Shiv Kotecha is a writer living in New York. He is the author of two books: The Switch (Wonder, 2018) consists of two long poems and a suite of stories that make a case for friendship over love; EXTRIGUE (Make Now, 2015) renders the mise en scène of Billy Wilder’s noir Double Indemnity into a procedural novel of objects. He has written about visual art, film, and literature for publications including 4Columns, Aperture, BOMB, frieze, The Nation, Notebook at MUBI, and The Poetry Project Newsletter. He co-edits Cookie Jar, a publication of long-format arts writing for the Andy Warhol Foundation Arts Writers Grant. He received his PhD in English at NYU, where, at present, he teaches a graduate course on poetry.
› poem: “TM” The Recluse
essay: “It’s a bad night”: On Be Brave to Things: The Uncollected Poetry and Plays of Jack Spicer, The Poetry Project Newsletter #270
› edited volume: Cookie Jar 1 - Home is a Foreign Place
› essay: Hervé Guibert’s Last Laugh, The Nation
› profile: Tony Cokes, frieze.
› interview: Bassem Saad, BOMB 158.
› 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.
› 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.
The Switch (Wonder, 2018)
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
Book design: Holly Melgard
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 an inventory of objects and actions. The book is composed of 419 numbered sections, each of which refer to the sequence of shots of Wilder’s film.
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
Book design: Holly Melgard
Press: ”Pause is the tenderest button: On Shiv Kotecha's EXTRIGUE“ by Divya Victor