These poems certainly elicit skepticism, but they are more than simple conceptual or design exercises. They have an oddly effective way of opening up. This is the sort of art you think you could easily make, but when you sit down to it, you make something of horribly poorer quality. Artful elimination requires a deeply tuned dedication, a kind of mental conditioning. This is how John Beer—former assistant to Lax and editor of this collection—roughly describes it in his wonderful introduction: during the writing of these poems, Lax led a spare, if not ascetic life on the Greek islands, handwriting notebooks worth of work—several poems a day—from which he would later select and typeset only the very best “worthy of preservation.”
Read the review at Michigan Quarterly Review
Hemmed in by questions, suspended over days that mete out incremental evidence, with an investigative protagonist alternating between the archive and the street, this little chapbook—a/0—is an exemplar of the detective genre. But it is so much stranger than most. One wants to say Pynchon or Murakami. No usual suspects here, and the universe is not what you think.
Read the review at NewPages.
Riding SideSaddle* is not like most things you’ve read. On the surface it startles with its three-dimensionality—it’s not a spinebound book but a deck of cards, and you shuffle it before each reading. It’s a new, and wonderful, adventure each time, a story of outcasts, their caretaker, and the friendship and love they find with each other. It’s a story about the body and hybridity—based on the myth of Hermaphroditus—and it’s a story about magic and the slipperiness of categories.
Available in physical format from Springgun Press, it’s also available for free online at OddBooks, a reading platform written specifically around the novel and its randomizability. It’s also open-source—free to use, adapt, remix, and incorporate into other pieces. I talked with Eric Suzanne, the polymath visionary behind this project, about innovations with literary form as well as some of the issues—body, gender, friendship, memory—at work in the novel.
Read the entire interview at Michigan Quarterly Review.