANT YOU TO DRAW ME LIKE ONE OF YOUR FRENCH GIRLS, JACK"

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].




MOAT SIX HAS FINALLY ARRIVED.

The spring issue features great new work by Sylvia Chan, Feng Sun Chen, Mark Decarteret, Christine Friedlander, Jared Joseph, Michael H. Koh, Robert Krut, Rob MacDonald, Neila Mezynski, Jacob Oet, Diana Salier, Amanda Silbernagel, Kimberly Ann Southwick, Cody Todd and collaborative poems by Nick Sturm and Wendy Xu!!

Bri Scala has also curated a special collection of photography by Rebecca Cairns—the same photographer who is responsible for the cover photo.

James Bidgood spent six years working on his 1971 erotic/surrealist film, Pink Narcissus. Due to the filmmaker being credited as “Anonymous,” many viewers suspected that Andy Warhol had been behind the underground masterpiece.

Pink Narcissus was shot entirely on 8 mm film in Bidgood’s apartment. The film follows the fantasies of a young gay prostitute. Bidgood would later influence photographers like Pierre et Gillles.