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

A first anthology/assemblage of the poetry and poetics of the Americas, from origins to present

An announcement and an appeal

Jerome Rothenberg

The following is an early announcement of a work now in progress: a full-blown anthology/assemblage of the poetry of all the Americas (“from origins to present”), coedited with Heriberto Yépez, that the University of California Press has just accepted for publication. As Heriberto & I move into the work, I’m posting our proposal for the book, below, as an indication of what’s in store & in the hope, as with other assemblages of mine, that others will come forward with suggestions for materials relevant as texts & commentaries that fall along the lines of those in my earlier anthologies. Even more important for a work of this scope, Heriberto & I are looking for others who can assist us in the formidable task of translation: Spanish, Portuguese, French, & the full range of indigenous languages & creoles from the two great American continents.

[The following is an early announcement of a work now in progress: a full-blown anthology/assemblage of the poetry of all the Americas (“from origins to present”), coedited with Heriberto Yépez, that the University of California Press has just accepted for publication.

Being desire

The scopophilic selfie in the écriture transféminine of Juliana Huxtable's 'Mucous in my Pineal Gland — OR Universal croptops for all the self-cannonized saints of becoming, a screen4screen tribute

Anne Lesley Selcer

SHOUT OUT TO MY URBAN ANGLES SEARCHING FOR POST OR PRE-GENITAL DESIRE VIA GPS

Juliana Huxtable’s new book kneels to the internet’s largesse, struggles with it like a mother. Inside this struggle: the birth of her sexuality and the body horror of femininity with its projection planes and infinite play. Also, dysphoria, blackness, fetish, queer sex. She memorializes the internet — that two-way gazing machine, the ultimate screen, constituting and constitutive of self, Self, Selfie — in loud clanking blue letters. Laura Jaramillo asserts that ASMR videos recreate a sensory and sensual materiality lost to the digital work-a-day world.

Beyond Metrical Prosody: Berlin conference

Charles Bernstein

rhythmicalizer, a digital tool to identify free verse prosody

Thanks to Erik Redling and Burkhard Meyer-Sickendiek for organizing Beyond Metrical Prosody: New Rhythms in US and German (Post-) Modern Poetry at Freie Universitat in Berlin. The lively discussion underlined the value of this German/American exchange. I was grateful to learn more about the poetry and short lives of Rolf Dieter Brinkman (1940–1975), as presented by Jan Röhnert, and Rainer Maria Gerhardt (1927–1954), presented by Agnes C. Müller. Brinkman translated O’Hara and Berrigan. Olson and Creeley wrote poems for Gerhardt (recordings on PennSound), the editor of FRAGMENTE, a prescient magazine that included them both: MP3 — Olson reading “To Gerhardt, There, Among Europe’s Things …” in Berlin in 1966 and MP3: Creeley’s 1956 reading of “For Rainer Gerhardt.”