Adam Day: Model of a City in Civil War

“Sleeping with Uncle Lester” borrows particulars from David Cone’s Scott of the Antarctic: A Life of Courage and Tragedy in the Extreme South .

“Elebade” borrows from Samuel Beckett’s last prose piece, Stirrings Still .

“Undercover” features details from:

Joshua Wolf Shenk’s Lincoln’s Melancholy: How Depression Challenged a President and Fueled His Greatness

Frank Whitford’s Egon Schiele

Jennifer Michael Hecht’s The End of the Soul: Scientific Modernity, Atheism, and Anthropology in France

David S. Reynolds’ John Brown, Abolitionist

“Unfurling the Hidden Work of a Lifetime,” by Seven Henry Madoff, in The New York Times

“Apprehended at a Distance” owes a debt to Elfriede Jelinek’s Nobel Lecture, and Virginia Woolf’s Orlando .

“Clean Lines, Diffuse Lighting” borrows from E.L. Doctorow’s The Book of Daniel .

“He Speaks of Old Age” quotes briefly from:

“Domains: Sir John Mortimer: The Country Barrister,” by Edward Lewine, in The New York Times

Elfriede Jelinek’s Lust

William Feaver’s Lucien Freud

John Berryman quoting from a conversation he had with W.B. Yeats, as appears in “John Berryman, The Art of Poetry #16,” in The Paris Review , interview by Peter A. Stitt

“In Mourning” features detail from “Domains: Sir John Mortimer: The Country Barrister,” by Edward Lewine, in The New York Times .

“Now and Forever” features particulars from Walter Benjamin’s Arcades Project , and Maurice Merlea-Ponty’s Phenomenology of Perception .

Fårö is a small Baltic Sea island north of the island of Gotland, off Sweden’s southeastern coast, on which Ingmar Bergman both lived and filmed many of his movies.

“A Polite History” uses specifics from Slavoj Zizek’s Welcome to the Desert of the Real , and from the Graywolf anthology, New European Poets , edited by Wayne Miller and Kevin Prufer.

“The Revolution” borrows from Gaston Bachelard’s The Poetics of Space , and “Putin’s Pariah,” by Andrew Meier in The New York Times . It also briefly paraphrases Walter Benjamin’s essay “Central Park,” one of his many writings on Baudelaire.

“Diorama — (Scarlet and Liver)” features detail from Tom Stoppard’s Arcadia .

Sarclet is a small crofting village near Wick on the eastern coast of the Scottish Highlands.

“Comportment” utilizes specifics from:

Beatrice Hanssen’s writing on Elfriede Jelinek’s The Piano Teacher in Critique of Violence

Anthony Cronin’s No Laughing Matter: The Life and Times of Flann O’Brien

Saul Friendlander’s Probing the Limits of Representation: Nazism and the “Final Solution”

“Condensation Cube” takes its name, and perhaps more, from the art object of the same name by Hans Haacke. It further borrows from:

Jean-luc Godard’s Pierre le Fou

Joseph Heller’s Catch-22

Tom Clark’s poem “Like musical instruments”

Kurt Vonnegut’s Slaughterhouse-Five

David Alworth’s “Site Specificity”

Adam Dayis the recipient of a Poetry Society of America Chapbook Fellowship for Badger, Apocrypha , a PEN Emerging Writers Award, and an Al Smith Fellowship from the Kentucky Arts Council. His work has appeared in Boston Review, The Kenyon Review, American Poetry Review, Poetry London, AGNI, The Iowa Review, Poetry Ireland, Guernica, and elsewhere. He coordinates The Baltic Writing Residency in Latvia, Scotland, and the Bernheim Arboretum & Research Forest.

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