'you start every new day with an inventory: a moth, a cape, a parachute, a coffin, a gun, the wall you built to mount the gun.'On the Subject of Fallen Things is an addictive, Chekhovian metanarrative: phenomenological, absurd, and dripping with black humour. James Kearns’ speaker keeps company with Lazarus, an inept psychic, and a deceased superhero, but finds himself increasingly alone—lost in dialogue with mortality, both personal and anthropological. Permanence, culpability, the function and corruption of human storytelling: all come into play in a surge of momentum that grips the reader, even as it breaks apart: a lean explosion, a gunshot in the distance.“On the Subject of Fallen Things weaves whimsy into narrative epiphanies that you never see coming. Each line aggregating weight like the lightness of snowflakes gathering into an avalanche. Hugely enjoyable. Get it now.” Roger Robinson, Ondaatje and TS Eliot Prize winning poet“A really brilliant sequence of poems. Like Ponge, or Herbert, or Steger, or Simic, it manages to be both serious and fleeting, weighty and funny.” SJ Fowler, 3:AM Magazine

'you start every new day with an inventory: a moth, a cape, a parachute, a coffin, a gun, the wall you built to mount the gun.'On the Subject of Fallen Things is an addictive, Chekhovian metanarrative: phenomenological, absurd, and dripping with black humour. James Kearns’ speaker keeps company with Lazarus, an inept psychic, and a deceased superhero, but finds himself increasingly alone—lost in dialogue with mortality, both personal and anthropological. Permanence, culpability, the function and corruption of human storytelling: all come into play in a surge of momentum that grips the reader, even as it breaks apart: a lean explosion, a gunshot in the distance.“On the Subject of Fallen Things weaves whimsy into narrative epiphanies that you never see coming. Each line aggregating weight like the lightness of snowflakes gathering into an avalanche. Hugely enjoyable. Get it now.” Roger Robinson, Ondaatje and TS Eliot Prize winning poet“A really brilliant sequence of poems. Like Ponge, or Herbert, or Steger, or Simic, it manages to be both serious and fleeting, weighty and funny.” SJ Fowler, 3:AM Magazine

'you start every new day with an inventory: a moth, a cape, a parachute, a coffin, a gun, the wall you built to mount the gun.'On the Subject of Fallen Things is an addictive, Chekhovian metanarrative: phenomenological, absurd, and dripping with black humour. James Kearns’ speaker keeps company with Lazarus, an inept psychic, and a deceased superhero, but finds himself increasingly alone—lost in dialogue with mortality, both personal and anthropological. Permanence, culpability, the function and corruption of human storytelling: all come into play in a surge of momentum that grips the reader, even as it breaks apart: a lean explosion, a gunshot in the distance.“On the Subject of Fallen Things weaves whimsy into narrative epiphanies that you never see coming. Each line aggregating weight like the lightness of snowflakes gathering into an avalanche. Hugely enjoyable. Get it now.” Roger Robinson, Ondaatje and TS Eliot Prize winning poet“A really brilliant sequence of poems. Like Ponge, or Herbert, or Steger, or Simic, it manages to be both serious and fleeting, weighty and funny.” SJ Fowler, 3:AM Magazine