Stephanie Strickland | |
|---|---|
 photo by Star Black | |
| Born | February 22, 1942 Detroit,Michigan |
| Occupation | Author, poet |
| Education | Harvard University; Sarah Lawrence College; Pratt Institute |
| Genre | Poetry, Digital Poetry, Essays |
Stephanie Strickland (born February 22, 1942) is apoet living inNew York City. She has published ten volumes of print poetry and co-authored twelve digital poems. Her files and papers[1] are being collected by the David M. Rubenstein Rare Book And Manuscript Library atDuke University.[2]
Strickland was born inDetroit, lived for five years inGlen Ellyn, Illinois, and attendedHorace Greeley High School inChappaqua,New York. She studied atHarvard University (A.B. 1963),Sarah Lawrence College (M.F.A. 1979), andPratt Institute (M.S. 1984).[3]
From 1978-1990, she worked at theSarah Lawrence College Library as Head of Access Services, Automated Services Librarian, and Women's Studies Reference Specialist. She served on the Board of theHudson Valley Writers’ Center from 1983-1995 and 1999-2005 and as editor at Slapering Hol Press from 1990-2005. She currently serves on the board of directors of theElectronic Literature Organization.
Strickland held the 2002 McEver Chair in Writing at theGeorgia Institute of Technology[4] where she created, curated and produced the TechnoPoetry Festival 2002.[5] Other invited appointments have included Distinguished Visiting Writer atBoise State University; Hugo Visiting Writer atUniversity of Montana Missoula, Visiting Poet in Residence atColumbia College Chicago; and Visiting Poet in Residence in the MFA-PhD program at theUniversity of Utah. Strickland presented at the&NOW Festival in 2004,[6] 2006, 2008, 2009, and 2011, and frequently at theSociety for Literature, Science, and the Arts (SLSA).[7] She co-edited volume 1 of theElectronic Literature Organization'sElectronic Literature Collection and the Fall 2007 issue of theIowa Review Web, Multi-Modal Coding.
Resources for study of Strickland's early works include:
Essays by Strickland include:
CUNY-basedDichtung Yammer[16] has published an extended interview of Strickland by Ian Hatcher, "Exchange On Stephanie Strickland'sHow the Universe Is Made: Poems New & Selected, 1985-2019 andRinging the Changes."[17]
A recent interview in print isThe CounterText Interview: Stephanie Strickland, conducted by Mario Aquilina and Ivan Callus. It appears inCounterText, Volume 2 Issue 2, pp 113–129, ISSN 2056-4406, Edinburgh University Press, 2016.
Audio interviews that primarily discuss the poems inDragon Logic have been recorded by Kylan Rice[18] forlikewise audio, Tony Trigilio[19] forRadio Free Albion, and Eric LeMay[20] forNew Books in Literature.
Strickland's poems have appeared in more than 90 journals, includingThe Paris Review,Grand Street,New American Writing,Ploughshares,jubilat,Chicago Review,Boston Review,Denver Quarterly,Fence,LIT,Chain,Harvard Review,1913 a journal of forms,The Iowa Review,Colorado Review,Black Clock,Vlak,Western Humanities Review, andConditions.[21]
Strickland's print poems have appeared in anthologies such asFour Quartets: Poetry in the Pandemic (2020),Poetics for the More-than-Human World (2020),Devouring the Green: Fear of a Human Planet (2015),Best American Poetry (2013),Electronic Literature Collection/2 (2011),The &NOW Awards: The Best Innovative Writing (2009),The Notre Dame Review: The First Ten Years (2009),Strange attractors: poems of love and mathematics (Sarah Glaz, editor, A K Peters, Ltd. 2008), andA Sing Economy, Flim Forum Anthology 2 (2008).
Online, Strickland's poems have been published byThe Poetry Foundation,The Iowa Review Web, MiPOesias, Octopus, Drunken Boat, Poetry Daily, Sous Rature, Mad Hatters’ Review, Saint Elizabeth Street, Critiphoria, La Fovea, Hyperrhiz: New Media Cultures, Riding the Meridian, Cauldron & Net, Web Del Sol Editor’ s Picks, electronic book review, Word Circuits Gallery, Blue Moon, The New River, Furtherfield, Poets for Living Waters, Codex: A Journal of Critical and Creative Writing for your Mobile Device, and Big Other.[21]
After their first appearance, Strickland's electronic works have been republished. Sea and Spar Between was included inRattapallax 21: Current State of Poetry Generators (2013),Bibliotheca Invisibilis: Conceptualizations of the Invisible (2014), and (in Polish)TechSty 2014, n.1 (9) (2014).slippingglimpse was included inhyperrhiz: new media cultures no. 4 (2008),Poets for Living Waters (2010),The Electronic Literature Collection Volume 2 (2011), andRattapallax 21: Current State of Poetry Generators (2013).V : Vniverse was included inThe Electronic Literature Collection Volume 2 (2011).
Strickland's work has been included inremixes. For example, "Versus Vega: Precessing" byJason Nelson (Furtherfield, 2005) incorporates elements of Strickland's work, and theJavaScript code fromSea and Spar Between was used by Mark Sample to create House of Leaves of Grass.
For the 2022Critical Code Studies Working Group, Carly Schnitzler wrote, "Because the Ringing [of] the Changes is automated, permutable, and ongoing, with Strickland and her team of programmers setting it into motion and simply letting it run, it seems to act as a force for and representative of reality, constant reminders that things (our society’s treatment of theenvironment, ofstructural inequity andviolence ...) need to change, regardless of if we (any humans engaged with the work—producers or consumers ...) are payingattention to them or not. Looking at and playing with the underlying code, though, seems to complicate this initial read of the role of human attention in (and to) the piece, with divisions emerging (as they do) around form and content."[22]
Inelectronic book review, Lai-Tze Fan explained the impact ofRinging the Changes: "Strickland continues the tradition of poetic text generation, engaging at the same with material constraints resulting from 17th centurypattern-ringing. The practice consists of competing teams ringing church bells based on highly complex mathematical patterns. Building on these, the poet and her team created elaborate and complex algorithms that generate the poetry woven out of textual data harvested from writings ofSha Xin Wei,Simone Weil,Hito Steyerl, and Yuk Hui among others. Written withPython code, the work demonstrates the powerful 'poetics of juxtaposition', where the list of names of Black men and women subjected to state-sanctioned violence strongly resonates throughout the whole text."[23]
In the same publication, Sarah Whitcomb Laiola's review stated, "The textual data feeding this algorithm and surfacing, as poetry, according to mathematical patterns address a range of topics: reflections on art and media, histories of information and its categorization, lessons incomputational logic andquantum physics, discussions of technologies and textiles, and narratives of storytelling and/as human movement. The poetry that emerges, then, is a deftly woven text/ile that brings together such disparate elements so that each might resonate beyond its own (con)textual limits."[23]
ReviewingDragon Logic forThe Common,Terese Svoboda wrote, "No poet has plumbed or plummed with her thumb so deeply into the pies (π's) of physics, math, and myth and made them interlock on the atomic level. She's brilliant, slyly funny and profound."[24] Other notable readings of the poems withinDragon Logic include Julie Marie Wade's review, "The Periscopic Poetics of Stephanie Strickland's Dragon Logic,"[25] forThe Iowa Review, and Orchid Tierney's review, "Code as such,"[26] for Jacket2.
In a speech at theLibrary of Congress in 2013,Stuart Moulthrop calledSea and Spar Between, "possibly the greatest example ofelectronic literature yet attempted -- measured by volume, at least -- but arguably also on a scale of importance."[27] Michael Leong wrote, ofSea And Spar Between, "The output ... is a rich, combinatorial poem in its own right, but it also offers the productively defamiliarizing experience of readingMelville andDickinson 'at a distance,' giving us a 'slant' perspective on two very familiar, canonical authors. ... We can say that Montfort and Strickland's poetics privileges neither thesea nor thespar but thebetween."[1]
ReviewingZone : Zero,Djelloul Marbrook wrote, "For exploring the outer spaces of poetryZone : Zero is practically a handbook. Placement is everything here. ... recalling as it does the profound commitment of so many medieval Arab, Berber and Jewish poets to mathematics and science. There is no earthly reason to segregate these disciplines other than for the convenience of popularizers who write about them."[28] Rachel Daley's review described how, "poetry as a practice is renewed as relevant, applicable, accessible, and understandable ... when it opens readers’ own mechanisms for reading language to a slightly unprecedented but shared capability. Stephanie Strickland'sZone : Zero enacts and constitutes this shift."[29]
In an essay citingslippingglimpse an example ofsocially distributed cognition,N. Katherine Hayles has described howslippingglimpse "is located within philosophical, technical, and aesthetic contexts that create a richer sense of information than the disembodied version that emerged from earlycybernetics."[30]
In "Nature’s Agents: Chreods, Code, Plato, and Plants",[31] Lisa Swanstrom describes the effect ofslippingglimpse: "...to make language look organic, to make these pieces of verse, in the tradition of the concrete poets and the image poets, crawl out of the sequential nature of written language in order to try on a different form. They remain words and phonemes beholden to English syntax, yes, but they also become part of a larger natural sign system, one comprised of water currents and chreodic patterns, algorithms and data flows."
In "Iteration, you see: Floating Text and Chaotic Reading/Viewing inslippingglimpse,"[32] Gwen Le Cor writes, "...by shedding the solidity of stable written text and presenting a liquid text in motion,slippingglimpse is also asking us to loosen our metaphors of writing, and discard the solidity that weaving metaphors imply. Text is no longer textile, it is texture, and in this particular case it is liquid texture."
In reviewingV: Wave.Son.Nets/Losing L'Una,Edward Falco described Strickland as, "urging readers to listen carefully, with body as well as mind, to see through the constructs the mind establishes to see into the world, to see what may be beyond mind, what the mind is not wired to see; and most of all to resist the static and hierarchical while accepting the fluid and enmeshed. In this sense, Strickland, likeDickinson before her, is a deeply spiritual poet, and one who, incidentally, is genuinely exploring the possibilities of digital writing to reshape the conventions of literature."[33]
Writing forThe Iowa Review Web,Jaishree Odin analyzedThe Ballad of Sand and Harry Soot as follows: "Thematically,The Ballad is about unrequited love between Sand and Soot; at another level, it is about the art of navigation through multiple discourses that constitute human experience. In some ways, it also alludes to the computer-generated electronic spaces and humans who interact with these spaces. The sophisticated conception and design of this hypermedia work brings together a variety of discourses from art, science, mathematics, philosophy, and even mythology to create a weave of texts."[34]
InContemporary Women's Writing, Sally Evans wrote ofThe Ballad of Sand and Harry Soot, "...Sand as a figure ofcyberfemininity is frequently described in ways that trouble the clear boundaries between the organic and electronic selves ... Significantly, Sand'shybridity also makes her excessive, a self beyond the neat categorizations of human or machine. She is a point of articulation between organic and inorganic matter, and her contact with Harry Soot serves to entangle further human qualities such as frailty and emotion with the supposedly infallible electronic world."[35]
Joseph Tabbi has written onTrue North, inCognitive Fictions[36] andelectronic book review: "Strickland's poetics of indirect citation, annotation, and recombination creates affinities with a distinctive (and mostly American) tradition that reaches back throughDickinson toJonathan Edwards. Her willingness to court abstraction and a minimalist language (at the risk of occasional unreadability) opens what should be a fruitful conversation with theLanguage poets, while the recognition awardedTrue North by the judges for theSandeen Prize ensures that her work will be welcomed into the domestic spaces of contemporary social realism no less than the more public-minded collectivities represented at meetings of theModern Language Association and theSociety for Literature, Science, and the Arts (where Strickland has given readings)."[37]
Originally written inCatalan, the detailed studyPoesía Digital: Deena Larsen y Stephanie Strickland by Oreto Doménech i Masià was published in a Spanish translation by theUniversity of Valencia in 2015.[38]
Marjorie Luesebrink reviewedSlipping Glimpses in #WomenTechLit as a landmark innovation.[39] "Reading in this poem is accomplished by human and non-human agents, treated with equal respect."
Stephanie Strickland worked closely with Marjorie Luesebrink and cowrote several projects with her, includingHours of the Night, exhibited at the 216 ELO Art Exhibit and featured in the Hyperrhiz 2017 gallery.[40][41]
Strickland has received awards fromNational Endowment for the Arts (Poetry) andNational Endowment for the Humanities (Hypertext). She has received fellowships from theMacDowell Colony,Yaddo,Djerassi, andRagdale.
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