Cultural Writing. Literary Criticism. Essays. These wide-ranging talks, essays, and interviews-beginning with "Why Don't Women Do Language-Oriented Writing?" and including "Feminist Poetics and the Me
Rae Armantrout’s poetry comprises one of the most refined and visionary bodies of work written over the last forty years. These potent, compact meditations on our complicated times reveal her observan
In Just Saying, improbable and even untenable speakers are briefly constituted—only to disappear. The result is part carnival, part nightmare. A television pundit’s rhetoric segues into an unusual suc
In Just Saying, improbable and even untenable speakers are briefly constituted--only to disappear. The result is part carnival, part nightmare. A television pundit's rhetoric segues into an unusual su
The poems in Money Shot are forensic. Just as the money shot in porn is proof of the male orgasm, these poems explore questions of revelation and concealment. What is seen, what is hidden, and how do
In her latest collection, Rae Armantrout considers the shaping effects of language in the context of new and frightening global realities. Attempting to imagine the unimaginable and see the unseen, A
Rae Armantrout's most recent collection of poems focuses on the phenomenon of time, both as lived experience at the start of the 21st century and as a stubborn mystery confronting physicists and phil
Poetry. The poems in TRUE are Rae Armantrout's contribution to the Atelos project, a series begun in 1995 and devoted to publishing, under the sign of poetry, writing which challenges the conventional
Pulitzer Prize winning poet Rae Armantrout is at once a most intimate and coolly calculating poet. If anyone could produce a hybrid of Charlie Chaplin's playful "Little Tramp" and Charlize Theron's fi
Entanglements is the product of a years-long interest in science, particularly physics, by Pulitzer Prize winning poet Rae Armantrout. The collection includes poems from her previous books, as well as
Rae Armantrout has always organized her collections of poetry as though they were works in themselves. Versed brings two of these sequences together, offering readers an expanded view of the arc of he
What do “self” and “it” have in common? In Rae Armantrout’s new poems, there is no inert substance. Self and it (word and particle) are ritual and rigmarole, song-and-dance and long distance call into
