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Showing 1 - 6 of
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Jay Defeo: Photographic Work
Jay Defeo; Edited by Leah Levy; Text written by Hilton Als, Judith Delfiner, Corey Keller, …
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R1,728
Discovery Miles 17 280
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Ships in 12 - 17 working days
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"Douglas Kearney's innovative new collection makes me tremble
like a 'mouth and mind full of fish hooks.' . . . These poems
literally vibrate with Kearney's precocious intellect and passion.
They hum, they bang, they bite. What else can I say? I have never
encountered poetry like this before."--Terrance Hayes
In Nervous Device, Catherine Wagner takes inspiration from William
Blake's "bounding line" to explore the poem as a body at the
intersection between poet and audience. Using this as a figure for
sexual, political and economic interactions, Wagner's poems shift
between seductive lyricism and brash fragmentation as they
negotiate the failure of human connection in the twilight of
American empire. Intellectually informed, yet insistent on their
objecthood, Wagner's poems express a self-conscious skepticism even
as they maintain an optimistically charged eroticism. "Wagner's
fourth collection contains poems of memory and dark artifice. She
writes with an obscure, magnetic lens. . . . Wagner contrasts these
complicated poems with short, clean, pieces that offer a kind of
breathing space for the reader. Not to be mistaken for trivial, the
linguistic tightness of these poems are highlights of Wagner's
collection."-Publishers Weekly "Taking with one hand what they give
with the other, Wagner's poems are full of vehemence and disdain
and tenderness and somewhere, in some inexpugnable part of the body
of language through which so many discomforting feelings pass, a
thorny kind of joy. This is my idea of great poetry: in which 'The
actual is / flickering a binary / between word and
not-word.'"-Barry Schwabsky, Hyperallergic "Nervous Device is such
a smart book. You never know where the poems are going to take you,
or when some startling, often cringe-making image or thought will
intrude. Unable to settle into a comfortable rhetorical space,
these poems reject simple claims to knowing something or doing
right or changing the world. Rather, they move like an erratic
insect stuck in a language bell jar. Brilliant, and
disturbing."-Jennifer Moxley "Nervous Device, the human machine,
palpitating inside its own little bounding lines. These poems do
everything the human device does, vibrating like an electrified
tornado inside a glass jar, and make this reader profoundly alive
to huge swathes of being. There is no machine for mastering the
self (yet), but there are Cathy Wagner's poems."-Eleni Sikelianos
"The poems in Nervous Device resonate with a knowing nod to time
and the difficulty and struggle of being sentient and intimate-of
loving while being human. This is poetry connectivty: sexy,
poignant, knowing. And the poems here make me feel possible."-Hoa
Nguyen "Wagner's poems contain multitudes, at once overflowing with
seductive lyricism only to suddenly shift into brash fragmentation.
She is informed, but the word subjective has no place whatsoever in
her work. As the cover suggests, the potential for human connection
is downright erotic for Wagner."Alexis Coe, SF Weekly "The notion
that the audience is 'putting [their] finger in [her] vagina' while
reading Nervous Device signals one of Wagner's primary thematic
concerns in the collection: the complex relationship between
poetry, sex, desire, and the body."-Joshua Ware "Wagner is to be
lauded, first and foremost, for her daring, her conceptual
eclecticism, and her linguistic range. . . . Nervous Device is a
clear-eyed and brave testament to the changing currents of a poet's
life."-Seth Abramson, The Huffington Post " . . . the manner in
which Wagner structures the language through repetitive dialogue
both builds meaning and breaks it apart. . . . Wagner balances
disjunction and lucidity, private and public, distant and (riskily)
up-close."-Jessica Comola, HTML Giant
Place History and the Archive provides a forty-year survey of
Catherine Wagner's photographic work. This is the first volume to
contain Wagner's major bodies of work, dating from 1974 to 2016, in
one compelling publication. Wagner's incisive photographs move
seamlessly and elegantly between different approaches and content
following her interest in the ways in which knowledge is
transferred. This expansive new publication surveys nineteen series
and includes early projects in which Wagner began working with
strategies she calls "archeology in reverse". Early California
Landscape (1974), Moscone Site (1978), and 1275 Minnesota Street
(2016) employ a strategy of considered observation that
interrogates the built environment. Physical and cultural
architecture along with its core materials, are reimagined as
metaphors for how we construct our cultural identities. Wagner
further extends the notion of construction as she examines
institutions as various as art museums, science labs, classrooms,
the home, and Disneyland. Scientific, cultural, and natural
histories are key realms of this exploration. At several Human
Genome Project sites, Wagner explored scientific inquiry; while at
the Stanford Linear Accelerator she worked on a reimagining of Mary
Shelley's Frankenstein . Projects such as Re-Classifying History
(2005), Rome Works (2014), and A Narrative History of the Light
Bulb (2006), recontextualize archives and collections of various
cultural and historical institutions; questioning the
representations of how history is recorded. Reparations (2010), and
Trans/literate (2013) investigate the processes of cultural change
and redefinition by looking at collections of medical splints and
Braille books, respectively.
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Easy Marks (Paperback)
Catherine Wagner
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R735
R627
Discovery Miles 6 270
Save R108 (15%)
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Ships in 10 - 15 working days
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Contesting Extinctions: Decolonial and Regenerative Futures
critically interrogates the discursive framing of extinctions and
how they relate to the systems that bring about biocultural loss.
The chapters in this multidisciplinary volume examine ecological
and social preservation movements from a variety of fields,
including environmental studies, literary studies, political
science, and philosophy. Grounded in a de-colonialist approach, the
contributors advocate for discourses of renewal grounded in
Indigenous, counter-hegemonic, and de-colonialist frameworks which
shift the discursive focus from ruin to regeneration.
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