The Hyperarchival Parallax

Bradley J. Fest

Skip to content
  • Home
  • About
Search

2015.11

“2015.11” and “2015.12” in Adjacent Pineapple

August 3, 2020 / Bradley J. Fest / Leave a comment

“2015.11” and “2015.12,” two sonnets from my ongoing sequence, are in the sixth issue of Adjacent Pineapple. Thanks to Colin Herd for his patience with these.

Books

Essays and Reviews

  • 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

Interviews

  • 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)

Poetry: Online

  • 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
  • 2015.02
  • 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
  • 2020.07, 2020.08, 2020.09, 2020.10, and 2020.11
  • 2020.12, 2021.01, 2021.02, 2021.03, and 2021.04
  • 2021.05, 2022.03, and 2022.04
  • 2021.06, 2022.01, 2022.05
  • 2022.02
  • 2022.06, 2023.02, 2023.03, 2023.04, and 2023.05–06
  • Architects and Their Books
  • Archives of Autumn
  • Archives of Summer
  • Archives of Winter
  • 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

Poetry: Print

  • 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
  • Dead Horse Bay and Archives of Winter
  • Nothingness Introduced into the Heart of the Image
  • Sestina I, Sestina II, Sestina III, and Aubade and After
  • 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

Readings

  • 2017 – June 13: Hemingway's Summer Poetry Series
  • 2017 — November 16: Visiting Writers Series at Hartwick College
  • 2018 — September 18: Red Dragon Reading Series
  • 2018 — May 17: Featured Writer at CANO's Writers' Salon
  • 2020 — July 16: Ecopoetics Reading

Social Media and Other Stuff

  • able was i
  • Academia.edu
  • Amazon
  • Facebook
  • Faculty Page
  • Mastodon
  • SoundCloud
  • Twitter

The Stacks

  • 2River View
  • Adjacent Pineapple
  • After Happy Hour Review
  • Always Crashing
  • amberflora
  • Apocalypse Confidential
  • b2o
  • BathHouse
  • Bloomsbury Academic
  • Blue Sketch Press
  • Bonfire Reading Series
  • boundary 2
  • Breakwater Review
  • Call Me [Brackets]
  • Cambridge Scholars Publishing
  • Community Arts Network of Oneonta (CANO)
  • CounterText
  • Critical Quarterly
  • Critique: Studies in Contemporary Fiction
  • Dispatches from the Poetry Wars
  • Empty Mirror
  • Epigraph Magazine
  • Faculty Lecture Series – Hartwick College
  • Fathomsun Press
  • First Person Scholar
  • Flatbush Review
  • Flywheel Magazine
  • Genre: Forms of Discourse and Culture
  • Grain
  • Hartwick College Faculty Lecture Series
  • Hartwick College Visiting Writers Series
  • Hemingway's Summer Poetry Series
  • hotmetalbridge
  • HVTN
  • IceFloe Press
  • IDIOT
  • Likely Red
  • Literatura
  • LJMcD Communications (Lachlan J McDougall) and D.O.R (Deadly Orgone Radiation)
  • Mannequin Haus
  • Marymount Institute Press
  • Masque & Spectacle
  • Matter
  • Nerve Cowboy
  • Nidus
  • Open Thread
  • Organism for Poetic Research
  • Palgrave Macmillan
  • Pamenar Press
  • Pine Hills Review
  • PLINTH
  • Rabid Oak
  • Racheal Fest
  • Red Dragon Reading Series
  • Salò Press
  • Small Po[r]tions
  • Spuyten Duyvil
  • Studies in the Novel
  • Sugar House Review
  • Sussex Academic Press
  • Tenebrae
  • The Airgonaut
  • The b2 Review
  • The Babel Tower Notice Board
  • The Decadent Review
  • The Kitchen Sink
  • The Offbeat
  • this morning in poetry
  • TXTOBJX
  • Variant Literature
  • Verse
  • Version (9)
  • Wide Screen

Translations of Fest's Work

  • 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

Categories

Archives

Create a website or blog at WordPress.com
  • Follow Following
    • The Hyperarchival Parallax
    • Join 1,512 other followers
    • Already have a WordPress.com account? Log in now.
    • The Hyperarchival Parallax
    • Customize
    • Follow Following
    • Sign up
    • Log in
    • Report this content
    • View site in Reader
    • Manage subscriptions
    • Collapse this bar