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Ingrid Andersen

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Hilton Arts Festival launch of new poetry volume by Ingrid Andersen

The launch of Piece Work, Ingrid Andersen’s latest volume of poetry published by Modjaji Press, takes place at the Witness Hilton Arts Festival this weekend.

Joining her to launch his volume Light and After (Deep South) is fellow Pietermaritzburg poet and UKZN colleague, Kobus Moolman.


Andersen’s poems fuse the best of Imagism with a heartfelt compassion; with a few well-chosen words, she can turn the rawness and imprecision of emotion into poems that reach simultaneously for clarity and for the reader’s heart. She is generous, careful, passionate – all these qualities make her work profound and accessible.Fiona Zerbst

Ingrid Andersen writes poems for an ‘age of loneliness’. With words of powerful simplicity, this book cuts open the heart and mind of the reader, stitches and sometimes mends. Darting lightly in and out of life’s small and lonely spaces and places, her quiet truths offer respite from the world’s noise. – Tania van Schalkwyk

Meditations on love, loss, family and faith, the poems in Ingrid Andersen’s second collection gleam with humanity and insight. Like bevelled and burnished tesserae, each poem in Piece Work combines the vision and precision of dedicated craftsmanship, contributing to this mosaic of an attentive life. Michelle McGrane

Launch details:

Pieces of Light - Ingrid Andersen and Kobus Moolman

Witness Hilton Arts Festival,
Saturday 18th September, 18:00

Launches are planned for Piece Work in Cape Town during October and in Johannesburg during November.

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Visual poetry and articulating images

The last few weeks have given me an opportunity to begin to articulate what has been largely an intuitive understanding of how I go about writing poetry, and why I created Incwadi, the online journal of poetry and photography.

The first opportunity was provided by Imke van Heerden’s invitation to post to the LitNet Big Book Chain Chat. Under the title Closing the Circle, I responded to Richard de Nooy’s previous (and engaging) post about the influences on his writing while I was in the process of thinking about my own.

I wrote:

“Recently, I’ve been coming to understand who has influenced me as a poet. I studied English literature at Wits in the mid-1980s, while South Africa was struggling to get out from under the threatening finger of PW Botha. It was a time when it was usual for teargas to drift in at lecture theatre windows. No doubt my lecturers and tutors gave me a thorough grounding in the canon of English literature. It was more than two decades ago, so I remember very little, except the writers with whom I went on to form a lifelong relationship. I do remember loathing Milton.

While my studies broadened my understanding, they narrowed me as a writer. I had been writing poetry since childhood, but it took the study of literary criticism to silence me. I did what I could to emerge from under my education. In the years up to the publication of my first collection, Excision, in 2004, I was, to all intents and purposes, finding my voice again. I read extensively. As time went on, I wrote poetry that was more visual, terse and lean. I pared away the unnecessary, I made words work hard. For me, poetry was a visual art form in which one could see through the image or the object to meaning. ”

Read the rest of the post on LitNet’s Big Book Chain Chat

I’ve also been in discussion with several fine artists who are interested in the interaction between the word and the image, and some interesting collaborations are evolving there. I’ve written a review of fine artist Cecilia Ferreira’s body of work Eyrie, written in response to Joop Bersee’s volume of poetry of the same name.

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