Danny Snelson

Reissues Editor

Danny Snelson is a writer, editor, and archivist. His online editorial work can be found on UbuWeb, PennSound, and Eclipse. He works with James Hoff as No Input Books, with Alejandro Crawford as Ex Libris, and lives in collaboration with Mashinka Firunts. Screenings, readings, lectures, and performances at Semiospectacle, Centre Pompidou, Dispatch Bureau, Ontological Hysteric Theater, Subtext Series, Gallery D21 Leipzig, Capricious Space, CRG Gallery, Lisa Cooley Gallery, and with free103point9 Transmission Arts. Recent projects include Inventory Arousal (Bedford Press, 2011), Alcheringa Archive, Simultaneously Agitated Space (Mimeo Mimeo #3), Endless Nameless, my Dear coUntess, Equi Nox, The Book of Ravelling Women, No-Body Zone, Noise!2010, and Edit: Performing Network Publishing (with Tan Lin).

Email:

danny.snelson@gmail.com

http://dss-edit.com

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By this author

Writing as metadata container

Poetry in 1960, a symposium: Question and answer session

On John Cage, 'Cartridge Music'

Recently in Jacket2

Jacket2's January 2019 reading period

Jacket2

Jacket2 welcomes unsolicited queries during the month of January 2019.

Jacket2 welcomes unsolicited queries during the month of January 2019. We are especially (though not exclusively) interested in queries of the following kinds:

— Reviews of recent books or anthologies of poetics criticism and theory

— Reviews and articles devoted to poets and poetries outside the US

— Reviews, articles, or essays that put texts, authors, movements in conversation

— Coauthored reviews or essays

The products of labor

A review of 'lo terciario/the tertiary'

Amy Paeth

The Spanish and English texts are rotated 180° relative to one another, such that the bilingual reader, halfway in, would rotate the book upside down to read the collection in its entirety. Or — if you are an anglophone reader, like myself — you are made literally aware that you are reading only one half of the book.

los productos del trabajo tienen sus residuos.
a estos residuos les llamamos objetividad espectral.
a esta objetividad espectral le llamamos mera gelatina.
a esta mera gelatina le llamamos
cristalizaciones de la sustancia social común.

a estas cristalizaciones les llamamos valor.[1]

So begins “todas sus propiedades sensibles se han esfumado,” the opening poem of lo terciario/the tertiary, the newest collection released in May by Puerto Rican poet and translator Raquel Salas Rivera. Or it begins:

Into-an-empty-swimming-pool-diving in love

Sommer Browning

a photograph of branches twisted into the shape of a person in an alcove — Ana Mendieta, Untitled from Silueta Series, Mexico, 1973-77

I am falling in love with a person. Isn’t falling in love one of the weirdest feelings you’ve ever had? I can’t say that it is pure joy. I mean we say FALLING in love for a reason. And, as you get older, falling is no joke. Forty-two-year-olds fall down and can break their body. But love falling is so much riskier! We really should call it plummeting in love. We really should call it into-an-empty-swimming-pool-diving in love. It feels like my realities are at stake. My sense of self. The view of my life from this angle — forty-two-year-old white mother poet lady.