Other Publications
Poetry Collections
2013–2017: Sonnets (Ipswich, AU: LJMcD Communications, forthcoming 2024). 102 pages.
The Shape of Things (Norwich, UK: Salò, 2017). 96 pages
.
The Rocking Chair (Pittsburgh, PA: Blue Sketch, 2015). 120 pages.
Essays: Peer-Reviewed Articles and Book Chapters
“‘Is an Archive Enough?’: Megatextual Debris in the Work of Rachel Blau DuPlessis,” in “Big, Ambitious Novels by Twenty-First-Century Women,” ed. Courtney Jacobs and James Zeigler, special issue,
Genre 54, no. 1 (April 2021): 139–65.
“Coda: Writing Briefly about Really Big Things,” in
Begging the Question: Critical Reasoning in Chaucer Studies, Book History, and Humanistic Inquiry (Mythodologies II), by Joseph A. Dane (Los Angeles: Marymount Institute Press, 2019), 177–81.
“Reading Now and Again: Hyperarchivalism and Democracy in Ranjan Ghosh and J. Hillis Miller’s
Thinking Literature across Continents,”
CounterText 4, no. 1 (April 2018): 9–29,
https://doi.org/10.3366/count.2018.0114.
“Toward a Theory of the Megatext: Speculative Criticism and Richard Grossman’s ‘
Breeze Avenue Working Paper,’” in
Scale in Literature and Culture, ed. Michael Tavel Clarke and David Wittenberg (New York: Palgrave Macmillan, 2017), 253–80.
“Mobile Games,
SimCity BuildIt, and Neoliberalism,”
First Person Scholar, November 9, 2016,
http://www.firstpersonscholar.com/mobile-games-simcity-buildit-and-neoliberalism/.
“Metaproceduralism:
The Stanley Parable and the Legacies of Postmodern Metafiction,” in “Videogame Adaptation,” ed. Kevin M. Flanagan, special issue,
Wide Screen 6, no. 1 (2016): 1–23,
http://widescreenjournal.org/index.php/journal/article/view/105/145.
“Geologies of Finitude: The Deep Time of Twenty-First-Century Catastrophe in Don DeLillo’s
Point Omega and Reza Negarestani’s
Cyclonopedia,”
Critique: Studies in Contemporary Fiction 57, no. 5 (2016): 565–78.
“Apocalypse Networks: Representing the Nuclear Archive,” in
The Silence of Fallout: Nuclear Criticism in a Post-Cold War World, ed. Michael J. Blouin, Morgan Shipley, and Jack Taylor (Newcastle upon Tyne, UK: Cambridge Scholars, 2013), 81–103. (An earlier draft of this essay was the recipient of the 2011 SFRA Student Paper Award; selected as one of the best books of 2013 by Zero Books.)
“The Inverted Nuke in the Garden: Archival Emergence and Anti-Eschatology in David Foster Wallace’s
Infinite Jest,”
boundary 2 39, no. 3 (Fall 2012): 125–49. (Awarded the 2013 SLSA Schachterle Prize for the best essay written by a nontenured scholar.)
“‘Then Out of the Rubble’: The Apocalypse in David Foster Wallace’s Early Fiction,”
Studies in the Novel 44, no. 3 (Fall 2012): 284–303.
Interviews (Peer Reviewed)
“Something Worth Leaving in Shards: An Interview with Rachel Blau DuPlessis,”
boundary 2 50, no. 2 (May 2023): 1–30.
“An Interview with Jonathan Arac,”
boundary 2 43, no. 2 (May 2016): 27–57.
“Isn’t It a Beautiful Day? An Interview with J. Hillis Miller,”
boundary 2 41, no. 3 (Fall 2014): 123–58.
Reprinted Peer-Reviewed Articles and Interviews
“Isn’t It a Beautiful Day? An Interview with J. Hillis Miller,” in
Reading Inside Out: Interviews and Conversations, by J. Hillis Miller, ed. David Jonathan Y. Bayot (Portland, OR: Sussex Academic Press, 2017), 191–224.
“‘Then Out of the Rubble’: David Foster Wallace’s Early Fiction,” repr. with slight revisions in
David Foster Wallace and “The Long Thing”: New Essays on the Novels, ed. Marshall Boswell (New York: Bloomsbury, 2014), 85–105.
Reviews
“The Function of Videogame Criticism,” review of
How to Talk about Videogames, by Ian Bogost,
b2o Review, August 3, 2016,
http://www.boundary2.org/2016/08/the-function-of-videogame-criticism/.
“Poetics of Control,” review of
The Interface Effect, by Alexander R. Galloway,
b2o Review, July 15, 2015,
http://boundary2.org/2015/07/15/poetics-of-control/.
Review of
Consider David Foster Wallace: Critical Essays, ed. David Hering,
Critical Quarterly 53, no. 2 (Summer 2011): 102–6.
Poetry in Journals
“2023.15–16,”
Osmosis, December 3, 2023,
https://osmosispress.com/2023/12/03/bradley-j-fest-2023-15-16/.
“2023.07–08” and “2023.10,”
Pere Ube, September 20, 2023,
https://pereube.univer.se/twobybradleyjfest.
“Archives of Spring,”
Decadent Review, April 18, 2023,
https://thedecadentreview.com/corpus/archives-of-spring/.
“2021.05,” “2022.03,” and “2022.04,”
Kitchen Sink 1, no. 1 (March 2023): 55–57,
https://drive.google.com/file/d/10us6pIfevn_m8pw5Bz6buiD6_a6vT_Ax/view.
“2021.06,” “2022.01,” and “2022.05,”
IceFloe Press, March 15, 2023,
https://icefloepress.net/2021-06-2022-01-2022-05-bradley-j-fest/.
“2022.06,” “2023.02,” “2023.03,” “2023.04,” and “2023.05–06,”
D.O.R. (Deadly Orgone Radiation), no. 2 (April 2023): 135–46,
https://lachlanjmcdougall.wordpress.com/2023/03/14/d-o-r-issue-2-now-available/.
“Archives of Winter,”
Decadent Review, January 16, 2023,
https://thedecadentreview.com/corpus/archives-of-winter/.
“2022.02,”
Apocalypse Confidential, November 17, 2022,
https://apocalypse-confidential.com/2022/11/17/2022-02/.
“Archives of Autumn,”
Decadent Review, October 1, 2022,
https://thedecadentreview.com/corpus/archives-of-autumn/.
“Archives of Summer,”
Decadent Review, July 25, 2022,
https://thedecadentreview.com/corpus/archives-of-summer/.
“Sestina I,” “Sestina II,” “Sestina III,” and “Aubade and After,”
Always Crashing, no. 5 (2022): 106–17.
“2020.12,” “2021.01,” “2021.02,” “2021.03,” and “2021.04,”
Version (9) Magazine 1, no. 3 (Summer 2022): 17-21,
https://version9magazine.com/edition-1-volume-3-summer-2022/.
“2020.07,” “2020.08,” “2020.09,” “2020.10,” and “2020.11,”
Version (9) Magazine 1, no. 2 (Autumn 2021): 57–62,
https://version9magazine.com/wp-content/uploads/2021/12/Edition-1-volume-2-Autumn-2021-Word-Format-Final-Copy.pdf.
“2015.04,” “2015.15,” “2015.18,” “2015.26,” “2016.02,” and “2016.28,”
Aesthetic Directory, September 1, 2021,
https://www.theaesthetic.directory/journal.
“c o n t e m p o r a n e i t y,” “Silence,” and “Blason IV,”
Version (9) Magazine 1, no. 1 (Summer 2021): 18–22,
https://version9magazine.com/edition-1-volume-1-summer-2021/.
“2016.29” and “2016.30,”
Matter, no. 29 (May 2021),
https://mattermonthly.com/2021/05/19/2016-29/ and
https://mattermonthly.com/2021/05/19/2016-30/.
“2015.10,” “2015.23,” and “2016.10,”
Babel Tower Notice Board, May 7, 2021,
https://www.thebabeltowernoticeboard.com/featured-writing/three-poems-by-bradley-j-fest.
“2020.01,” “2020.02,” “2020.03,” “2020.04,” “2020.05,” and “2020.06,”
Always Crashing, December 22, 2020,
https://www.alwayscrashing.com/current/2020/12/17/bradley-j-fest-6-sonnets.
“2015.09,” “2016.27,” “2018.01,” “2019.01,” and “2019.02,”
Call Me [Brackets], no. 5 (December 2020),
https://callmebrackets.net/poems-from-bradley-j-fest/.
“Dead Horse Bay” and “Archives of Winter,” in
Poetics for the More-than-Human World: An Anthology of Poetry and Commentary, ed. Mary Newell, Bernard Quetchenbach, and Sarah Nolan (Brooklyn, NY: Spuyten Duyvil, 2020), 109–12.
“2015.11” and “2015.12,”
Adjacent Pineapple, no. 6 (August 2020),
https://www.adjacentpineapple.com/bradley-j-fest.
“Blason I,” “Blason II,” and “Blason III,” in
The Second Chance Anthology, ed. Tyler Pufpaff (Variant Literature, 2020), 2–7.
“2019.03,”
Pine Hills Review, July 8, 2020,
https://pinehillsreview.com/2020/07/08/bradleyjfest/.
“Paraclausithyron,”
Flatbush Review, no. 5, July 1, 2020,
http://www.flatbushreview.com/bradley-j.-fest.html (dead link).
“2016.31,” “2016.33,” “2016.36: Preface,” and “2017.01: Afterword,”
Always Crashing, no. 3 (2020): 87-95.
“Dead Horse Bay” and “Archives of Winter,” in “Poetics for the More-than-Human World: An Anthology of Poetry and Commentary,” ed. Mary Newell, Bernard Quetchenbach, and Sarah Nolan, special issue,
Dispatches from the Poetry Wars, April 30, 2020,
https://www.dispatchespoetrywars.com/poetics-for-the-more-than-human-world/2-poems-41/.
“Meditations at Oneonta” and “Humid Figures and a Handful of Dust,”
Pamenar Online Magazine, March 3, 2020,
https://www.pamenarpress.com/post/bradley-j-fest.
“2019.04,”
Rabid Oak, no. 17 (February 2020),
https://rabidoak.com/issues/issue-17/2019-04/.
“2016.16,” “2016.17,” “2016.18,” 2016.21,” “2016.22,” and “2016.26,”
Mannequin Haus, nos. vi and xii (January 2020),
https://quinhausvi.weebly.com/bradley-j-fest.html.
“2016.05” and “2016.08,” in “Tenth-Anniversary Issue,” special issue,
Sugar House Review, no. 19 (2019): 67–68.
“Ekphraseis,”
Masque & Spectacle, no. 18, September 1, 2019,
https://masqueandspectacle.com/2019/09/01/ekphraseis-bradley-j-fest/.
“2016.35,”
Nerve Cowboy, no. 45 (forthcoming September 2018).
“2016.15,”
Likely Red, April 23, 2018,
https://likelyred.com/2018/04/23/2016-15-by-bradley-j-fest/.
“2014.07,” “2014.08,” “2015.03,” “2015.07,” and “2015.08,”
The Airgonaut, February 1, 2018,
https://theairgonautblog.wordpress.com/2018/02/01/five-poems-2/.
“2016.11,” “2016.13,” “2016.20,” “2016.24,” and “2016.25,”
HVTN 3, no. 2 (November 2017): 25–29.
“2015.05” and “2015.06,”
Epigraph Magazine, no. 16 (September 2017): 8–9,
http://www.epigraphmagazine.com/uploads/1/5/6/7/15676572/epigraph_issue_016.pdf.
“2015.13,” “2015.16,” “2015.25,” and “2015.27,” in “Relativity of Zen,” ed. Adam Pottle,
Grain 44, no. 3 (Spring 2017): 50–53.
“2015.17,”
The Offbeat, no. 17 (Fall 2016): 82.
“The Shape of Things I,” “Architects and Their Books,” “What We Are Looking At,” “Tristeza,” “An Ode to 2013: We Are the National Security Agency’s Children,” “Throw Out Your Life,” and “The Shape of Things II,”
Verse 33, nos. 1–3 (2016): 123–59. (Finalist for the 2015 Tomaž Šalamun Prize).
“2016.01,” “2016.19,” and “2016.23,”
Masque & Spectacle, no. 9 (September 2016),
https://masqueandspectacle.com/2016/09/01/3-poems-bradley-j-fest/.
“2015.01,”
TXTOBJX, July 28, 2016,
http://txtobjx.com/post/148094387492/201501.
“Architects and Their Books,”
Verse (blog), April 16, 2016,
http://versemag.blogspot.com/2016/04/bradley-fest-2015-tomaz-salamun-prize.html.
“2014.01,” “2014.02,” “2014.03,” “2014.04,” “2014.05,” and “2014.06,”
Empty Mirror, October 13, 2015,
http://www.emptymirrorbooks.com/features/six-sonnets-by-bradley-j-fest.html.
“2015.02,”
Small Po(r)tions, no. 5 (Fall 2015), 69,
http://smallportionsjournal.com/2015/09/29/bradley-j-fest-2015-02/.
“The Shape of Things I,” “Winter, or, Some (Future) Ambiguities,” and “We’re Just Like Yesterday’s Headlines,”
PLINTH, no. 3 (Spring 2015),
http://www.plinth.us/issue03/fest.html.
“Oceanic” and “Survival City,” in “Sci-Pulp Poetics,” special issue,
PELT, no. 3 (September 2014), 52–55,
http://organismforpoeticresearch.org/two-poems-bradley-fest/.
“One Summer Near Niagara,”
2River View 18, no. 4 (Summer 2014),
http://www.2river.org/2RView/18_4/poems/fest.html.
“If the Marianas Trench Were a Gathering of Sound,”
After Happy Hour Review, no. 1 (Spring 2014): 22,
https://afterhappyhourreview.com/AHH%20Issue%201.pdf. Reprinted in
After Happy Hour Review: Best of 2014 Edition (Fall 2014), 24.
“2013.04,” “2013.05,” and “2013.06,”
Spork, July 7, 2013,
http://sporkpress.com/?p=3973.
“2013.01,” “2013.02,” and “2013.03,”
Spork, June 30, 2013,
http://sporkpress.com/?p=3939.
“Two Parts of a Parallax Gap1,”
Flywheel Magazine, no.
2 (January 2012),
http://www.flywheelmag.com/962/two-parts-of-a-parallax-gap%C2%B9/.
“A Second E(ff)luvium,”
BathHouse: Hypermedia Arts Journal 8, no. 1 (February 2011),
http://bhjournal.com/issues/Vol8_1/bradley-fest-effluvium.php (dead link).
“Nothingness Introduced into the Heart of the Image,” in
Open Thread Regional Review, vol. 2, ed. Cecilia Westbrook (Pittsburgh, PA: Open Thread, 2010), 53.
“The One/Symphony of the Great Transnational,”
Spork 6, no. 1 (2007),
http://www.sporkpress.com/6_1/pieces/Fest.html.