Is This What You Were Born For?
Stratégies d'appropriation et collage audio-visuel.
Published in both French and English by MetisPresses
as part of their PLANSécant collection, the book
focuses on (and takes its title from) Child's signature
series of films, IS THIS WHAT YOU WERE BORN FOR?,
bringing together five essays examining different
aspects of the BORN FOR series, an interview with
Abigail Child, and transcriptions of her texts/poems,
which form the soundtracks of the BORN FOR films.
—ed. François Bovier with critical essays by
Tom Gunning, Melissa Ragona, Redell Olsen, and
This is Called Moving:
A Critical Poetics of Film
(University of Alabama Press, 2005)
"An excellent and distinctive addition to the
MCP series. . .
This book focuses a highly articulate poetic intelligence on a
range of topics relevant to film studies and literary writing,
and at the same time presents a portfolio of interviews and
discussion and script material that charts the trajectory of a
significant contemporary experimental filmmaker."
—Bruce Andrews, author of Paradise and Method:
Poetry and Praxis
Read most recent reviews of
This is Called Moving.
Read more about the book.
Read the introduction by
(Belladonna Press, 2001)
A two volume chapbook containing nine parts of a long poem: a portrait of Russia after the break-up of the USSR.
“This phenomenon consisted of a hallucination. Try to break
yourself against a sphere. I remember at the beginning of our acquaintance a passage feints. There is more than one direction.
At the beginning of our acquaintance a kind of delight which
pluralizes meaning by gesture and without conjunction. Hero chandelier. What began as a heroic search for a historical
shortcut is truncated. Nation made to walk on its hands.
Nation feints. Two raisin cakes and tea set out, tea and
crackers, tea and bread, tea and jam, real cigarettes.
Resources of repetition, variation and control. We memorize
your staying and send you our ideal.”
—from Artificial Memory.
(Roof Books, 1996)
"Scatter Matrix unfolds like a map, grid tracing
multiple possibilites of language and form. Here is a scale, and a sense
of time, where the score offers discrete signatures: 3 and 4 line measures
upon which words balance or pivot forward. The result is a cumulation,
a sense of connection along the diagonal, spins and collisions, slow
fades and vaporous dissolves. Abigail Child's work invites productive
inquiry and rewards readerly attention, to (the means of) the production
of meaning, a late 20th century witness."
(O Books, 1994)
"The trajectory of Abigail Child’s book Mob
is as vast and populated as the Weegee photo on the cover, "Coney Island,
28th of July, 1940, 4’clock in the afternoon," filled with bathers staring
into the sun/camera/East expectantly. Sexy, violent, driving, Mob exists
persistently in an exploding landscape. Not afraid of saying so, Child
insists upon offering a social and political critique in which she even
shows glimpses of herself being duped."
Read more about Mob.
A Motive for Mayhem
(Potes & Poets, 1989)
"A Motive for Mayhem is an extravaganza of
jumps & starts & angles "resonant [with] voluptuous suggestions." Filmmaker
& poet Abigail Child's cutting within and between sentences is energizing
& startling, giving a pulsing, syncopated flow to these exploded lyrics
and imploded proses."
Read more about Motive for Mayhem.
Read an excerpt from Motive for Mayhem.
Climate / Plus
(Coincidence Press, 1986)
Published in the second season of issues from Coincidence Press (Oakland, California) during the winter of 1986, Climate/Plus was set in Van Dijk by David L. Sheidlower and printed on Ultima text-weight, saddle stitched between press-printed mauve covers with translucent endpapers and a still from one of Child's films tipped in to the interior front cover. 19cm trim. Edition of 330.
—from From Solids
"You go up. A butte counter zap on the while
while turning turn shock until in and do want procedure. Ideas repeat
distinctly at it is P tional. Immerce the degreee. Even one timel disconnect
they U who were who does struck very much very much doubly. Voodoo don't
do it. Pockets on OK. Item fell says buys. The with cld cold. The are
came met. And girl so they month for look in study mountain parts to
after P t t, her pasl, her hours, first zebra repeat and a soft flesh
foreground shock itself."
(Roof Books, 1983)
—from From Solids