| $16 ($14 direct from UDP)
Perfect-bound. 104 pp, 6.25 x 8.5 in.
Publication Date: November 15, 2013
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Composed in part from technical military intelligence text, Ed Steck’s The Garden: Synthetic Environment for Analysis and Simulation is a formally complex representation of cultural brain damage, the damage left by war in language and thought.
[praise for The Garden]
Gore is universal. Culture’s fate is anonymity. Ed Steck’s Garden is an insane composition, a landscape of buzzed authoritative ventilation. It’s an old friend. It reminds me of nothing written and everything I’m told. We made its materials: a weaponized surveillance society. A friend is sitting on the back porch. One is terms. Unseen, lived, miniscule. Statements are true, statements are insane, statements are games. Ed Steck is the last sane being in America. The Garden is not a safe place. —Anselm Berrigan
Somewhere over the rainbow and far from Oz there is a Garden whose flora and fauna are encrypted in a landscape that few can enter but in which we all now live. Our guide into this mirage of technological beauty and terror is Ed Steck, master of a vision that hovers like a hologram of a strawberry or of a motorcycle that crashes into our imaginations to forever change our perception of the real. ‘The garden is a fictionalized setting for actual event in a synthetic environment for analysis and simulation.’ Smell the roses, and weep. —Ann Lauterbach
The garden is a figment simultaneously in chorus as synthetic, marketable and utopist; materialist, naturalist, and public; melancholic, solid, and minimal; baroque, isolated, and somnambulant; one-dimensional, inaccessible, and stationary; architectural, serial, and regulatory. The garden is an entrance. The garden is a complicated hinge.
Supported in part by a grant from the National Endowment for the Arts.
NEWS AND REVIEWS
Ed Steck is a writer from Southwestern Pennsylvania, currently living in Pittsburgh. Recent publications include: Sleep as information/the fountain is a water feature (Center for Ongoing Research and Projects, 2014), The Rose (with artist Adam Marnie, Hassla Books, 2013), A Time Stream in Spaces: The Cultic Parody of Time-Induced Capital (West, 2012), and Public Access with artist David Horvitz. His work has most recently appeared in the Brooklyn Rail, LIT, and Omer Fast: 5,000 Feet Is Best (Sternberg Press, 2012). He has collaborated with visual artists such as Wintergarten LTD and Marc Handelman. He is a co-editor of American Books. He graduated from Bard College’s Milton Avery Graduate School of the Arts.