Astrid Lorange

I've been in this room before: Astrid Lorange

Amelia Dale

Astrid Lorange reading at SOd party, Frontyard, September 18, 2016

On a very rainy afternoon on the 18th of September, in a shared art space in Marrickville, Sydney (Frontyard), nine poets read their work: Astrid Lorange, Pam Brown, Alison Coppe, Emily Stewart, Yasmin Heisler, Holly Isemonger, catherine vidler, Dave Drayton and Nick Whittock. The reading was organized by SOd Press, an Australian small press focusing on radical poetics: a press begun by a.j. carruthers and now a collaborative project between myself and him.

The index of 'Tender Buttons'

Astrid Lorange

As Tan Lin says, Tender Buttons is an index:

As Gertrude Stein recognized in Tender Buttons, which constitutes the first literary work of non-fiction to function like a blind index or (colorless) idea that has been typographically reset, the index is a poetical text and a fictional text it sits next to, like a caption in reverse, or a dining room table adjacent to an idea of sexuality, or the temperature of the room in which someone else’s writing took place.[1]

Into the Field: Astrid Lorange and Eddie Hopely

Into the Field, hosted by Stephen McLaughlin

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Astrid Lorange and Eddie Hopely are a pair of poets living in Sydney, Australia with strong links to the Philly and New York writing scenes. Eddie has an M.F.A. in Creative Writing from Temple University and currently works as a freelance editor, research assistant, and independent scholar. Astrid recently finished her Ph.D. at the University of Technology, Sydney and has taken a position as lecturer at the College of Fine Arts, University of New South Wales. Both are members of the assignment-based writing group Collective Task.

July 25, 2013

Recently in Jacket2

Near/Miss launches

Charles Bernstein

New from University of Chicago Press: paper, cloth, e-book
Audible.com has also published an audiobook of my reading of the full work.

On the 'Vietnam is a Seven-Letter Word' Panel at AWP

Anna Maria Hong

“Vietnam Is a Seven-Letter Word” panelists.

On the Thursday of the AWP Conference in Portland, OR, I skipped the long line for badges and made my way through the throngs of people chatting, milling purposefully, and sitting and sipping decent coffee along the corridor floors of the Oregon Convention Center to a panel titled “Vietnam is a Seven-Letter Word.” I was familiar with some of the writers presenting but not all of them, and I was intrigued by the description, which noted that “women of the Vietnamese diaspora [would] offer insight into how writers may elasticize and complicate definitions of one’s various assigned ‘identities’ and lend voice to the silenced, obscured, or overlooked.”

'Voices of continuance'

Words, speech, and memory in Jeannette Armstrong’s 'Breath Tracks' (1991)

Eric Schmaltz

Jeanette Armstrong’s poem collection Breath Tracks (1991) sews the sinew and muscle of the writing hand to the lips and lungs of the speaking mouth. The title of the book gestures toward the entanglement of writing and speaking in the body: tracks, the trace of language upon the page that is left by movements of the hand, and breath, that which comes before, during, and after the act of vocalization — a trace of the body in itself. In its positioning of these enmeshed mechanisms, Breath Tracks is a book about the mouth on the page or, to borrow the words that Armstrong imparts to Kim Anderson, these poems articulate “how sound and body gesture to create an art form.”[1]