If Alexandra Mattraw’s first full-length collection Small Siren is a book of the feminine, we have been misunderstanding the feminine all along, misunderstanding its capacity and complexity. This is the feminine as slant of mind, position of articulation, embodied cerebral.
Translated presence: Genevieve Kaplan & technologies of bookmaking
Some books come to us by way of friends, some by strangers, tucked into an anonymous mailer by someone we will never meet. Not so very long ago (and maybe in some places still), you might have opened a book on a library desk and seen, listed inside the back cover, the signatures of all those who opened it before. Not so very long before that (and in some places still), to open a book under any circumstances signified a remarkable convergence of birth, opportunity, and chance. In some cases, it meant you were a king. In others, it meant being on very good terms with one. In the early years of the fifteenth century, an Italian-born poet named Christine de Pizan not only opened a king's books, she made them. While the exact details remain a source of study, it's certain Christine conceived the ideas, scribed many of the letters, and engaged a brilliant illuminator named Anastasie to produce elegant manuscripts for the French royal family.
Some books come to us by way of friends, some by strangers, tucked into an anonymous mailer by someone we will never meet. Not so very long ago (and maybe in some places still), you might have opened a book on a library desk and seen, listed inside the back cover, the signatures of all those who opened it before.