Poems become footnotes, or they bleed across columns to create new meanings, or they are reversed, line for line, at exactly the midway point and "played back" until they take the form of screenplays, billboards, palimpsests, and a shutter roll of film ... in all of these endeavors, Campanioni declares: words are not meant to be static on the page. "Campanioni immediately draws the reader in with a sharp sensibility for the music of language. "Forty faces, one line" demonstrates an aptitude for poetic structure as well as a contemporary sense of rhyme, and "Billboards" focuses first in a prose-poem, then in quatrains, on the contrast between the self commodified and the loneliness of the soul inside of the commodified body. By focusing outside and inside the self in refreshing ways, Campanioni offers us meditations on "body and soul" that include the elegant woman who's dropped her dentures as well as the child yearning to eat cake. The poem "Endnotes for Life" takes familiar territory and makes a structure for it that calls into question the primacy of narrative in much American poetry. These sharp views of the human theater force us to examine our place in it, and to question what more exists in our own internal worlds." Susan L. Miller, the Academy of American Poets "Following his novel, Going Down, a tour de force of metafiction and genre-bending, Chris Campanioni continues to embrace the avant-garde strain, this time in poetry, with these complex, yet very accessible pieces that pop on the page with a mix of self-reflection, game-playing, and pop culture in conversation with each other, with the author, and with the reader. Read one, and you'll want to read them all-again and again." John J. Trause, author of Eye Candy for Andy; Seriously Serial; and Inside Out, Upside Down, and Round and Round