“Necromodernism neither celebrates the new nor nostalgically mourns the old, inhabiting instead a space where cultural memory, media saturation, and infrastructural collapse converge into textual practice. It is neither an elegy for modernism nor a prophecy of what comes next, but rather a practice of endurance.”
My essay on Necromodernist architectures in contemporary writing, incl. the work of @LouisArmxnd, John Trefry (@incastellated), @ShmikeShmorrao, @AnsgarAllen, Richard Makin, Rick Harsch, Vi Khi Nao, Elizabeth Aldrich et al., now out with @3ammagazine, courtesy @andrewgallix.
https://t.co/DbtlSUtFbN
The algorithm reminds me that this came out 4 years ago already from Miskatonic (@mvupress)...
(*an extended version is published in the omnibus edition of VAMPYR, available in print from @EquusPress, but you can also get the PDF on my website...)
"From contagion to collapse, and hence the excess of fugitives & infiltrators — A TOMB IN H-SECTION by @LouisArmxnd is a carousel of rubble versus a vacuum: untamed geometries: hatchings described under thermobaric synthesis: reptilian dendrites, over cogwheels and screens of God: nutritional scarifications, similar to the dystopias of retinopassivity: films where everything became more cloudy, insecure and swampy. As in the metapsychic minotaurs of the Age-of-When: autocratic regimes of perception, or the germs of a voice formed into nothing…"
--Rui Baiao
https://t.co/epdFMBIgl6
My book MASSIVE is out today. I started writing it 8 years ago this month. I'm very proud of it. It's the first book that for better or worse I feel like I did something completely new and personal with in terms of how its read, its diction, and its understanding of causality.
Equus Press publisher David Vichnar's Open Letter to the Prague Literary Establishment from 26 September 2017 is a must read in 2K25... now is NOW!
https://t.co/heJ50ntNRD
"Singed is a tiny monument of literary hybridity. Its title is a pun involving burning (sinjed) and a voice (singed). It is polymorphous and polyphonic. By turns, an incantation, an inventory, an archive binge, a fictionalized memoir, and a meditation on music and literature (including the pop, high, and low of both). [...] The book actively attempts to mold an interpretive framework by sifting through the ashes."
Karl Wolff reviews Daniela Cascella's SINGED (Equus, 2017), courtesy Driftless Area Review.
https://t.co/upbWpF0KLH
What does it matter if the book itself is “non-existent”? Or if it is a book, in the “shape of an orb,” rolled about merely in order to gather dust?
@LouisArmxnd reviews @AnsgarAllen's THE FACES OF PLUTO (Stalking Horse Press, 2024)
We at Equus are thrilled to announced the forthcoming publication, in autumn 2025, of Michael J. Rowland’s "THE BOOK OF UNNAMEABLE OBJECT as Delivered by the Party of Mild Progress Within the Limits of the Law unto their Bastard Son; a Bloom of the 21st Century," a historical novel of 52k words, ft. photos & illustrations by author, currently in its last stages of editing & design production.
Whilst paying loving tribute to the artists and poets Michael has befriended in Prague, he simultaneously wishes to offer a glimpse at the elusive categorical imperative that binds them. A famous Zen painting by Reisai from the mid-fifteenth century called ‘The Three Vinegar Tasters’ depicts Sakyamuni Buddha, Confucius and Lao-tzu tasting vinegar from the same cauldron. The 100 Cantos of ‘The Unnameable Object’ seek to illustrate the contemporary Prague art scene in similar terms; a portrait of a diversity of great minds each finding their own unique way to share their experiences of this very same, unhidden, yet perpetually bamboozling, beautiful, bitter world.
https://t.co/gAYeapyoLz