Shiny Collisions: Editing as Serious Humor in dodgems

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Disclosure statement

No potential conflict of interest was reported by the author(s).

Notes

¹ Elsewhere, they reiterate that their “concept” for the magazine was “all these styles colliding like an amusement park ride” (Inferno 208).

² “Rhetorical antics, such as the[#] frequent utilization of humor, unusual and inconsistent line lengths, manipulation of conversational diction, and[#] subverted punctuation, are all categorized within this study as attempts to, as O’Hara advised, ‘Put the poem squarely between the poet and the person, Lucky Pierre style, and the poem is correspondingly gratified’” (9).

³ For camp in O’Hara, see Gregson; Lagapa.

⁴ For more on the aesthetics of Myles’s production decisions and their relationship to group labels and formations, please see Nick Sturm’s essay in this issue.

⁵ See the “regular women” and “Ladies Museum” anecdotes (Inferno esp. 226–28). If the timing suggested here is correct, Myles came out between the two issues of dodgems, furthering the editorial exploration of identity in Issue 2.

⁶ Thanks to Nick Sturm for drawing my attention to this issue.