I am continuing my review of Second Nature by Jack Collom using the techniques of Dark Ecology. In part one of this review, I considered aspects of radical kitsch in Collom’s book. Specifically, I noted the poet’s perpetual move into the kitsch of experimental and avant-garde writing as well as his use of kitsch to redeem anthropocentric suckage in so-called environmental writing.
In part two, I consider radical juxtaposition, a second technique Timothy Morton makes use of in his Dark Ecology approach, and how this technique might jibe with Collom’s description of Swamp Formalism.
Dynamic twists, such as turning from scientific grandeur to kitsch imagery of Mickey Mouse, are frequent in Second Nature. Every poem–every line is a fresh experiment with what is possible in language. Collom describes his approach to poetic composition as Swamp Formalism because like a real swamp it unifies liquidity and detail. Swamp Formalism evokes the complications, multiple axis, introduces numerous slant vectors, sifts and strews miscellany.
The style varies and opens space […]