Forthcoming New Title: ‘The Habiliments’ by Joe Milazzo

Joe Milazzo Reading at the Davis Foundry Gallery in Dallas, TX

 

The editors at Apostrophe Books are delighted to announce a forthcoming new title: THE HABILIMENTS by Joe Milazzo. The manuscript was selected after a close reading of a truly superb pool of submissions in our 2013 reading period. We hope all of our readers will agree with us that Milazzo’s Habiliments is an extraordinary work. Book abstract and author bio below . . . .

Early in his poetry debut, The Habiliments, Joe Milazzo asks, “What if you are among the dis- / illusionments? What if yours is / the rescue that everyone is always / saying they’re getting the hell /out of?” This strange ironic transference turns illusion into a kind of metonymy of self-identity and conflates escape with hell. In Milazzo’s linguistic landscape “backyards explode with palaces,” “the bones of rationale begin to knob and peep,” “bone dreams merely of a snowmen’s chorus” and “your westward affections run senile like a river.” Quotidian reality wears a new syntactical and semantic garb as each poem seems to unravel language and a circadian rotation of “dreams”— ambiguously of sleep, of aspiration, of nonsense, of the fantastic, or of the banal. If Milazzo’s poems are a kind of ‘dream song,’ they are constructed in radically different ways than John Berryman’s (though there are certainly formal echoes of that poet’s phantasmagoric layers). In Milazzo’s dream songs, Berryman’s angst and sorrow collide with John Ashbery’s metaphysics of erosion, Rosmarie Waldrop’s semantic drifting, and John Yau’s surreal atmospherics. An odd paradox underlies all of these poems in that the ‘habiliments’ themselves simultaneously refer to dressing and stripping bare. An alternative and archaic meaning of the word ‘habiliments’ suggests a verb that means “to reduce a tree by stripping off the branches.” In these poems, that meaning is revealed in metonymy and synecdoche whereby ‘habiliment’ becomes both reduction by stripping and construction by dressing. Obsessive palimpsests return to scenes to harrowingly dress and strip bare—alter and erase. The accouterments, costumes, objects, and trappings in which we construct identity are woven into a tapestry of memory, dream, forgetting, and, ultimately, grief. Meditating on the hour-to-hour dwelling within this grief, the poet inhabits space, reading the objects and the activities once pursued by the living. From breakfast eggs eaten in a kitchen to a glass of water on a bedroom end table to a mown lawn, Milazzo takes these familiar domestic habits and presents them within ghostly galleries of “cartoony partitions” where shadows wait “at each crossing/, for the me/ that might be ahead/, that me chasing the assurance/ of one last fading ray.” Milazzo uses allusion, antimeria, neologisms, conversions, and logical disruptions, as well as a deep attention to the elusive uncertainties of language to explore how words simultaneously succeed and fail to express emotion, describe reality, or make sense of our relationship with others.

Joe Milazzo is the author of the novel Crepuscule W/ Nellie (Jaded Ibis). His writings have appeared in The Collagist, Drunken Boat, H_NGM_N and Black Clock (among others), and are forthcoming in Black Warrior Review, Tarpaulin Sky, and Whiskey Island. Joe co-edits the online interdisciplinary arts journal [out of nothing] and is also the proprietor of Imipolex Press. Joe lives and works in Dallas, TX, and his virtual location ishttp://www.slowstudies.net/jmilazzo/.

Jacket2 Interview: Tyler Mills & Tony Trigilio on ‘White Noise’

 

“Flarf is one of the closest conceptual aesthetic contexts for the book, and I totally understand that readers come to this as a Flarf-like book. I learned about Flarf during the early stages of this project, in 2004, and I immediately felt a sense of kindred spirit between this project and what the Flarf writers were doing.

But White Noise, I think, is guided by an aesthetic that’s different from Flarf. In White Noise, I’m trying to do more than ironically replicate the condition of language-saturation created by Internet discourse . . . ” Read the entire of the interview HERE.