Chris Edwards

Aussi / Or: Un Coup de dés and Mistranslation in the Antipodes

‘Shipwrecked on the shoals of contingency’, Australian poetry is haunted by Stéphane Mallarmé’s poem Un Coup de Dés. Its publication in Cosmopolis in Paris in 1897 struck a nerve or, rather, a vessel within Australian poetry bloodlines,

Posted in ESSAYS, SCHOLARLY | Tagged , , ,

Rat Chow

Reconstituted from selected chunks of John Ashbery’s Flow Chart “… the top of the volcano has been successfully glued back on, and who is to say we aren’t invited?” — Flow Chart, p. 167 1. The incubus awoke from a …

Posted in 77: EXPLODE | Tagged

Erin Thornback Reviews Chris Edwards and Toby Fitch

Chris Edwards’s O Sonata dwells in the vortex of the underworld, plumbing the depths of the Orpheus and Eurydice myth and resetting the entrails of Rilke’s Sonnette an Orpheus into a crossword puzzle ready for consumption. In the eponymous sequence, Edwards offers up a renewal of the Orpheus (also known as ‘the futile male’) myth to signal his reconsideration of repetition and originality as the basis of a literary revision – releasing a suite of renditions that purposely misinterpret, transliterate and obscure.

Posted in BOOK REVIEWS | Tagged , ,

Spare a Thought

I thought it was raining. I said on the phone oh god it’s my face and an involuntary avalanche of motion called him and he picked up. But it fell into place. I was shaky at the beginning. At that …

Posted in 72: THE END | Tagged

Experimental Review: Chris Edwards’s After Naptime

PREFACE Page references to Chris Edwards’ “A. N.”* are imposed—i–viii (Front cover–Contents), 1–22 (Text), ix–xiv (Sources–Back cover)—according to its Contents’ functionally reflexive bracketing.

Posted in BOOK REVIEWS | Tagged ,

What’s more

Nature, to give due credit, was deeply abducted by the 1960s. Betty and Barney, for example, revealed under hypnosis how they got Barney’s binoculars to dot UFOs: it was simply a matter of training science to spot their amazed eyewitness …

Posted in 64: CONSTRAINT | Tagged

Derrière monde

To distinguish fact from fantasy, Miss Satin had grown from the headdress upward into gay explanations and ratty descriptions. The letter to Baudelaire had come, or purported to come, from features of the terrestrial décor — theatre programs, dinner menus, …

Posted in 64: CONSTRAINT | Tagged