Shiv Kotecha writes, edits and teaches. He is the author of The Switch (Wonder, 2018) and EXTRIGUE (Make Now Books, 2015). His criticism appears in 4Columns, Aperture, art-agenda, MUBI’s Notebook, BOMB, and frieze. He is on staff at The Andy Warhol Foundation Arts Writers Grant as Program Manager and co-editor of Cookie Jar, a forthcoming pamphlet series. He holds a PhD in English from New York University, and teaches classes on poetry and critical writing for NYU’s XE: Experimental Humanities Department and for the Department of Photography at the Rhode Island School of Design. CV
› essay: history of the nipple piercing, Gayletter 16.
› profile: Tony Cokes, frieze.
› interview: Bassem Saad, BOMB 158.
› essay: “Outliving Birds” for Interlude Docs
› convo: Favorite Books (with Diana Hamilton), Peach.
› essay: “In the Air”: on filmmaker Mrinal Sen, MUBI Notebook.
› essay: on Zoe Leonard’s Downtown (For Douglas), Aperture.
› essay: on O Fantasma (2000), 4Columns.
The Switch (Wonder, 2018)
The Switch is a book in three parts:
1. an extended apology, in fictional verse, for friendship and desire, called “I’m Sorry Shiv. I’m Sorry Diana”.
2. the result of a fake residency, called "Obedience Residency Manual."
3. a long poem spoken by an angry god, called “The Unlovable.”
Book design: Holly Melgard
Purchase @ Bailfront, Wonder or SPD
Shiv Kotecha does for the word fucking what Catullus did for the word kissing. In The Switch, desire travels everywhere to its surprisingly specific destinations—to body parts aroused in their fashion, like a saint’s skull or a cock. Here love is as artificial as a courtly dialogue, and deeply felt, even spiritual. Here the arousal of the fragmented body is contemporary practice. Is one allowed to write such a book? Among the spectacular effects and turns and startling intimacies in The Switch, the most daring is its no-holds-barred pursuit of love.
Shiv Kotecha’s deeply weird and affecting book The Switch works with prosaic measure and measured prose to compress the mess of everyday sexual feeling, the mess of everyday relating (both on and off the planet of the genital) into these often perfect lines
“Poetry is never lost in a politics of refusal, and even in the most flirtatious behavioral studies of human and nonhuman desire for connection ... Kotecha’s ballast is clearly his feeling for the radiance of form-switching itself”
―CORINA COPP, BOMB
“it consists of an easy-to-read novel.“
―CLARA LOU, Book and Film Globe
Corina Copp, Editors Pick at BOMB
Charlie Markbreiter at The Believer
Rachel Vallen’s Winter Poetry Select at TANK
Clara Luo at Book and Film Globe
Katherine Beaman at Common Place Review
EXTRIGUE (Make Now Books, 2015)
EXTRIGUE is a book-length poem which renders the mise-en-scène of Billy Wilder’s 1944 noir, Double Indemnity, into text. Each of the 419 paragraphs refers to the shots in sequence that compose Wilder’s film.
Book design: Holly Melgard
Purchase @ SPD or Make Now Books
Like a post-conceptual Pompeii, Shiv Kotecha’s EXTRIGUE archives the rubble of language as forensics. Freud's Little Hans meets Lynch's Mullholland Drive. EXTRIGUE works
repetition and perception in order to collapse time. Through his
numbered sequencing of the human stain, Kotecha pulls us into an endless
present: “345. A FLAME THAT FADES INTO A PHONE A MAN THAT FADES INTO A
MAN A LAMP THAT FADES INTO A BOOK SMOKE THAT FADES INTO A HAT.“ EXTRIGUE, outside of self, is the canoptic jar of the now.
“If the items (numbered) in EXTRIGUE resemble Objects, Rooms, and Foods we’ve grown accustomed to in Stein’s Tender Buttons, it is because PAUSE is the tenderest button of them all. She never could have known.”
―DIVYA VICTOR, The Poetry Foundation
Press: ”Pause is the tenderest button: On Shiv Kotecha's EXTRIGUE“ by Divya Victor
› review: Carl Craig’s Party/Afterparty, 4Columns.
review: Darrel Ellis’s A Composite Being, frieze.
› essay: “Out of Earshot”: on Asha Bhosle, frieze.
› essay: “Operations of Pleasure”: on artist Nayland Blake, frieze.
› essay: “”It’s time you became a refugee!’” on Ritwik Ghatak, frieze.