Carrie Hunter received her MFA/MA in the Poetics program at New College of California, and edits the small chapbook press, ypolita press. She has published ten chapbooks, the most recent of which are Scienza Nuova (LRL Textile Series), Echographies of April (gavia immer) and Inversion Twilight (Birds of Lace). Her first full-length collection, The Incompossible, was published by Black Radish Books in 2011. She lives in San Francisco.
Carrie Hunter’s second Black Radish title Orphan Machines, published in Summer 2015, is available at SPD.
Praise for Orphan Machines
In Orphan Machines, Carrie Hunter stages a kind of cyborgian theater where ideology is brilliantly dismantled to unmask the real. With each startling construction, spaced across aerated pages or set in tight prose blocks, she discovers a form of liberation struggle. Her subjects – philosophy, sexuality, sociality, music – always interpenetrate, because it is life that is at issue, and life is mixed up. She writes, “The important thing about what I am is it’s not black and white.” She asks, “Should I fake normalcy or be real?” Read this book and find out: Carrie Hunter is the real deal. —Kit Robinson
Orphan Machines enacts the exhilarating fact that anybody can have any idea at any time. Like Stein, Hunter conveys the principle that all is included at poetry’s table (What should be noted; artists, leftovers, / Neapolitan everything), while at the same time offering gorgeously crafted, highly original work that reveals a particular poet’s preoccupations. One such preoccupation here is the text Anti-Oedipus by philosophers Deleuze and Guittari; Orphan Machines is in one sense an enactment of D & G’s radical theory of no leaders. Yet it can’t be contained even by that worthy project. Revel in the freedom and inclusiveness of this book which is the opposite of a swell, but oceanic also. —Sarah Rosenthal
Orphan Machines is one of the most refreshing and unexpected works based on appropriated and process language that I have experienced in a long time. Carrie Hunter uses language as her machine, deftly juxtaposing god and humanity, where we begin and where we end; the stops and starts. Her thoughtful wordplay is lush and at times over the top and whimsical, reminding one of a modern day Gertrude Stein, generating something entirely in and of its own world. This work puts things in perspective and then breaks them down again, knowing the difference between “the false argument & the real one hiding” and “a fake heartbreak/that leads to the real heart.” This work calls into existence an existence that calls into question the public versus the private, the “real real real” as “we are/derivative articulation,” or orphaned language. We are the private that has been abandoned. —erica lewis