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"With unrelenting indignation and remarkable tenderness, Kenneth Reveiz gives voice to the razing of respectability while mending the fissures of a body's abjection in the totalizing ether of whiteness. In its three-act structure, MOPES directs a series of scene-changes that oscillate abruptly in mood and matter-a riotous counterethnographic anti-monument; a gruesome video game killing spree reflecting yet another day in the United States; performances of laughter and boredom as a cover for affliction; and as many-sided attributions of sex as to queer 'class hatred under the moonlight.' Reveiz punctuates with lol's and heart-signs, or with mimicries of Elizabethan English, to throttle the artifice of establishment value. In strains at once breakneck, salacious, mordant, and loudly opposed, Reveiz seeks a poetry tantamount to the 'most fucking amazing fully distanceless thing'--that is, unapologetic and adequate to the task of the present. --Roberto Tejada, author of Still Nowhere in an Empty Vastness: History & Metaphor"--