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Book of Poetry Launch: Stephanie Anderson
2018年11月28日 星期三 19:30 至 21:30
Business Casual
The Bookworm Courtyard #4, South Sanlitun Road, Chaoyang District, Beijing
主办方: The Beijing Bookworm 更多活动

价格: ¥60

Book of Poetry Launch: Stephanie Anderson

价格: ¥60

Book of Poetry Launch: Stephanie Anderson
2018年11月28日 星期三 19:30 至 21:30
Business Casual
The Bookworm Courtyard #4, South Sanlitun Road, Chaoyang District, Beijing
主办方: The Beijing Bookworm 更多活动

价格: ¥60

11月28日

周三

Book of Poetry Launch: Stephanie Anderson

2018年11月28日 星期三 19:30 至 21:30 The Bookworm Courtyard #4, South Sanlitun Road, Chaoyang District, Beijing

价格: ¥60

时间 地点

2018年11月28日 星期三 19:30 至 21:30

The Bookworm Courtyard #4, South Sanlitun Road, Chaoyang District, Beijing The Bookworm Courtyard #4, South Sanlitun Road, Chaoyang District, Beijing
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Stephanie Anderson is the author of three books of poetry, most recently the If You Love Error So Love Zero (Trembling Pillow Press), as well as several chapbooks. Her poems have appeared in American Letters & Commentary, Bone Bouquet, Boston Review, Denver Quarterly, DIAGRAM, Guernica, Lana Turner, nonsite.org, Spittoon, and elsewhere. She co-edits the micropress Projective Industries and lives in Beijing, where she is a member of the Tsinghua-Michigan Society of Fellows in the Institute for World Cultures and Literatures at Tsinghua University. 

At this launch event for If You Love Error So Love Zero, Stephanie will be in conversation with Simon Shieh.


About If You Love Error So Love Zero: 

Personal, dark and really interesting poems, made in “conceptual” framework — and there are words of others — turned into what happened to oneself. Very good ear here, and place, and descriptions of moments not hithertofore described in poetry. Hear the form itself quietly sing and sting. (I read this book on a transAtlantic flight, in the middle seat, and transcended my environment.) —Alice Notley


In an intricately threaded sequence called “Ratiocination,” Stephanie Anderson refers to “Writing the backward-fracking self,” and certainly her poems can be read as a series of prompts, procedures and performances precisely demonstrating this “backward-fracking” of identity and subjectivity. Here, the practices of archaeology and extraction retrieve a deeply interconnected, reunified understanding of speaker, object and landscape, rather than deepening the trenches drawn between us. —Mia You






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