“The Revolution” borrows from Gaston Bachelard’s The Poetics of Space, and “Putin’s Pariah,” by Andrew Meier in The New York Times. It also briefly paraphrases Walter Benjamin’s essay “Central Park,” one of his many writings on Baudelaire.
“Diorama — (Scarlet and Liver)” features detail from Tom Stoppard’s Arcadia.
Sarclet is a small crofting village near Wick on the eastern coast of the Scottish Highlands.
“Comportment” utilizes specifics from:
Beatrice Hanssen’s writing on Elfriede Jelinek’s The Piano Teacher in Critique of Violence
Anthony Cronin’s No Laughing Matter: The Life and Times of Flann O’Brien
Saul Friendlander’s Probing the Limits of Representation: Nazism and the “Final Solution”
“Condensation Cube” takes its name, and perhaps more, from the art object of the same name by Hans Haacke. It further borrows from:
Jean-luc Godard’s Pierre le Fou
Joseph Heller’s Catch-22
Tom Clark’s poem “Like musical instruments”
Kurt Vonnegut’s Slaughterhouse-Five
David Alworth’s “Site Specificity”
The Author
Adam Day is the recipient of a Poetry Society of America Chapbook Fellowship for Badger, Apocrypha, a PEN Emerging Writers Award, and an Al Smith Fellowship from the Kentucky Arts Council. His work has appeared in Boston Review, The Kenyon Review, American Poetry Review, Poetry London, AGNI, The Iowa Review, Poetry Ireland, Guernica, and elsewhere. He coordinates The Baltic Writing Residency in Latvia, Scotland, and the Bernheim Arboretum & Research Forest.
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