Notes 

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[1] Balso 15

[2] ibid 11

[3] ibid 15

[4] Berardi 35

[5] ibid 29

[6] ibid 147

[7] ibid 158

[8] ibid 166-7

[9] ibid 35

[10] Hoevenaar 54

[11] ibid 22

[12] ibid 23

[13] ibid 7

[14] ibid 1

[15] ibid 2

[16] ibid 49

[17] Berardi, The Uprising, 96

[18] Hoevenaar, 18

[19] ibid 54

[20] ibid 18

[21] Ngai 7

[22] Golias Books | About

[23] Francois Rabelais, Gargantua and Pantagruel, trans. Jacques LeClerq, Heritage, 1936.

[24] Ed Simon, “Who Still Needs the Carnivalesque?” in The Baffler, Nov. 7, 2022 Who Still Needs the Carnivalesque? | Ed Simon (thebaffler.com)

[25] Hoevenaar 7-8

[26] Franco “Bifo” Berardi, Breathing: Chaos and Poetry, semiotext(e), 2018, 10.

[27] ibid 22

[28] Hoevenaar 8-9

[29] ibid 27

[30] ibid 43

[31] ibid 62

[32] ibid 83

[33] ibid 84

[34] ibid 9




Works Cited

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Judith Balso, Affirmation of Poetry, trans. Drew S. Burk, Univocal, 2014.

Franco “Bifo” Berardi, The Uprising: On Poetry and Finance. Boston: semiotext(e), 2012.

Jeremy Hoevenaar, Our Insolvency. New York: Golias Books, 2021

Sianne Ngai, Our Aesthetic Categories: Zany, Cute, Interesting, 2012.

Francois Rabelais, Gargantua and Pantagruel, trans. Jacques LeClerq, Heritage, 1936.

Ed Simon, “Who Still Needs the Carnivalesque?” in The Baffler, Nov. 7, 2022 Who Still Needs the Carnivalesque? | Ed Simon (thebaffler.com)