Update: Deadline Extended until March 29, 2020.
Given my ongoing interest in megatexts and other emerging hybrid and transmedia forms, I am organizing a panel on emergent literary forms of the twenty-first-century for the 2021 Modern Language Association Convention in Toronto, Ontario. Please consider submitting an abstract to festb[at]hartwick[dot]edu.
“2019.04,” the first published poem from the second volume of my ongoing sonnet sequence (vol. 1: 1 2013-2017; vol. 2: 2018-?), is in issue 17 of Rabid Oak.
“2016.16,” “2016.17,” “2016.18,” “2016.21,” “2016.22” and “2016.26,” more sonnets from my ongoing sequence, are in the new issue of Mannequin Haus. Thanks so much to Fin Sorrel for bringing them into the world–I’m particularly happy to finally see these particular poems from the sonnet project in print(/online). They’ve been a long time coming and seem nicely timely in their untimeliness.
Also, listen to a few of these poems here.
“2016.05” and “2016.08,” poems from my ongoing sonnet sequence, are in the tenth-anniversary issue of the Sugar House Review.
I will again be reading some poems on New Year’s Eve this year with a bunch of other great poets from all around the Catskills. In Oneonta, New York on the Main Stage of the Foothills Performing Arts Center at 5 pm on December 31, 2019, Eva Davidson, Kirby Olson, Bertha Rogers, Julia Suarez Hayes, Jo Mish, and myself will be reading as part of Oneonta’s First Night New Year’s Eve Celebration.
For more information contact david@davidhayes.com or Julia Suarez Hayes at suarezj@hartwickcollege.edu.
I’ve moved select syllabi from the blog to my Academia.edu account. So if you’re looking for an old syllabus and can’t find it, look there or get in touch with me.
Well, it looks like my second poetry collection, The Shape of Things (Salò, 2017), has sold out. Interested readers, however, can now access a copy on Academia.edu. So check out The Shape of Things (for the first time).
At this year’s Modern Language Association Convention in Seattle (January 9-12, 2020), I will be speaking on a round table discussing Bad Books. I have included the information about the panel and a tentative abstract for the paper I will be presenting below.
338. Bad Books
Friday, January 10, 2020, 1:45-3:00 pm, 617 (WSCC)
Presiding: Eric Loy
Presentations:
1. “Notes on Notes on Notes: Glenn Ligon Reads James Baldwin,” Paul Benzon (Skidmore C)
2. “Books Behaving Badly: The Raison d’Être behind Perec’s La Disparition,” Priya Wadhera (Adelphi U)
3. “Debilitated Forms and Forms of Debility: On Writing a Failed Book,” Sharon Tran (U of Maryland Baltimore County)
4. “The Space of Megatexts: ‘Reading’ Mark Leach’s Marienbad My Love,” Bradley J. Fest (Hartwick C)
The Space of Megatexts: “Reading” Mark Leach’s Marienbad My Love
At over seventeen million words and consisting of seventeen volumes printed in dense eight-point font, the second edition of Mark Leach’s Marienbad My Love (2008; 2nd ed., 2013) currently holds the record as the world’s longest novel and is what I have elsewhere called a megatext. Composed over the course of thirty years using a number of digital techniques, the result is one of the more spatially imposing works of literature to ever sit on a shelf. Because of this, it also appears that no one has really bothered to read it. Whether this is due to some prejudice against self-publication or critics’ perceptions of authorial vanity, the sheer unreadable size of the text has discouraged anyone from taking Leach’s work all that seriously. I believe this is a mistake and this paper aims to seriously consider a remarkable project that rebelliously pushes against the conceptual, temporal, and physical boundaries of the codex novel. The revisions made to the second edition of the text indicate that not only does Leach intend for people to actually read his book, but also that Marienbad My Love is in fact a complex theoretical statement about the novel in the digital age and a meditation on the present and future of literary writing. In this paper, I will argue that accounting for Marienbad My Love’s material size by finding ways to speculatively (and actually) read this unreadable text will encourage us to rethink how we theorize the novel in the twenty-first century.
For previous essays of mine on megatexts and unreadable texts, see:
“Writing Briefly about Really Big Things.”
“The Megatext and Neoliberalism.”
“The Time of Megatexts: Dark Accumulation and Mark Z. Danielewski’s The Familiar.”
Another poem from my new project, “Ekphraseis,” a poem for/about Taylor Baldwin‘s The Oracle (2016; above), is in the new issue (no. 18) of Masque & Spectacle. I previously published “2016.01,” “2016.19,” and “2016.23” in the September 2016 issue (no. 9) of Masque & Spectacle.
This fall, my third at Hartwick College, and as 2019-20 Winifred D. Wandersee Scholar in Residence, I’ll be teaching just one class, ENGL 312 Intermediate Poetry Workshop. Here’s the syllabus.
