I Hate Poetry goes past the (recently and inexplicably controversial) ars poetica to question the reason for even being a poet. It is a refreshingly materialist answer to the tedious mysticism of the poet-as-seer trope. Yet, once that trope is removed, what does remain? Given the obliviousness of poetry in the general world and the more-specialized distain of poetry within the poetry world; what does choosing to become a poet mean? Why is preference developed apophatically? What are the ethical and social implications between recognition and oblivion?
This book is hand-bound with a pamphlet stitch and ornamental staple. The text pages are laser printed on 24 lb recycled paper. The cover is 80 lb flat white cover stock and laser printed with a complete coverage that gives a glossy feel and we think could give the book a level or wear or patina over time. This book is made in Milwaukee in an edition of 50.
Thom Donovan is the author of numerous books, including Withdrawn (Compline, 2017), The Hole (Displaced Press, 2012) and Withdrawn: a Discourse (Shifter, 2016). He co-edits and publishes ON Contemporary Practice. He is also the editor of Occupy Poetics (Essay Press, 2015); To Look At The Sea Is To Become What One Is: an Etel Adnan Reader (with Brandon Shimoda; Nightboat Books, 2014), Supple Science: a Robert Kocik Primer (with Michael Cross; ON Contemporary Practice, 2013), and Wild Horses Of Fire. His current projects include a book of poems and other writings based upon the compositions of Julius Eastman, a book of critical essays regarding poetics, political practice, and the occult, and an ongoing “ante-memoir” entitled Left Melancholy.
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