Annotated Works
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Kane X. Faucher has written Ezra
Pound back to life.  By various
alchemical means, the latter performs
the same favor for Henry Miller,
Hunter Thompson, Charles Bukowski,
Antonin Artaud and Louis-Ferdinand
Celine. These authors are dumped in
the present, and each is caused to
suffer symbolic retribution worthy of
Dante's Inferno, based on the
particular excess that came to define
his literary persona.

Celine returns with no memory of the
French language.  Bukowski is cursed
with an inability to drink alcohol.  
Artaud behaves insanely, but no one
seems to notice except for teenagers
who think it's "awesome." Miller has
erectile dysfunction, while Thompson
is expected to write legit journalism.

Each of the authors speaks in his own
voice--and this is the amazing thing,
because Kane X. Faucher is without a
doubt the greatest literary parodist
in existence.  His Celine, in
particular, is uncanny to the point
of making one superstitious at times.


The quincunx of notorious authors gives Epigonesia a kind of literary
star-power.  Meanwhile, Tom has recruited himself to provide commentary
in an elaborate substructure of footnotes.  He seems to have discovered
the manuscript on a rickety old laptop which Faucher left behind upon his
tragic suicide.

Epigonesia turns out to be an extended suicide note.  Via Tom's
footnotes, the late Kane X. Faucher's downfall is explicated, also
narrated like a mystery story with rising action, climax, denouement--all
that tight structural stuff one would never expect to be couched in
scholarly apparatus.

The spoiler comes at the end of the book. Nested in the epilogue is
another narrative tier. The pharmaceutical company Metapharm has been
testing a suite of literary- and literacy-based drugs. Faucher and
Bradley have guinea-pigged themselves in a clinical trial.

This results in the collaborative working of the text, and explains the
increasing paranoia in the footnotes, as the suicide note develops into a
real-time personal attack, mounted from the grave by Faucher, upon
annotator Bradley.
Posthumous collaboration with Carol
Novack:
FELICIA'S NOSE.

"...Being a writer, Carol's method
of self-excavation was literary,
and she recruited my help, two
shovels being better than one...She
wanted me to dig under her
characters and situations, to
dissect her names, numbers,
references, to turn her allusions,
both deliberate and unconscious,
inside-out. Carol wanted a running
commentary that furtively pursued—
she cringed at the word—
psychoanalytical strategies. She
envisaged an infestation of ten-
point type skittering along the
bottom of her novel like army ants
underfoot

"'We need a literal subtext!' she
cried..."

Cover art and illustrations by Nick
Patterson.

"A dog-whistle palimpsest, a
riddling box of questions left
Mad Hat Press
unfinished at the author's death, a Winchester Mystery House of a book
with graffiti notes from an alternative Zoharistic universe and
illustrations transcribed from the depths of Bohu-Tohu, Felicia's Nose
is an experimental novel based on the "call and response" of an arcane
Blues--the eternally absent author unraveling a tale from the other side
of life, and the very much alive Tom Bradley answering each movement of
the planchette with a drum roll cursive freighted with sentiments worthy
of Sabattai Zvei.
--Jesse Glass, author of Lost Poet
Tom Bradley has annotated this book
in the strange way he did
Epigonesia and Felicia's Nose. He
strip-mines the pseudepigrapha and
snuffles into Mariolatry's odd
pastel nooks, where the sense of
smell prevails over all others. As
a precaution, Bradley doesn't
neglect to conjure the crone
initiatrix of the Vama Marga who
teaches prophets, seers and
revelators to control their gag
reflex. Gradually, something like a
novel materializes among the
endnotes. A strange figure emerges:
Siegfried Tolliot, who, in 1958,
shared intimacy with Ezra Pound at
Saint Elizabeth's insane asylum in
Washington, D. C.

The result is that
rarity of rarities: a new genre,
situated in real time as the poet's
bright lyricism contends with the
cackling paranoia of his annotator.
It all culminates in a 300-item
bibliography and an index of 900
entries, citing everyone from
Heinrich Cornelius Agrippa to
Zosimos of Panopolis.

"The masters of High Farce, like
Chaucer, Cervantes, Oscar Wilde,
Mark Twain, and Monte Python, would
Lavender Ink

Rave at Philadelphia Review of
Books
no doubt wrap this Annotator in their brotherly cloaks."
--Philadelphia Review of Books

"Tom Bradley's copious and critical annotations give us the capricious
erudition of a T. S. Eliot in March Hare guise, whilst delivering such
mirthfulness as would befit Boccaccio."
--Umit Singh Dhuga, The Battersea Review

"Bradley’s multilayered, alchemical annotations, anchor this book—the
poem, the notes, the expansive bibliography – deliver a rare multiverse
of a read. Phenomenal, scintillating."
--Allison Hedge Coke, Winner of the American Book Award