ONE OF OUR great theorists of the novel is a conceptual practitioner. Tom Comitta began as a poet who distrusted the novel, dismissed it as a commercial form. Among other experiments, they wrote intentionally bad poetry, shiterature. But then, in 2012, Comitta encountered their friend Kota Ezawa’s recent film City of Nature, which “consists entirely of rotoscoped nature shots from feature-length movies.” Comitta was fascinated. They went to the library and began collating nature descriptions from novels—and, in the process, fell in love with fiction.
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