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Cold Calling

Cold Calling
Andrea Brady

Poems in transit, moving outward from Vacation of a Lifetime toward new articulations of permanent war.

ISBN 978-1-903488-33-1, 2004

Out of Print

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Author Biography

Andrea Brady was born in Philadelphia, USA in 1974. She studied at Columbia and Cambridge, and is now Senior Lecturer in Renaissance literature at Queen Mary, University of London, where she is director of the Archive of the Now. She has written extensively on early modern poetry and ritual, as well as on contemporary British and American poetry. Her most recent book, Embrace, was published by Object Permanence in September 2005. She has given public readings in venues throughout the UK, US and Canada. A page describing her work is available at the British Electronic Poetry Centre.

More about Andrea Brady»

Excerpt

On the other end a waitress
to claim your offer, read the number beginning
with B slip from the claim.
Fiddles zip like insects, and your time
falls onto the weigh-tray as translucent scales.

You just can’t trust yourself with them
but are the cheeks bacchic
or tropic illness? What any
end of any line you might get a buyer,
snap your shells around a bauble
hotter than the sun.
You fall to sky, 95% pure space

in a kind of jelly. Though you quote the
evening standard dust explodes
outward from the terrace. Imagine
riding a grain with a camera
and you’re hoping soon to land in
an ear, twitching like free peoples.
Is that the exchange you wanted?

You turn towards a killer wave, hanging crystal
fx between you and the house,
force all of air. Off goes
the skin on your face.
It is not the identity of days in touch
but their diversity that ruins us.

Fullness... that’s another one that’s gone
out of fashion, with the bonnet
and the gold head it protected –
full of free attributes,
bold range, still breathing and willing to
atone.

Reviews

'A genuinely remarkable, desperately important pamphlet...She employs techniques and aspects of style that might remind you of Gertrude Stein (unexpected stammers and break-neck switches), or of Veronica Forrest-Thomason (an equally unexpected lyricism). Where Brady seems radically different is in the ends to which these devices are used. Despite the allusive and elusive qualities, this is a poetry operating in a fundamentally public sphere.' --Stuart Kelly, Poetry Review (Summer 2004)

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