Sarah Mangold (Poetry) | Seattle, WA
- A Copyist, An Astronomer, and a Calendar Expert (above/ground, 2016). Poetry.
- The Goddess Can Be Recognized By Her Step (dusie kollektiv, 2014). Poetry.
- Cupcake Royale (above/ground press, 2012). Poetry.
- I Meant To Be Transparent (LRL e- editions, 2012). Poetry.
- An Antenna Called the Body (Little Red Leaves Textile Series, 2011). Poetry.
- Parlor (dusie kollektiv; reissued above/ground, 2007). Poetry.
- Picture of the Basket (dusie kollekitv, 2006). Poetry.
- Boxer Rebellion (g o n g, 2004). Poetry.
- BLOOD SUBSTITUTES (Potes & Poets, 1998). Poetry.
Blurbs, Press & Reviews
“When I think of an obvious alignment, I think of the Objectivists. Especially, the lone woman affiliated, the geographical isolate, Niedecker. I had always wished there were more of them, because they introduced a brand of lucidity, rare, oh rare in these dis-united states of poetry.”
—C.D. Wright, on Household Mechanics
“all action, all current, all magnetic field atomic excitement. Mangold truly does introduce a new genre of theory—that which is electrical in its consideration of gender and language (“if the hero is a girl”), that demands a space for the female pronoun in this age of machines (“The name of this heroine is mass energy”).
—erica kaufman, on Electrical Theories of Femininity
“Sarah Mangold unfolds from her great-grandmother’s letters the over century-long continuum of land takeover for military bases and expansion of the U.S. empire in the Asia Pacific Region. And what Mangold refolds, meticulously, through erasure and collage, is the language of militarism and its cultural norms. Edward Said says, “At some very basic level, imperialism means thinking about, settling on, controlling land that you do not possess. . .” Giraffes of Devotion offers it’s own definition, not unlike Said’s: “It seems to me there was always a ship in the background and somebody worrying about it.”
—Don Mee Choi, on Giraffes of Devotion