Dorothy Richardson's Pilgrimage, a thirteen volume epic novel, was one of the first turn-of-the-century 'experiments' in the stream-of-consciousness. Richardson was a contemporary of Proust, Joyce, and Virginia Woolf, who referred to herself as an 'intermittent student' of Richardson's. Richardson also wrote about the early silent cinema for the journal Close Up, published by H.D. Bryher and Macpherson. In her writings on the film, as well as in her novel writing, Richardson explores what she sees as a direct connection between issues of gender and the necessity for formal literary innovation. This book investigates the way in which Richardson's focus on these issues required that she invent new theories of reading and viewing practices, and a new profile for the page of the novel - punctuated and composed as never before.

Narrative's Journey: The Fiction and Film Writing of Dorothy Richardson (Writing About Women)

Humor & Entertainment

Gevirtz, Susan

Movies

Peter Lang Inc., International Academic Publishers

Poetry. Susan Gevirtz cuts the box away from the camera as she disassembles other structures that keep the world, as we picture it, in place. For Gevirtz, the cultural is personal, and the personal is constructed as the cultural media--films, TV, newstories, book narratives--are shaped. These poems, gathered from pieces of her deconstructions, are held together by puns, homonyms, metaphors, and blank space. The empty expanses convey a sense of the peril of the self released into the unknown. "If BLACK BOX CUTAWAY is 'risky,'" Gary Sullivan writes in Rain Taxi, it is because it "so thoroughly and convincingly makes us cognizant of the filters through which we perceive--not just language, but life itself."

Black Box Cutaway

Literature & Fiction

Poetry

Kelsey Street Press

Poetry. "It's not possible to be more phenomenologically direct than the poetry on these pages. This is removal of the obstacles of perception, beginning with perception, often by means of the obstacles themselves. This is what the sky is. All other skies in this one. There is a host of impossibilities to be found in AERODROME ORION & STARRY MESSENGER. Susan Gevirtz's page is both an inclusion of a scale too vast for inclusion and a selection of the minutiae that includes it. Someone might say 'air.' She has said 'astro stage.' I'd introduce the Sanskrit term 'akasa' (akasa is free or open space--the most primary and pervasive of elements--medium of life and sound). What is all over the place is normally not only beyond our grasp, it's not even noticeable. A path is usually cut or carved. Yet her paths are melted into the medium that is itself the way. This is incredibly accurate with regard to consciousness when we are indeed conscious. Terribly limited terms are not only not obstacles, they're instrumental and indispensable in opening the view--like little portals. Like latches. Like Lockheed's P3 Orion 4 engine aircraft. Hers is a prosody that responds to the physical forces of flight. She measures in leap seconds (again, not possible). Just as she has asked of a feather, I can with like awe and admiration ask of each page of this work: 'how can there be such a thing as'"--Robert Kocik.

AERODROME ORION & Starry Messenger

Poetry. "In For A New Novel Robbe-Grillet has written that in the sort of new writing he is proposing the author totally proclaims his need of the reader's cooperation as an 'active, conscious, creative assistance.' What he asks of the reader is no longer to receive readymade a world completed, full, closed upon itself, but on the contrary to participate in a creation, to invent, in his or her turn, the work and the world and thus learn to invent one's own life. This begins to describe the process of Susan Gevirtz's work. She is a writer of great seriousness, intuition and imagination who asks you at each turn to participate in the reinvention of a language"--Kathleen Fraser.

Linen Minus

Avenue B

Poetry. Echoing person, place, or thing and adding a question to the definition of a noun, THRALL begs yet another question: is the person a verb or a verb scape. The poet dreams the poem as three-dimensional things or places that we can enter and touch yet never hold on to. "We could try to find an answer to the first sentence of THRALL, 'is person place or person,' if we were sure it's a question. But I take the book as an enigma, its key word never spoken. Even the guess coming nearest might well land us in 'deciphretude,' not a healthy sounding state. Best, no doubt, to leave all the words as they are and, well...just listen. It's a beautiful book."—Keith Waldrop"Is person place or person," writes Susan Gevirtz. This provocative statement—it is not a question—leads us through Thrall to the land of Intelexa and outlying realms. If Alice in Wonderland and Wallace Stevens have a daughter, here is her primary residence. She spends 'each month the chapter of a year' 'drinking of this aquarium water tincture and thereby knowing something happened. Thus reaching for the dictionary.' The Reader can hope to find herself in this Looking Glass, surrounded by the good neighbors Intellect, Lexicon, Law, and Light, opening into deep communication with sensitive and nervy maps of reading and response, a finely-tuned and attuned charting and exploration of the 'world of written words.' There is no finer dwelling than this."—Stacy Doris

THRALL

The Post-Apollo Press

Taken Place

Reality Street Editions

Poetry. HOURGLASS TRANSCRIPTS asks What is legible? How can the unaccountable, uncountable find the page outside of measurable time? To approach the preverbal, the unspeakable, it may be necessary to make an incision through the center of a line, to hyphenate, replace thought. Or, in "Hollowed out Book," the names of shipping lines float across the water like gigantic book titles, telling much about the distant and the up close. And so about the act of seeing. Form is motion through place--toward the not yet imagined: its fabulous possibility and the full extent of its previous demolition.

Hourglass Transcripts (Burning Deck Poetry Series)

Burning Deck

Poet and scholar Susan Gevirtz’s new book Coming Events (Collected Writings) undertakes the search for what she calls a “third apprehension,” via questions concerning childhood learning; the vexed subject of discursive writing; film as writing’s cousin; becoming “a voyeur of translation”; and a woman writer among women writers, who offer support, dialogue, and challenge. In this remarkable hybrid work, Gevirtz steps outside formal constraints to interrogate structures of making and meaning in the conduct of the writer in writing.

Coming Events (Collected Writings)

Essays & Correspondence

Nightboat Books

The poems in Hotel abc function as ethnographic notes, exposing the fact that we are all under the thumb of circadian rhythm, struggling to negotiate our shared condition. Reporters and hotel guests leave and enter the book, revealing that the face of the beloved is also an icon, that some sounds can only be heard in certain places and that the origins of language are impossible to locate. Praise for Susan Gevirtz: “Her poetry moves through passageways of mystery, words weighted with a permanent tension on a background daringly displaced.” –Barbara Guest

Hotel abc

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Books by Gevirtz, Susan