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Fully exploiting the Gogolesque conceit of a cephalophore whose body and head go their own separate ways, Cephalonegativity reads like Beckett’s Play (with M reprised as an even more slippery version of himself) or Not I as if performed by the secret society of Acephale. Archaic turns of phrase and elision combine with post-cinematic headlessness to produce a stage play that plays with stages and stages play, a lesescenario from the velveteen tongue of an heretical zealot, its phrases as if slurped up off an abattoir floor, or off the rotted walls of a theatre-cum-poisoned-amniotic-sac where the performers have all become kuroko. Read out loud, at speed, in honour of its progenitors, the words turn into chunks of hot pomegranate meat in your mouth-turned-anus, with your gills agape, your mutinous soma exsanguinated, levitating above you, your head on fire singing like litel clergeon from the catacombs.
- Gary J. Shipley, author of 30 Fake Beheadings
In pursuing a theatrical treatment of the Self’s head and body and self-selves, through a Bataillean notion of headlessness, through typographical humor and rupture, through a Dada-esque document of volatile mirror-pages and chorus, Cephalonegativity makes of itself a gaping gesture: a neck-stub that is a mouth that is singing out and commenting on the ritual of being present. The reader dials in via a rotary anus and watches a body hanging as a tail in its coprolalic spooky plastic underwater gloom psychedelia cum outer space inside of a mouth cum cult orgy. DO/ YOU SEE THE END OF TIME? THE APPROACHING/ WALL? WHEN THE THEATRICAL BECOMES THE/ APOCALYPTIC? ENACTING A DISTORTED REALI-/ TY AS THIN LAYERS OVER THIS ONE? This text is a porous fabric through which we might perform the wound of the stage as we watch it rot.
- Olivia Cronk, author of Womonster
