Digital galley and print review copy mailings to major book reviews, literary journals, and library buyers' guides.Author interview pitches.Social media campaign.Outreach to independent booksellers.Outreach to poetry and related literary organizations including BOMB, Paris Review, the White Review, and the New Yorker.Publicity and promotion in conjunction with the author events, including events scheduled at McNalley Jackson and Fordham University.Display at conferences and bookfairs, including Brooklyn Book Festival, Printed Matter Book Fair and AWP.Co-op available
Plans for Sentences is the latest interdisciplinary work of genius from poet, novelist, editor, and artist Renee Gladman.
"These sentences-they-will begin having already been sentences somewhere else, and this will mark their afterlife, and this will be their debut." So begins Renee Gladman's latest interdisciplinary project, Plans for Sentences. A tour de force of dizzying brilliance, Gladman's book blurs the distinctions between text and image, recognizing that drawing can be a form of writing, and vice versa: a generative act in which the two practices not only inform each other but propel each other into futures. In this radical way, drawing and writing become part of a limitless loop of energy, unearthing fertile possibilities for the ways we think about poetry. If Gladman ascribes to any particular type of poetics, here in Plans for Sentences, we are sure to find that it is robustly grounded in a poetics of infinite language.
Winner of Firecracker Award in Nonfiction 2017 Winner of Windham Campbell Prize 2021
Renee Gladman is a writer and artist preoccupied with crossings, thresholds, and geographies as they play out at the intersections of poetry, prose, drawing and architecture. She is the author of thirteen published works, including a cycle of novels about the city-state Ravicka and its inhabitants, the Ravickians-Event Factory (2010), The Ravickians (2011), Ana Patova Crosses a Bridge (2013) and Houses of Ravicka (2017)-as well as two collections of drawings, Prose Architectures (2017) and One Long Black Sentence, a series of white ink drawings on black paper, indexed by Fred Moten (2020). Recent essays and visual work have appeared in The Paris Review, Gulf Coast,Granta, Harper's, BOMB magazine, e-flux and n+1. She has been awarded fellowships, artist grants, and residencies from the Radcliffe Institute for Advanced Study at Harvard, Foundation for Contemporary Arts, the Lannan Foundation, and KW Institute for Contemporary Art (Berlin), among others, and is the recipient of a 2021 Windham-Campbell prize in fiction. For more information, visit reneegladman.com.
"These sentences--they--will begin having already been sentences somewhere else, and this will mark their afterlife, and this will be their debut." So begins Renee Gladman's latest interdisciplinary project, Plans for Sentences. A tour de force of dizzying brilliance, Gladman's book blurs the distinctions between text and image, recognizing that drawing can be a form of writing, and vice versa: a generative act in which the two practices not only inform each other but propel each other into futures. In this radical way, drawing and writing become part of a limitless loop of energy, unearthing fertile possibilities for the ways we think about poetry. If Gladman ascribes to any particular type of poetics, here in Plans for Sentences, we are sure to find that it is robustly grounded in a poetics of infinite language.
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