CHRIS CAMPANIONI is the author of seven books, including A and B and Also Nothing (Otis Books | Seismicity Editions, 2020), a re-writing of Henry James's The American and Gertrude Stein's “Americans” which merges theory, fiction, and autobiography. Recent work appears in American Poetry Review, Ambit, Nat. Brut, Poetry International, Journal of Cinema and Media Studies, and Life Writing, and has been translated into Spanish and Portuguese. He teaches at Pace University and Baruch College, and edits PANK and PANK Books. His selected poetry was awarded an Academy of American Poets College Prize in 2013, his novel Going Down was named Best First Book at the 2014 International Latino Book Awards, and his hybrid piece, “This body's long (& I'm still loading)” was adapted as an official selection of the Canadian International Film Festival in 2017. In 2019, he was awarded a CHCI-Mellon Global Humanities Institute fellowship to join the Consortium for the Transnational Joint Research Center for Migration, Logistics, and Cultural Intervention.
Lost with PhoneBy Chris Campanioni
If the Internet brought us to the Age of Information, social networking sites like Facebook and MySpace have ushered in a new era altogether, one that trades in data for documentation.
By Chris Campanioni
Snapshots of the Artist
In An Emergency in Slow Motion (Bloomsbury, 2011), William Todd Schultz performs a paradox. He eschews the typical biography and in doing so, illuminates his nebulous subject better than any biographer before him.
Half in SpeculationBy Chris Campanioni
I have never owned a camera and I never snap photos So goes the first line of Judith Kitchens quasi-photo collage, Half in Shade: one part memoir, one part speculative sketch, all parts autobiographical.
Versions and (Per)Versions or: Get Rich or Die Tryin'By Chris Campanioni
Larissa Shmailos #specialcharacters is both product and response to the Millenial generation, the effects of capitalism on the artist and individual, and our post-Internet culture. But Shmailos use of languagethe way each line of each poem and each word of each line and each syllable of each word opens doors to her collections other poems, and other lines, and other words with, yes, other syllableshas its roots in a movement much closer to the Cold War Kids, poets like Bruce Andrews and Charles Bernstein, who edited the L=A=N=G=U=A=G=E publication from 1978 to 1981
Poetry Journal RHINO Turns Forty
RALPH HAMILTON with Chris Campanioni
Evanston-based international poetry journal RHINO turns forty this month, and co-founder Ralph Hamilton’s recent collection, Teaching a Man to Unstick His Tail (Sibling Rivalry Press, 2015) is as much about endurance as it is about reconsidering the elegy. Hamilton’s version suggests that loss is not always tragic, and this intermeshing between possession and absence drives the work toward a question that curtails itself through its own arrangement: “what would we say if / we had something / to say? A storm.”
In the Name of the Father, & the SonBy Chris Campanioni
Kevin Carey is a storyteller. He tells stories, he organizes them in verse, sometimes in couplets, other times without stanza breaks, without rhyme or an attention to meter. The story—“something human”—is what takes precedence and in an age where being cool, detached, ironic, and, oddly enough, intentionally arcane is the mode de vie, Carey’s new collection, Jesus Was A Homeboy, comes off as refreshingly warm and insightful, revealing snapshots of the poet’s life and reveling in the photo album’s re-framing
The Poet As Caretaker (having said too much having not gotten it all down)By Chris Campanioni
“No one is too beautiful for the ugly journal,” Stacy Szymaszek writes sometime between January 17 and February 15, 2013, as collected in her Journal of Ugly Sites & Other Journals (Fence Books, 2016)
Found FootageBy Chris Campanioni
“The film begins,” And Then (Black Sparrow, 2017) begins, but it doesn’t take readers long to forget we are reading a summarized account of actors acting; a transcription of a script in place of the opening pages of a novel, or a novel so concerned with the detritus of past love, death, and desire it can only be told through the lens of cinema. After all, memory and film both offer us the same fractured, shifting projection. Donald Breckenridge’s fourth novel weaves in and out of frames without ever lacking clarity—a roll of film replaced and inserted in quick, immediate accounts—it only makes sense that And Then begins on someone else’s story.
God in the MachineBy Chris Campanioni
The epiphany machine wants to know our secrets, the ones we show to everyone but ourselves. I know the conceit well, too: we keep making the same mistakes; the pattern is obvious to everyone except ourselves, because we are too busy performing our various social scripts to know anything about the performance, or whether we are still performing, or whether we are ever not performing.
Kristina Marie Darling's Je Suis L'Autre: Essays and InterrogationsBy Chris Campanioni
Je Suis L’Autre: I am the other,” a riff on Rimbaud’s perversion or poetic re-vision, Je est un autre, “I is some- one else,” which Lacan, in turn, took up to recognize
The Disappearing Acts of RefuseBy Chris Campanioni
How far do we look back when we see how far we’ve come? How far is too far, or is it ever far enough? And how long must we continue to look, if only to look at ourselves the way we would wish to be looked by others? Julian Randall’s debut collection, Refuse (University of Pittsburgh Press), is both the abnegation and elegy of its title, but it is also an avowal: an unabashed testament to existence, to being alive, to survival in the face of a world that would wish to ignore you, reduce you, or stamp you out.
A Life Not Fit to Form: The Restoration of Unnamable JoyBy Chris Campanioni
Is a play still a play if it’s not performed? More than anything else, the question of recognition drives Christopher Castellani’s novel, Leading Men (Viking, 2019), a book that re-envisions a Portofino summer evening in 1953, and everything else that spins out from an encounter involving writers and actors and artists, including Tennessee Williams, Truman Capote, John Horne Burns, and one man so unabashedly sincere—Frank Merlo—he could never play anyone but himself.
Asiya Wadud's Crosslight for YoungbirdBy Chris Campanioni
What is a poetics of accounting but a poetics of accountability?
The Politics of Language, In & Of TranslationBy Chris Campanioni
At a moment where the freedom of movement is no longer a human right, time itself expands, unless it dissolves, becomes measureless; waiting becomes a way of life.
Soong's staging of pre-arrival: Near At, and the scene of the crashBy Chris Campanioni
In language that is lyrical and dense, stuttering and elegant, playful and probing, Soong joins a coterie of writers as expansive as her first collection, Near, At.
By Chris Campanioni
On Exile and Excess
The history of Cuba is a history of exile, from the eradication of the indigenous neo-Taíno and Guanahatabey population in the 1500s to the forced departure of nonconformists by the Castro government in the second half of the 20th century. “To be Cuban,” José Lezama Lima once said, “is to already feel foreign.”
Partial Reveals & Inclusive Revelations in the Post-Truth Simulacracy: The PoeticsBy Chris Campanioni
The Poetics is interested in exactly this conjunction, and Ives questions both the narrative of history and the history of narrative as a form in elaborate, strident observations that are illuminating and speculative.
The Barely-There Before or: Paradise Lost (& Found)By Chris Campanioni
The experience of reading Among the Dead and Dreaming is not unlike watching a soap opera, or a slasher film, or a Greek tragedy, or even a car crash; a catastrophic collision on the interstate where bodies and objects evacuate and disperse and hang for a moment, or half a page, and ultimately fall, which is actually the novel’s entry point, the vehicle that sets this polyphonic operatic tragic romance or romantic tragedy in action.
Minding the GapBy Chris Campanioni
Julie Choffel and Michelle Naka Pierce, both recipients of this years Poets Out Loud award, imbue their work with binaries of meaning, multi-perspective angles, a dissonance of language, and an inherent human longing that is akin to people talking separately at the same timeeach of us missing the texture.
ASSAULT VIA ARTBy Chris Campanioni
In the winter of 1912, when Ezra Pound, Hilda Doolittle, and Richard Aldington initiated their Imagist movement in Poetry Review, one of their chief objectives was to make every object equal. It was sensation via simplicity, direct treatment of the thingwhatever that thing might be.
The Idea is Read About Rather Than Looked AtBy Chris Campanioni
Chris Hosea’s Double Zero (Prelude, 2016) eludes the conventions of language and generic markers and alludes to pop and personal experience with an intensity and a haste that makes repeated readings a requirement, not a suggestion. Pay attention, Hosea seems to be saying, as he ricochets words off one another with no regard to syntax or narrative construction. It’s going to be worth it.
A Suspended G(l)aze: On Errancy & Arrivals in Camp MarmaladeBy Chris Campanioni
What is the line between distraction and concentration, and where does each converge?
Redefining our Subject Object Relations: Junk, by Tommy PicoBy Chris Campanioni
Queering the archive means seeking alternate sources of evidence; it means focusing on undermining the heteronormative, racialized, cultural, and state processes that have only produced exclusion, under the auspices of forming a “national identity.” Queering the archive means to call into question all origin narratives, and all identity premised on nation–building. It means axing ownership; it means owning up to our failure to do without. In short, it means survival, particularly in the face of a culture and a history that has done its best to dis–member you.
Eyes Without a Face: Christine Hume and Jeff Clark’s Question Like A FaceBy Chris Campanioni
The first time I read Question Like A Face I mistakenly omitted the “like” in its title.
It's All in Your HeadBy Chris Campanioni
Brian Evensons Windeye begins with the collections eponymous story, a tale that moves from the innocence of childhood imagination to the stark realities of a very adult mental illness.
Assimilation as Disappearing Act: José Olivarez's Citizen IllegalBy Chris Campanioni
If one purpose or promise of poetry is the reinvention of myth then we need to start by rethinking our own origin stories, the names we use and the ways we are represented and the ways in which we represent our community.