"These sentences-they-will begin having already been sentences somewhere else, and this will mark their afterlife, and this will be their debut." So begins Renee Gladman's latest interdisciplinary project, Plans for Sentences. A tour de force of dizzying brilliance, Gladman's book blurs the distinctions between text and image, recognizing that drawing can be a form of writing, and vice versa: a generative act in which the two practices not only inform each other but propel each other into futures. In this radical way, drawing and writing become part of a limitless loop of energy, unearthing fertile possibilities for the ways we think about poetry. If Gladman ascribes to any particular type of poetics, here in Plans for Sentences, we are sure to find that it is robustly grounded in a poetics of infinite language.

Fiction. LGBT Studies. African American Studies. A "linguist-traveler" arrives by plane to Ravicka, a city of yellow air in which an undefined crisis is causing the inhabitants to flee. Although fluent in the native language, she quickly finds herself on the outside of every experience. Things happen to her, events transpire, but it is as if the city itself, the performance of life there, eludes her. Setting out to uncover the source of the city's erosion, she is beset by this other crisis--an ontological crisis--as she struggles to retain a sense of what is happening. EVENT FACTORY is the first in a trilogy of novels Renee Gladman is writing about the invented city-state of Ravicka, a foreign "other" place fraught with the crises of American urban experience, not least the fundamental problem of how to move through the world at all.

"Renee Gladman has always struck me as being a dreamer--she writes that way and the dreaming seems to construct the architecture of the world unfolding before our reading eyes." --Eileen Myles A collection of linked essays concerned with the life and mind of the writer by one of the most original voices in contemporary literature. Each essay takes a day as its point of inquiry, observing the body as it moves through time, architecture, and space, gradually demanding a new logic and level of consciousness from the narrator and reader. I was reading a line in a book, then reading a line in another book, and performing small acts in between: I sat at intervals on the toilet, I slept sporadically, I ate kale and "fish food," and called myself "Renee" for a time. Nobody knew who I was at the grocery store, but going there was my big event. I knew the books of these people; I knew these people and I didn't change their names, but when they appeared in my books it wasn't really their stories I was telling, so they didn't need my protection and I could go "Danielle, Danielle" all day. Born in Atlanta, GA, in 1971, Renee Gladman studied Philosophy at Vassar College and Poetics at New College of California. In addition to Calamities (Wave Books, 2016), she is the author of eight works of prose, including the Ravicka novels Event Factory (2010), The Ravickians (2011), and Ana Patova Crosses a Bridge (2013), as well as a book of poetry, A Picture-Feeling. Her most recent work of fiction Morelia is forthcoming in 2016. A longtime publisher and bookmaker, her projects include Clamour (1996-1999), Leroy Chapbook series (1999-2003), and Leon Works (since 2005). She is the recipient of a 2014-2015 fellowship from The Radcliffe Institute for Advanced Study at Harvard University and a 2016 grant to artists from Foundation for Contemporary Arts. She lives in New England with poet-ceramicist, Danielle Vogel.

"SPRAWL in fact does not sprawl at all; rather, it radiates with control and fresh, strange reflection." -Bookforum "Reads as if Gertrude Stein channeled Alice B. Toklas writing an Arcades Project set in contemporary suburbia." -The Believer When Danielle Dutton's SPRAWL first broke upon the world in 2010, critics likened it to collage, a poetics of the suburbs, a literal unpacking of et cetera. This updated edition, with a new afterword by Renee Gladman, reopens the space of SPRAWL's "fierce, careful composition"-as Bookforum wrote-"which changes the ordinary into the wonderful and odd." Today I fell asleep in the tall grass near the old train station. It was a complete picture. A fashionable park. Yet the picture had its sordid and selfish aspect. I can't seem to say what I mean, Mrs. Barbauld, but with some urgency I mean to inform you what a triumph the big city has become. I am a secular individual but even I can feel the shift in the horizon utterly alien to the constitution of things, the habitual. Sincerely, etc. I move in shade on the edge of a parking lot under walnut trees in the early morning around the edge of a curve in an accidental manner. I walk the sidewalk and ripple the surface of it. From this condition I have a view of the world. Danielle Dutton is the author of Margaret the First, SPRAWL, and Attempts at a Life. Her writing has also appeared or is forthcoming in The Paris Review, Harper's, The White Review, Fence, BOMB, and others. She is on the faculty of the writing program at Washington University in St. Louis and is co-founder and editor of the feminist press Dorothy, a publishing project.

"These sentences—they—will begin having already been sentences somewhere else, and this will mark their afterlife, and this will be their debut." So begins Renee Gladman's latest interdisciplinary project, Plans for Sentences. A tour de force of dizzying brilliance, Gladman's book blurs the distinctions between text and image, recognizing that drawing can be a form of writing, and vice versa: a generative act in which the two practices not only inform each other but propel each other into futures. In this radical way, drawing and writing become part of a limitless loop of energy, unearthing fertile possibilities for the ways we think about poetry. If Gladman ascribes to any particular type of poetics, here in Plans for Sentences, we are sure to find that it is robustly grounded in a poetics of infinite language.