HESTERGLOCK PRESS
Poem Brut & other projects
Monument
Louis Armand & John Kinsella
ISBN: 9781916159488
130 x 200 mm
114 pages
paperback £3.25 buy
cover design/artwork: Bob Modem
‘an exhibition of our culture in freefall’
- Joe Darlington, Manchester Review of Books
Louis Armand & John Kinsella
ISBN: 9781916159488
130 x 200 mm
114 pages
paperback £3.25 buy
cover design/artwork: Bob Modem
‘an exhibition of our culture in freefall’
- Joe Darlington, Manchester Review of Books
Reviewed by Joe Darlington for Manchester Review of Books here
Read X Marks the Parataxis, an article by Armand, Kinsella & Jessica L. Wilkinson over at Cordite Poetry Review
Read X Marks the Parataxis, an article by Armand, Kinsella & Jessica L. Wilkinson over at Cordite Poetry Review
Louis Armand is a Prague writer, theorist & visual artist. His novels include GlassHouse (2018), The Combinations (Equus, 2016) & Canicule (2013). Theoretical works include Videology (2015), The Organ-Grinder’s Monkey: Culture after the Avantgarde (2013) & Incendiary Devices (2001). He is the editor of Avant-Post (2006), Hidden Agendas: Unreported Poetics (2010) & City Primeval: New York, Berlin, Prague (with Robert Carrithers; 2017) & many more. In addition, he is the author of ten collections of poetry, which include East Broadway Rundown (2015), The Rube Goldberg Variations (2015; both from Vlak Records) & Synopticon (with John Kinsella; Litteraria, 2012). He has exhibited at Art Prague, with solo shows at Galery ArtNatur, Gallerie Gambit, Hunger Gallery & Indigo Space. A screenplay for Clair Obscur won honourable mention at the 2009 Trieste International Film Festival. He is formerly an editor of VLAK magazine & Directs the Centre for Critical & Cultural Theory at Charles University, Prague. There's more info at his website here
Australian John Kinsella has written over 20 books of poetry, as well as plays and fiction; he also maintains an active literary career as a teacher and editor. Kinsella’s poetry is both experimental and pastoral, featuring the landscape of Western Australia. Paul Kane observed in World Literature Today, “In Kinsella’s poetry these are lands marked by isolation and mundane violence and by a terrible transcendent beauty.” His The New Arcadia (2007) is a book-length exploration of Western Australia’s timeless and timeworn landscape; the book is informed by the history of the country and the bucolic poetic tradition. Kinsella’s recent books of poetry include Firebreaks (2016), Drowning in Wheat: Selected Poems (2016), and Insomnia (2019). In his “Alternative Biography,” Kinsella describes himself as “a supporter of worldwide indigenous rights, and an absolute supporter of land rights.” He has been a “vegan anarchist pacifist” for 33 years. Kinsella has taught at universities in Australia and at Kenyon College in the United States. Founding editor of the journal Salt in Australia, he serves as international editor at the Kenyon Review.
Australian John Kinsella has written over 20 books of poetry, as well as plays and fiction; he also maintains an active literary career as a teacher and editor. Kinsella’s poetry is both experimental and pastoral, featuring the landscape of Western Australia. Paul Kane observed in World Literature Today, “In Kinsella’s poetry these are lands marked by isolation and mundane violence and by a terrible transcendent beauty.” His The New Arcadia (2007) is a book-length exploration of Western Australia’s timeless and timeworn landscape; the book is informed by the history of the country and the bucolic poetic tradition. Kinsella’s recent books of poetry include Firebreaks (2016), Drowning in Wheat: Selected Poems (2016), and Insomnia (2019). In his “Alternative Biography,” Kinsella describes himself as “a supporter of worldwide indigenous rights, and an absolute supporter of land rights.” He has been a “vegan anarchist pacifist” for 33 years. Kinsella has taught at universities in Australia and at Kenyon College in the United States. Founding editor of the journal Salt in Australia, he serves as international editor at the Kenyon Review.