Emily Critchley (born 1980) is an
experimental writer and academic. Her writings have garnered numerous international awards, including the Jane Martin Prize for Poetry (
2011) and the John Kinsella-Tracy Ryan Prize for Poetry, among others. Her work has been translated into several languages.
Critchley specializes in contemporary
experimental writing. In 2006, she organized a three-day international conference for contemporary experimental women's writing at the University of Cambridge[5] and another in 2010 at the
University of Greenwich.[2][6][7] She is an editor of Out of Everywhere 2: Linguistically Innovative Poetry by Women in North America & the UK, the sequel to the poetry anthology Out of Everywhere published by Reality Street Press in 1996. She is a co-editor of #MeToo: A Poetry Collective.[8]
Critchley has been anthologised and interviewed, and her work has been critically reviewed by Maryam Hessavi in Poetry London (autumn 2019);
Peter Riley in The Fortnightly Review (summer 2019);
Isabel Galleymore in Prac Crit, 9 (August 2017) and Professor David and Christine Kennedy in Women's Experimental Poetry in Britain 1970 – 2010 (
Liverpool University Press, 2013).
Critchley's writing has been compared to that of
Denise Riley,[9]Leslie Scalapino, and
Mina Loy.[10] She has been performing her work since 2000.[2] In 2004, she won the John Kinsella-Tracy Ryan prize for poetry[11] and in 2011, was joint winner of the national Jane Martin Prize for Poetry.[12]
'W.S. Graham and the Caught Habits of Language', talk, Newcastle Poetry Festival (summer 2018)[14]
Entries on Rachel Blau DuPlessis, Rosmarie Waldrop, Jean Day, Vanessa Place, Jennifer Moxley and Alice Notley in The Oxford Companion to Modern Poetry, ed. Ian Hamilton and Jeremy Noel Tod (Oxford University Press, 2013)
'"Moi aussi, Marianne," or Moving the Targets, being a crypto-ironic response, etc.' The Claudius App (August 2011)[15]
Guest editor of the Journal of British and Irish Innovative Poetry, 3:2: a Greenwich Cross-Genre Festival edition (September 2011)
'"We live on buoyant fragments" (Andrea Brady): A further selection of American writers from the Greenwich Cross-Genre Festival,' Cambridge Literary Review, ed. Boris Jardine and Lydia White, 1:5 (May, 2011)
'A selection of North American women writers from the Greenwich Cross-Genre Festival (July 2010), and some thoughts about their work', Cambridge Literary Review, ed. Boris Jardine and Lydia White, 1:4 (Michaelmas 2010); pp. 9–43
'Lyn Hejinian's Faustienne Beings-With', Stress Fractures, ed., Tom Chivers (London: Penned in the Margins, 2010), pp. 55–72
'Leslie Scalapino's "alternative ways of seeing"', Delirious Hem, eds, Cara Benson, Elizabeth Bryant, Catherine Wagner (September 5, 2010) lesliescalapinotribute.wikispaces.com/file/view/Emily+Critchley7.pdf
Review of Lisa Robertson's Magenta Soul Whip, HOW2 Journal, 3: 3 (2009)[16]
'"[D]oubts, Complications and Distractions": Rethinking the Role of Women in Language Poetry', Hot Gun! ed., Josh Stanley, 1:1 (Summer 09) ), pp. 29–49
'Post-Marginal Positions: Women and the UK Experimental/Avant-Garde Poetry Community', ed. Cathy Wagner, Jacket magazine, 1:34 (Oct 2007)
'Dilemmatic boundaries: constructing a poetics of thinking', Intercapillary Space, ed, Edmund Hardy, 1:4 (November 2006) www.lulu.com/items/volume_34/533000/533882/2/print/533882.pdf
A conference overview + introduction to the Cambridge Contemporary Experimental Women's Poetry Festival (organised by myself in 2006), How2 journal, vol. 3:1 (Summer 2007)[17]
Published works
When I say I Believe Women… (London: bad press, 2006)[2]
Of All the Surprises (Switzerland: Dusie, 2007)[2]
Who handles one over the Backlash (Norfolk: Oystercatcher press, 2008)[2]
Hopeful For Love Are Th' Impoverish'd Of Faith (Southampton: Torque press, 2010)[2]
^
abcdefghijklmn"Emily Critchley". Archived from the original on 4 December 2010. Retrieved 26 September 2011.{{
cite web}}: CS1 maint: bot: original URL status unknown (
link) (University of Greenwich profile)
^Emily Critchley, "'[D]oubts, Complications and Distractions'; Rethinking the Role of Women in Language Poetry", Hot Gun! Journal, ed. Josh Stanley, 1 (Summer 2009) pp. 29–49
^"National Poetry Prize Winners announced". Archived from the original on 25 August 2011. Retrieved 18 October 2011.{{
cite web}}: CS1 maint: bot: original URL status unknown (
link), Girton College, Cambridge, 9 May 2011
Morris, Marianne (2011)Archived 3 April 2012 at the
Wayback Machine. "A Starling for Morning': critical irony and gender in Emily Critchley's Love / All That / & OK", The Claudius App, 1.