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In this collaboration between Peter Sotos and photographer Michael Salerno, Sotos' text prefaces the photographs, and thus colors them if you go through the book from beginning to end. Text feeds into image and image feeds back into text. Sotos lingers in the particulars of the crimes of Joseph Duncan, picking at them like crusted scab, disrupting them with his own need and concentration. His text uses much less direct collage here, more an exercise of putting words and ideas into "other mouths," A more subtle and infectious juxtaposition without seams. Salerno's photographic collage work of sleeping boys blanketed by the wreckage of hurricanes is not able to be divorced, after reading the words, from Duncan as once a serenely sleeping boy, a long time ago, and how little that matters now, You see a the literal image of a broken home and contextualize that in term's of Shasta's lived experience. These boys are sleeping serenely, and what these images evoke, after everything, is the opposition between the curled serenity of her sleeping smallness and the wreckage in her mind that's not supposed to be there. ( )
  poetontheone | Sep 27, 2015 |
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