…!botApart…!botApart…!botApart…!botApart…!botApart
…!botApart…!botApart…!botApart…!botApart…!botApart…!botApart
…!botApart…!botApart…!botApart…!botApart…!botApart
…!botApart
…!botApart…!botApart…!
…!botApart…!botApart
…!botApart…!botApart
…!botApart
petro c.k.’s latest explosion of joyful nonsense confirms that chaos and absurdism are alive and well and vomiting all over these pages relentlessly in the lineage of DaDa but chewed up and spit out for our 21st century digital nightmare with a gleeful and subversive insanity. This book is not language but then again it is language but then again it does not matter because then again these obscure symbols mashed, splintered, and splattered together create something both familiar and completely unknowable. A mind is meant to be warped and this book will do just that.
-Joshua Martin, founding member C22 Press and author of Approximate Preparation for Cannibalistic Symphonies
, …!botApart manages intriguing and begging questions, engaging with pivotal concerns for our moment. The poet finds himself between dialectic tensions, drawn and quartered, unavoidably bound by the myopic sense of literal clarity. within ….!botApart petro c.k. mines thoughtfully into the rigorously bound expectations and what results is an orgiastic fervor of pandemonium, an avant-garde concept album from a poet at the top of his genre. A captivating read you will not soon forget, the philosophies and inquiries driving which will only become more relevant and pressing in years to come!
-Jerome Berglund, author of Bathtub Poems and Funny Pages
petro c. k. //
moves through— a labyrinth(of)creation where meaning? flickers, electric. //an alchemist of wordsforms / fractured light )….he ( t ears ) (scatt er s )(burns) context dissolves…. like mis..t, like dreams, /// like nothing. everything sings in nonsense, in // tongues older than knowing. againagain entropy&decay (not ends) but w . his p.ers— …the uni-verse con spires… with time (he listens) (he reckons) (he is).
$7
About
The literary discourse this past year has concerned itself with what may not actually be literary in nature. The use of AI and LLMs coming to prominence has stoked much fear and ire in the hearts of writers, however, those that have been affected has resulted in more analytical writing like legal and copywriters, if at all. Hardly literature. Where do we go from here? How do we as artists engage with and use AI? What interests me is this new future is to find where the artists who aren’t scared take us, take the reins and respond, as artists do, by making revolutionary art out of the threat.
“These asemic works are outside of the realm of what AI understands, only we can internalize what seems opaque into something that resonates as the light inside.”







