The Hyperarchival Parallax

Bradley J. Fest

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“2016.09,” a poem from my sonnet sequence, is in amberflora.

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Apocalypse Networks: Representing the Nuclear Archive
Eternal, Shiny, and Chrome: The Fabulous Capitalist Megadisasters of the 2010s
Geologies of Finitude: The Deep Time of Twenty-First-Century Catastrophe in Don DeLillo’s Point Omega and Reza Negarestani’s Cyclonopedia
Is an Archive Enough?: Megatextual Debris in the Work of Rachel Blau DuPlessis
Metaproceduralism: The Stanley Parable and the Legacies of Postmodern Metafiction
Mobile Games, SimCity BuildIt, and Neoliberalism
Poetics of Control, review of The Interface Effect, by Alexander R. Galloway
Reading Now and Again: Hyperarchivalism and Democracy in Ranjan Ghosh and J. Hillis Miller’s Thinking Literature across Continents
Review: Consider David Foster Wallace: Critical Essays
The Function of Videogame Criticism, review of How to Talk about Videogames, by Ian Bogost
The Inverted Nuke in the Garden: Archival Emergence and Anti-Eschatology in David Foster Wallace's Infinite Jest
Then Out of the Rubble: David Foster Wallace's Early Fiction (in DFW and "The Long Thing")
Then Out of the Rubble: The Apocalypse in David Foster Wallace's Early Fiction (in Studies in the Novel)
Toward a Theory of the Megatext: Speculative Criticism and Richard Grossman's "Breeze Avenue Working Paper"
Writing Briefly about Really Big Things

An Interview with Jonathan Arac
Isn't It a Beautiful Day? An Interview with J. Hillis Miller (in boundary 2)
Isn't It a Beautiful Day? An Interview with J. Hillis Miller (in Reading Inside Out: Interviews and Conversations, by J. Hillis Miller)

2013.01, 2013.02, and 2013.03
2013.04, 2013.05, and 2013.06
2014.01, 2014.02, 2014.03, 2014.04, 2014.05, and 2014.06
2014.07, 2014.08, 2015.03, 2015.07, and 2015.08
2015.01
2015.04, 2015.15, 2015.18, 2015.26, 2016.02, and 2016.28
2015.05 and 2015.06
2015.09, 2016.27, 2018.01, 2019.01, and 2019.02
2015.10, 2015.23, and 2016.10
2015.11 and 2015.12
2016.01, 2016.19, and 2016.23
2016.04
2016.09
2016.15
2016.16, 2016.17, 2016.18, 2016.21, 2016.22, and 2016.26
2016.29
2016.30
2019.03
2019.04
2020.01, 2020.02, 2020.03, 2020.04, 2020.05, and 2020.06
Architects and Their Books
Blason I, Blason II, and Blason III
c o n t e m p o r a n e i t y, Silence, and Blason IV
Dead Horse Bay and Archives of Winter
Ekphraseis
If the Marianas Trench Were a Gathering of Sound
Meditations at Oneonta and Humid Figures and a Handful of Dust
Oceanic and Survival City
One Summer Near Niagara
Paraclausithyron
The One (Symphony of the Great Transnational)
The Shape of Things I, We're Just Like Yesterday's Headlines, and Winter, or, Some (Future) Ambiguities
Two Parts of a Parallax Gap¹

2015.02
2015.13, 2015.16, 2015.25, and 2015.27
2015.17
2015.28
2016.05 and 2016.08
2016.11, 2016.13, 2016.20, 2016.24, and 2016.25
2016.31, 2016.33, 2016.36: Preface, and 2017.01: Afterword
2016.35
Blason I, Blason II, and Blason III
Dead Horse Bay and Archives of Winter
Nothingness Introduced into the Heart of the Image
The Shape of Things I, Architects and Their Books, What We Are Looking At, Tristeza, An Ode to 2013: We Are the National Security Agency's Children, Throw Out Your Life, and The Shape of Things II

Oblika reči I, Zima ali neke (prihodnje) dvoumnost, and Smo kot včerajšnje naslovnice, by Marko Bauer and Andrej Tomažin
Oda letu 2013: Smo otroci Nacionalne varnostne agencije, by Marko Bauer and Andrej Tomažin