Hover States unfolds in the parergonal tremble between signage and sabotage, where typographic residue, bureaucratic parody, and speculative epistemologies cease to function as either frame or content. It is not a book but a calibration device, misaligned. Titles misname, forms overperform, and meaning suspends—hovering. What hovers is not indecision but a technocratic sublime: the procedural as incantation, the index as idol, the glitch as theology. Here, satire is the abyss that says "enough," not as limit, but as surplus; legibility is weaponized and withdrawn. In the shattered mirror of official language, Hover States writes with, and without, the "with." It steals the joints of the frame. A library card for a library that denies its own architecture. Footnotes to laws that never passed. A treatise on nothing's administrative interface.
An artist's book/oversized zine, electrostatically printed in an edition of 1 + 1 H.C. by Paw Print, Keuka Park, NY. Accessioned into the collection of DobraVaga × Zine Vitrine, Ljubljana.
Evan D. Williams investigates the quandaries of the numinous and carnal self in a range of documental forms.
His writing has appeared in over fifty publications, including Number, Antennae, Africanah, Lychee Rind, The Ovid Gazette, Punt Volat, and The Sweet Tree Review.
Dear Excavator, his first full-length book, was published by April Gloaming in 2021. Not All the Leopards Are Metaphors, his second collection, was launched in 2024. Brackmeadow: A Poem in Dialogue, was published by Bottlecap Press in 2025.
He has also produced several unique image–text books and zines, including Everything Material (2020, Ruskin Library, Oxford), Terminal Proposals (2023, De Kunstenbibliotheek, Ghent), and Hover States (2025, DobraVaga × Zine Vitrine, Ljubljana).
Williams resides in the foothills of the Appalachian Mountains with his wife and cats. He is at work on his next poetry manuscript, A Commentary on United States v. One Black Horse.