Photo of Carrie Hunter (left) by Steffi Drewes, taken March 2016 at the Featherboard Writing Series in Oakland, CA.
In her second full-length collection, Orphan Machines, Carrie Hunter invites readers to share her preoccupations with philosophy, sexuality, and music. Incited by Gilles Deleuze and Félix Guattari — riffing off their “theory of no leaders” philosophy in Anti-Oedipus: Capitalism and Schizophrenia — Hunter collages their ideological text, using it as palimpsest and backdrop for her own original poems. As in her first collection, The Incompossible, Hunter effortlessly blends private dialogue with public testimony orchestrated in a variety of forms. Orphan Machines drones a bittersweet urban lyric, and by the end readers may also be asking themselves in public, “Should / I fake normalcy or be real?” (79).
In her second full-length collection, Orphan Machines, Carrie Hunter invites readers to share her preoccupations with philosophy, sexuality, and music.
