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Poetry. African American Studies. "Richards' diagrammatic readings of some classics in American cinema engage those ever present questions of race, identity, class, and culture with humor and chaos. Blowing apart the reading experience with boxes and columns that read both horizontally and vertically, and infusing each text with shadows and crevices from which retreat is impossible, Deborah Richards has created her own genre. Her own template, even"--Renee Gladman. "Richards' work can seem more like an information map for the mind, like the insights recorded in a study guide we create for ourselves before an exam. She creates a form in which to record and relive the moment of insight"--Ed Roberson. Published by Subpress/A'A Arts.
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Deborah Richards, has lived in Philadelphia since 1998 and completed her Masters in Creative Writing at Temple University in May 2000. Her work has been published in Chain, nocturnes, HOW2, XCP: Cross-Cultural Poetics, and Callaloo. She is the author of three chapbooks: Hide Me From The Day (collaboration with photographer Ariana Krantzite), Cut and Shoot (collaboration with writer Cathleen Miller), and parable.From Publishers Weekly:
From the Quarked-out textual imaginings of "The Beauty Projection" (where the so-called Hottentot Venus's history and legacy gain voice) and "C'est L'Amour: That's Love" (ditto the cinematic Carmen Jones), to the Tarzan-based deconstructions of Last One Out's title poem, Deborah Richards, from Philadelphia by way of London, creates immediate, can't-look-away present-tense synchronic slices of colonialism's multiply dimensioned "interventions."
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Book Description subpress, 2003. Paperback. Condition: New. Seller Inventory # DADAX1930068212
Book Description Subpress, 2003. Condition: New. book. Seller Inventory # M1930068212