The Evergreen State College (Faculty)
David Wolach is founding editor of Wheelhouse Magazine & Press, and curator of the series devoted to the intersection of experiments in texts and radical politics, PRESS. His work, which is often often collaborative and uses multiple media, has most recently appeared in or is forthcoming from 5_Trope, Aufgabe, Try, Jacket, No Tell Motel, and Little Red Leaves. Wolach is professor of text arts & poetics The Evergreen State College and visiting professor in Bard College’s Workshop In Language and Thinking. He has collaborated with composer Arun Chandra and theater historian Elizabeth Williamson on a series of live performances, including Kenneth Gaburo's Maledetto (Fall-Winter 2010) and a 2-channel sound-text piece for 7 voices, translated from a section of Occultations, “Modular Arterial Cacophony” (Winter-Spring 2011).
Latest Publication Title
Occultations, Black Radish Books, 2010
Prefab Eulogies Volume 1: Nothings Houses, BlazeVox [Books], 2010
modular arterial cacophony, Wheelhouse Press, 2009
book alter(ed), Ungovernable Press, 2009
from Hospitalogy (chapbook), Scantily Clad Press, 2011
Acts of Art/Works of Violence: Essays (U of Sydney, SSLA), 2011
Black Radish Books announces the release of David Wolach’s poetry collection, Occultations. This is Wolach’s first full-length collection of poems and the second release from the book publishing collective, Black Radish Books (BRB).
This is Wolach’s courage of paradoxical evocation…Facing the man “whose imagined / Misery we call a particular logic / While the bird vanishes.” There is something in his work, with all the force of unstated quest, in its refusal of the elegiac, that is hauntingly ancient and entirely contemporary—eros and thanatos breathe each other’s air, love-hate the forced intimacy: “you have no name you are / this close.” – Joan Retallack
Occultations “helps us to consider,” writes David Buuck, “again and against, ‘what's created out of the rubble?’ Through site-specific and embodied interrogations of biopolitical and militarized contact-zones, and procedural rituals of tactical magic, Wolach shows us the ‘body signing in space,’ singing through the ‘post-industrial land-scrape clack.’ Here the body-in-crisis is not some theoretical abstraction but a lived condition, subject not only to the ‘surveillance-industrial complex’ but also to the limitations of language's ability to fully articulate ‘what work this dying is’. The page thus becomes for Wolach a (non)site of performance, the texts and counter-texts spewed and spat into a kind of splenetic life-force that ‘invade[s] yr lyric purity,’ negations that ‘organize the no.’ Amidst the textual/visual palimpsests and constellatory practices at work here, Occultations begins to suggest new vistas beyond, for both poetics and politics.”
Laura Elrick writes that as abject materiality, Occultations ask us to “consider how the body’s mortal we (in other words, its occluded, collective constitution and disintegration) might live its demise.” For Elrick, “to ask ‘why do you hesitate at the covered parts?’ is to pose the question of an ethics of the senses: is it possible to construct the parameters through which the practiced lie of control might be relinquished, through which, at the same time, the fault-lines out of whose collisions our lives are rent might be sense-d?”
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