136 pages, 5.5" x 7.5"
Publication Date: 12 June 2018
Dwelling in the interstices, In Brazen Fontanelle Aflame is an ornate collapse, a sumptuous yet horrified exploration of the violence inhered in specific landscapes and ecosystems by the logics of capital. It is an attempt to resist what Lisa Robertson calls "the language of genocide" by mirroring, perverting, and subverting that language. Perhaps most importantly, its poetry is a call to bust forth and out against systems of oppression in a "palatial, treasonous moiré."
Praise for In Brazen Fontanelle Aflame
I am simply amazed with the power and fury of intellect and language that rages through this immense book. Rees invokes Scalapino, and as in her work, the writing here enacts and creates a reality. Sound and music uncover the dirty and grimy landscape of the current, but if this is an ecopoetics—and it feels like it is—as in Haraway’s concept of the “cthulucene,” or Joyelle McSweeney’s “necropastoral,” it is a writing in which the depredations of the human are an integral part intra-acting with the “natural.” From delicate and sonorous verse lines to a jarring prose with disruptive images jammed together, this work acknowledges both the dangerous and what is thought of as “toxic.” In disconcerting times, only disconcerting writing can reveal our condition, or as Rees says, 'let us embrace this villainy.'"
"I am still learning how to read Ted Rees – my tongue caught in an unutterable glue. I am still learning how to live with this book, in a world Rees magnificently lays bare and road-kills. The poetics here is freefall. A linguistic and corporeal scene bleeds out before our eyes. There’s no remedy. Fuck remedy. There is a body here in total dissolution. And with that dissolution, a love for the dead and dying. A love for the plum trees in the yard. A love for the great Peter Culley walking the margins. The ambience of dogs across our bare legs. The brutality of this love as an “imaginal sanctuary” within a “hunting loom” of degradation. What can I bring with me to this party but In Brazen Fontanelle Aflame. Here is an urgently aural, bioacoustic poetics, a space of seismic crossings to where we can all bring our own stupefied poems. “Drink beer. Fly a kite.” Once and for all, let's be darlings of the blank."
"The gut of the world is emptied out onto a slick tarmac and rummaged through for the rude pleasure of wanting to be repulsive and resistant. Desiccation, a small molded weaving of fractured remains, where “to be a thing of style you must be abandoned.” In Rees’ brilliant effusive baroque, styled by the trash of capitalist excess, he indulges the wreck of unravelling but not towards a post or pre or anti-civilization, it is through fucking the past where all the myths of sexual freedom cultivate our queer histories of longing—where we recognize ourselves as several, and wanting, and alive. This refusal to be discarded, a signal of truth resounding throughout, marks In Brazen Fontanelle Aflame as an extension of Wojnarowicz’s crucial demands, making Rees’ work all the more pressing and necessary because of it."
Ted Rees is a poet and essayist who currently lives in Philadelphia, but spent nine years living in various locations throughout central and northern California. Previous publications include The New Anchorage (Mondo Bummer 2014), Outlaws Drift in Every Vehicle of Thought (Trafficker Press 2013), and Like Air (Bent Boy Books). Recent work can be found in SET: a journal, The Recluse, Full Stop Quarterly, and From Our Hearts to Yours: New Narrative as Contemporary Practice, eds. Rob Halpern and Robin Tremblay-McGraw. Forthcoming this year is the hybrid chapbook, the soft abyss, published by The Elephants.
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