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Parsival we plie Franklinstein Plato's Closet
David Buuck’s newest collection, Noise in the Face of, is aesthetically strong, political poetry at its finest. Written in Oakland during the early days of the Occupy Oakland movement, through the Bay Area protests in the wake of Trayvon Martin, Michael Brown, Eric Garner, and many, many others, Noise marries fire and form, going beyond representational aesthetics to craft writing that aims to be the thing itself.
Chris Sylvester’s latest work and first with ROOF, assembles its own avant-garde tradition, positioned between the ethos of Bob Grenier’s CAMBRIDGE M’ASS, the demotic vocabulary and style of Gertrude Stein’s Lectures in America, and bow-tied with a similar contemporary verve and humor as Brandon Brown’s Flowering Mall, also a ROOF publication.
This hybrid genre collection of poetry and prose tells the story of one Philadelphia neighborhood, Germantown—an historic, beloved place, wrestling with legacies of colonialism, racism, and capitalism.

Drawing from interviews, historical research, and two divergent but quintessential American texts (The Autobiography of Benjamin Franklin and Gertrude Stein’s The Making of Americans), Landers’ Franklinstein is a monster readers have not encountered before.

Plato’s Closet treads indelicately yet with profound subtlety on the subject of community—the polis and the hinterland it populates with idyllic shepherds to distract from the scapegoats, thieves, heretics, and wolves proliferating there. By deploying an overwrought rhetoric by turns misogynist, melancholic, and masochistic, the poems attempt to trace the invisible curves and lumps of imperial masculinity, whose decadence has finally purified it of its civilized ornamentation—to the point where it can perhaps be drowned in the bathtub.


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