"Windows 85 is a winningly brazen poetry collection of a new erotics, a book in which the second person often comes first. "You" is a slippery subject "woken by the breeze / of your lens" mirror-selves fleetingly glimpsed, or strangers misunderstood, yet longed-for. Campanioni's headlong, minimally punctuated writing rings a round of thorny rosies, with pocketfuls, to spare, of kinky poesies amidst the before- and afterglow of queer collisions and near-misses. To be sure, Windows 85 rewards the reader with refreshing games of lyrical leapfrog. Take your place in these lines and get ready to spring high."--Chris Hosea "I love how porn-esque and abstract and multi-persona'd this book is, how it flows like thought itself, a fleshly lustful floating thinking, not wishing to land, just to stretch out, a long "fingering," as the poet puts it. A procedure of stretching seems to be his signature--syntax, lineation, enjambment, flickering-between-personae, between genders, between subject/object, seen/seer, screen/IRL ... Campanioni appears to take his cue from O'Hara's "You Are Gorgeous and I Am Coming"--just motion itself, the throb and onwardness, an erotics/poetics of the in medias res."--W,
"Windows 85 is a winningly brazen poetry collection of a new erotics, a book in which the second person often comes first. "You" is a slippery subject "woken by the breeze / of your lens" mirror-selves fleetingly glimpsed, or strangers misunderstood, yet longed-for. Campanioni's headlong, minimally punctuated writing rings a round of thorny rosies, with pocketfuls, to spare, of kinky poesies amidst the before- and afterglow of queer collisions and near-misses. To be sure, Windows 85 rewards the reader with refreshing games of lyrical leapfrog. Take your place in these lines and get ready to spring high."--Chris Hosea "I love how porn-esque and abstract and multi-persona'd this book is, how it flows like thought itself, a fleshly lustful floating thinking, not wishing to land, just to stretch out, a long "fingering," as the poet puts it. A procedure of stretching seems to be his signature--syntax, lineation, enjambment, flickering-between-personae, between genders, between subject/object, seen/seer, screen/IRL ... Campanioni appears to take his cue from O'Hara's "You Are Gorgeous and I Am Coming"--just motion itself, the throb and onwardness, an erotics/poetics of the in medias res."--W,
