REVIEWS

"A textual representation of the horrific and luminous spectacle of a post-modern condition defined by unavoidable participation in (and often a voluntary surrender to) a global war economy. The multi-genre work (a novel in dialogue with prose poetry and punctuated by epistolary and dramatic interludes) embodies a term coined in its own narrative, “atrocity kitsch,” inhabiting bathtubs, war prisons, and a Shining Mansion on the Hill...."

[Göransson] places readers in his piecework of violence, sex, art and emotion, in short snapshots of unexplained events, and leaves them scrambling to find their way out. Readers get one companion, one true character: an unreliable, determined, and probably insane narrator, and the reader slowly realizes this world is the narrator’s own....

...from Patrick Trotti at JMWW, regarding Tarpaulin Sky Press's three 2013 prose titles: my own Haute Surveillance, Claire Donato's Burial, and Joyelle McSweeney's Salamandrine: 8 Gothics; all of which, writes Trotti, "continue the press’ solid run of publishing innovative [...]

"Göransson’s fast-paced, present-tense writing critiques itself while moving forward, collapsing together all of discourses and vocabularies associated with the nightly news, feminism, sexual identity, Hollywood movies, science fiction, performance art, pornography, and poetry invested in the stable lyric “I.” Bots from academia mix with bits of the street.... Goransson turns it into a book that is unclassifiable — part epic poem, part science fiction, part pornographic film, and all literature."

Haute Surveillance (Tarpaulin Sky Press 2013): "A feverish and explicit set of images and ideas revolving around power, fetish, porn, media, violence, translation, punishment, performance, and aesthetics. Taking its title from a Jean Genet play of the same name, it’s kind of like a novelization of a movie about the production of a play based on Abu Ghraib, though with way more starlets and cocaine and semen.... [B]eautifully startling and fucked and funny and tender and sad and putrid and glitter-covered all at once."

Writes Hardy: "The narrative of [Göransson's Haute Surveillance] is itinerant, slippery. It unwinds, confused by voices, rhythms, and accents, 'interlingual puns', 'auto-translations' and 'automutilations' that befuddle the desire for a secure semantics. It is at once a prose poem, a 'novel dedicated to the homos and the awkward perfumists', a biography of its author, an 'autobiography of a foreigner', 'a fashion show dedicated to a riot', a film script and a theoretical text.... 'This is the first lesson in haute surveillance: Always write like you’re a teenage virgin. Always reach for the gun.'"

At Fanzine, Laura Carter reviews Haute Surveillance. "Imagine that you are on a secret journey through the life of Jean Genet, through the shifting framework of a character made by Johannes Göransson," writes Carter. "You are a [...]

Göransson's book-length poem, writes Chen, "combines all these meanings of pure, fake, authentic, corrupt, synthetic. The poem is an evil Leaves of Grass — not a welcoming cosmic paean to all American citizens, but a nihilistic porno where the pure and the fake copulate with a sordid glory. By real, Göransson means: children burning in bombed buildings, the bodies of foreigners, sperm and blood, traumatized soldiers strangling their wives. By fake, he means: film sets, stunt doubles, poetry. You can see this combo in how he depicts America: America is not an emancipatory pluralistic haven, but an atavistic theater of war, brutally real and, as Baudrillard has written, as simulated as a video game."

Writes Grefe: "I was a mute foreigner, unpredictable as outsider. One who knows how to screw a fork. There are areas in Tokyo, in Seoul, in Beijing where foreigners are allowed to be foreign, allowed to tongue foreign, act foreign: needles, erotics, vomit. These are the areas where we grind chains in underground cabarets, McDonalds drunk with military officers, a man who said, 'as an American, it is my duty to protect you.'"