The back cover of Gretchen E. Henderson’s Galerie de Difformité promises a work with “the head of a novel and the body of a poem.” In fact, Galerie is a literary art collage, employing image almost as often as it does language, and a ruination, its words first erased, then laid atop themselves, highlighted, obscured by photographs and further ruined text. · In that regard, Gretchen E. Henderson’s Galerie de Difformité makes a real contribution. It provides a seedbed for new ideas of how disability might be thought about and the forms that it might take. Beyond any appeal to the post-modern sensibility, Galerie de Difformité is sheer fun and, addictive, at that. Whatever it is that drove you as a child to want to keep returning to those . While the Galerie de Difformité speaks for itself, it does so in a raucous chorus—each page a patchwork of questions, prompts, ventriloquisms, and extra matter—the sum of which is uncountable—an ongoing challenge to the finality and good hygiene of the book. I love the messiness in Gretchen E. Henderson’s invitation to visit her, and any number of other ghosts, online, in galleries, and on the page.
Any remix of the material in this volume (in print or electronic form) must contain a source credit to Gretchen E. Henderson, Galerie de Difformité, and NOW Books. If the Novel is a "baggy. Galerie De Difformite Henderson, Gretchen E. 25 ratings by Goodreads. ISBN / ISBN Published by Lake Forest College Press, New Condition: New Soft cover. Save for Later. From GreatBookPrices (Columbia, MD, U.S.A.) AbeBooks Seller Since April 6, Seller Rating. Gretchen E. Henderson is a Senior Lecturer at the Steve Hicks School of Social Work and a Faculty Fellow in the Humanities Institute. Her current research and teaching interests focus on environmental arts and humanities, aesthetic histories, collaborative stewardship of cultural heritage, and performative archives.
Posted in Gretchen E. Henderson, Gretchen Ernster Henderson, Gretchen Henderson, Uncategorized | Tagged Book Arts, Book Unbound, Collaboration, Deformity, Experimental, Galerie de Difformité, Gretchen E. Henderson, Gretchen Ernster Henderson, Hybrid Writing, MIT, On Marvellous Things Heard, The House Enters the Street, Uncategorized | Comments. The back cover of Gretchen E. Henderson’s Galerie de Difformité promises a work with “the head of a novel and the body of a poem.” In fact, Galerie is a literary art collage, employing image almost as often as it does language, and a ruination, its words first erased, then laid atop themselves, highlighted, obscured by photographs and further ruined text. While the Galerie de Difformité speaks for itself, it does so in a raucous chorus—each page a patchwork of questions, prompts, ventriloquisms, and extra matter—the sum of which is uncountable—an ongoing challenge to the finality and good hygiene of the book. I love the messiness in Gretchen E. Henderson’s invitation to visit her, and any number of other ghosts, online, in galleries, and on the page.
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