Photography-Embedded Fiction & Poetry 2018
Here is my bibliography of works of fiction and poetry published in 2018 containing embedded photographs. You can see bibliographies for other years underneath the pull-down menu “Photo-Embedded Literature” at the top of Vertigo. I also maintain bibliography that spans 1892 to the present at Library Thing (http://www.librarything.com/catalog/VertigoTwo). If you know of a book that I have not mentioned, please let me know in a comment. My thanks to the many Vertigo readers who have already pointed out books that I had not known about! [Added to March 6, 11, April 24, June 5, 2019.]
Forrest Gander. Be With. NY: New Directions, 2018. Contains a poem sequence called “Littoral Zone,” which consists of six photographs by Michael Flomen, each facing a section of the poem that, at least in part, includes verbal equivalents and/or references to the image. See my review of this book here.
Langston Hughes and Roy DeCarava. The Sweet Flypaper of Life. NY: First Print Press, 2018. First published in 1955, this classic collaboration about life in Harlem began when Langston Hughes saw Roy DeCarava’s photographs and decided to base a new story around them. A beautifully-produced new edition that pays special attention to the printing of stunning DeCarava’s photographs. With a new Afterword by the photographer’s widow Sherry Turner DeCarava.
Emmanuel Iduma. A Stranger’s Pose. Abuja, Nigeria: Cassava Republic Press, 2018. From the publisher that launched Teju Cole back in 2007, comes this book of travel writing and b&w photography across parts of Africa. Iduma acknowledges that the book is an “imaginative gesture” and in his Foreword Cole calls the book “a ballad in which there is no need to separate dreams from the things which one experiences in a waking state.”
New Juche [pseudonym]. Bosun. Paris: Kiddiepunk, 2018. A book that reads at times like a 21st century version of Jean Genet, with photographs by the author of the aging, deteriorating architecture in Rangoon.
Alexander Kluge. Temple of the Scapegoat: Opera Stories. NY: New Directions, 2018. Contains more than a dozen uncredited photographs (many of which are film stills) and reproductions of several old prints – all opera themed.
Alicia Kopf. Brother in Ice. Sheffield: And Other Stories, 2018. English translation from the Catalan original Germà de gel of 2015 by Mara Feye Lethem. A hybrid novel blending research into polar explorations with a coming-of-age story of becoming an artist and having an autistic brother. Contains drawings and uncredited photographs.
Kate Lilley. Tilt. Sydney: Vagabond Press, 2018. Poetry with three photographs and several other small images.
Diana Khoi Nguyen. Ghost of. Oakland: Omnidawn, 2018. Poems with ten altered family photographs, several of which are used more than once.
Zahra Patterson. Chronology. Brooklyn: Ugly Duckling Presse, 2018. The publisher calls this a work of “nonfiction/essay,” but Patterson’s book converses so directly with Theresa Hak Kyung Cha’s 1982 book Dictee that I felt it has to be included in this collection. Chronology is about Patterson’s failed attempt to translate a Sesotho short story into English, which, among many other topics, leads Patterson to reflect on the relationship between language and colonialism. The book combines emails, bits o memoir, handwritten notes, press releases, other texts, lists of words in Sesotho and English that verge on poetry, and loose reproductions of photographs that are inserted between specific pages of the book as illustrations.
J.H. Prynne. The Oval Window. Northumberland: Bloodaxe Books, 2018. This “new annotated edition” of Prynne’s 1983 poem is now combined with photographs he made at the time and place of the poem’s composition.
Robin Robertson. The Long Take. London: Picador, 2018. A book-length “noir narrative” poem that takes place in the US between 1946 and 1953, focusing on a D-Day veteran with PTSD. With nine historic photographs.
Lynne Tillman. Men and Apparitions. NY: Soft Skull, 2018. Tillman’s narrator is an ethnographer of family photographs who embarks on a study of the “new man,” born under the sign of feminism. With numerous family snapshots reproduced.