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

“2023.07–08” 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.