Poetry. Visual Literature. After the "after the end," after the dreadful pulps, after all manner of casual abortion, cosy mutilation, pointless sacrifice and staggering loss comes THE ETCETERA BARBECUE—a quick sprint through a burning building with a look at what's hung on the walls inside. This harrowing passage, mostly lit darkly, quarantines several stray transmissions clustered to chart yet another tough scrape and amply illustrate another daring escape. Linger to witness cold comfort crafted to (once again) posit a new breed of incendiary graphisme within the ghetto of concrete. Vicious in its elegance, erratic in its precision, uncompromising with each steak it claims, the attendant (and massive) mounting disquiet of THE ETCETERA BARBECUE seeks to violently combat an epoch that fetes placebo and ruthlessly undermine a world where "resource is garbage not harvested." Demonstrating total contempt for policies that were implimented to "kill it if you builds it," THE ETCETERA BARBECUE is no company picnic. For those of us starved for examples of elusive hen's teeth extracted from the nether regions of our literature, THE ETCETERA BARBECUE is a small feast of lettrisme, found, and typewriter poetries—by one of the foremost pracitioners of these often misunderstood and virtually forgotten arts—gathered together in a book whose strain on the eye is finally worth the bother.