In Alexander McQueen's Spring/Summer 2010 show "Plato's Atlantis," the designer envisioned the lost city of Atlantis as a place of "sanctuary in bad times." Inspired by the threat of climate change (i.e. melting polar ice caps), a dystopian prophechy of reverse-evolution emerges in McQueen's pearlescent garments of layered paillettes - evoking fish scales. Like McQueen, Robert Duncan also had deep interests in the occult. In The HD Book (1984), Duncan linked "bardic tradition" to the "Atlantean transgression of Nature's laws." In many ways, psyche itself becomes Duncan's "Eternal city." Cameron Lovejoy’s "Processpool" not only merges a subterranean perspective ("the intraterrestrial lair") with human isolation ("the tepid Frost. / We cannot sea"), but he also makes timekeeping feel alien ("clockmetal"). By deliberately emphasizing "metal," Lovejoy suggests time itself is an unnatural mechanization of human existence.

​​​— Paul Cunningham, Editor


​

​Processpool



The intraterrestrial lair realizes size
is under ocean. A grain of insult.

Tuning the light to the diameter of clockmetal, the homealien delineates

             the tepid frost.
             We cannot sea.

I open the fridge late one night to cheat on
my fast, the glum

light capturing, poking my spleen.








Cameron Lovejoy is a poet, translator, and book artist who operates the micropress Tilted House. He lives and prints in New Orleans.