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"Error" 

David Greenspan 

August, 2024

David Greenspan’s "Error" uses intentional language error, fragmentation, the remixed text of Guy Debord and others, as well as capacious, nonlinear temporalities to "attempt"a space parallel to regular narrative progression. Error always only attempts. It mistakes and glitches in place of success; meanders and digresses in place of resolution. Despite this reshaping of language’s materiality, something adjacent to narrative still emerges. It cannot not emerge. Error, then, might be said to create through failure. A failure of childhood in Michigan’s crumbling palm. A failure of childhood with an auditory processing disorder. A failure of parental abuse. A failure of animal companion deaths. A failure of the afterlife of trauma, itself a failure of memory to stay memory. Greenspan conducts these failures, drawing them from stutter to sustained wail. Inside that wail, one hears the resonate tension between narrative and language uttered by Lyn Hejinian and Anne Carson. Error owes a debt to these composers, and others, like Shane McCrae and his looping, loping syntax. ee Cummings and his unlogos that “the thing perhaps is / to eat flowers and not to be afraid.” Error eats flowers – lips stained apple blossom, stained rhubarb – but rejects the call to be unafraid. Error fears, and in that fear finds “new hope / for rodents.” 

David Greenspan is the author of One Person Holds So Much Silence (Driftwood Press) and the chapbook Nervous System with Dramamine (The Offending Adam). He's a lecturer in the Program in Technical Communication at the University of Michigan and a PhD candidate at the University of Southern Mississippi. His project, Milk Sickness is forthcoming by Querencia Press. Find him online at https://davidgreenspanwriter.com/.

"ACCOUNTINGS"

Thom Eichelberger-Young (T-E-Y)

October, 2024

“ACCOUNTINGS” is not a start, but a middle. It is the present of a text-in-progress (the first part of which has yet to appear). The words we make now have always been under consideration. The only change has been our capacity towards their production—a development within the imaginary—which has otherwise done nothing to drastically alter the bent of the conversation. Commencing from a form derived from visual modes of production, “ACCOUNTINGS" moves swiftly between documentary, critique, political attack, and diary. Thom Eichelberger-Young pulls on nerve-strands from previous interlocutors (Outsider Art, LANGUAGE poetries, N.H. Pritchard’s shapes and sounds, Joan Retallack’s clinamens and swerves, to name a few) to document an ongoing always within a transgressive reading experience often in flux. There is, also, the act of listening as somatic procedure. “Can a/my body be transgender without changing my sex,” they're asking, while tallying the cost of psychic and military occupation, and interacting with CAConrad, Harvard's Houghton Library/medical exploitation, Rose Dugdale, contemporary Arab poetry in translation, gender pronoun issues, and epic poetry in multiple languages. This poetry is active, evolving, and transformative.

Thom Eichelberger-Young (T E-Y) is an artist, editor, and student in the PhD program at SUNY Buffalo. Their work includes the books BESPOKE (Saint Andrews University Press, 2019), and TUPELO IS A GENUS OF DECIDUOUS TREE (Blue Bag Press, 2024. Thom also edits and operates Blue Bag Press, a chapbook publisher. Thom can be tracked on IG @beef_shortribs. 

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