Midday at the Super-Kamiokande is part existentialist cry, part close encounters of the other kind. Think Kierkegaard in a spacesuit, Kubrik in a Left Bank café.
Like the neutrino observatory of its title, Midday at the Super-Kamiokande seeks "glimpses of the obscure" to carve out meaning, alternately a resistance to rationalism and its champion. It aims to tear through abstraction with the concrete, either catastrophic - road accidents, nuclear explosions, floods, extinction, eviction, suicide - or quotidian, finding threads of love, empathy, and belief within the fray. These poems delight in aphorism, paradox, puns, and wit, each stanza a closure that moves tangentially to the next, each poem more bricolage than narrative, more shuffle than playlist. These are poems with no middle. These are poems of beginnings, and of ends.