From Kaie Kellough, poet, sound performer, and Griffin prize winner, comes a linguistic incursion into desire, technology, and the absurd.
The author of Magnetic Equator returns with a long poem that concentrates on varying the poetic line, at times extending it the length of a held breath–or a sentence–and at times breaking it into syllabic units that restructure meaning. This collection appropriates the language of the present. It draws from the news, from entertainment, advertising, war, tragedy, and popular culture. It finds morbid humour in our inability to distinguish between the urgencies of personal achievement and climate crisis. It compresses sound and rhythm into paradox, and it conflates absurdity and emergency. Begun in 2020, Interposition maps the continued encroachment of capital and virtual culture upon our psychic space. It examines how, with each click, we are reconstituted online and sold back to ourselves. Interposition asks: how do we uncouple ourselves from our avatars?
Interposition extends Kellough’s work into new themes, while continuing his exploration of the poem as a space in which linguistic convention, empire, and the impositions and internalized desires of power can be contested.
