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Andrea Brady

Andrea Brady


Born in Philadelphia, USA, 1974. Studied at Columbia University in New York and then at Cambridge University in the UK, where I wrote a PhD on seventeenth-century poetry. Now Professor of Poetry at Queen Mary, University of London.

I have given many public readings in the UK, Europe, the US and Canada, including at the Kootenay School of Writing in Vancouver; the Centre Internationale de Poésie Marseille; Poetry Hearings Berlin; the Foundation Louis Vuitton, Paris; and a reading tour of the rust belt USA in April 2007. The US tour was mounted in support of the recent special issue of Chicago Review (53.1) on New British Poetry, which focused on my work along with that of Chris Goode, Peter Manson, and Keston Sutherland. I have been invited to speak as an expert by the British Council, the BBC, the Arts Council, and the Poetry Society.  My work has been translated into Finnish, French, German, Greek, Spanish, Slovene, and Slovak.

I was interviewed by Andrew Duncan for The Argotist website and by Sarah Howe at praccrit. With Keston Sutherland I run the small press Barque which specialises in contemporary English language poetry.

I am the Director of the "Archive of the Now." I discussed the Archive with Rosheen Brennan in an interview for How2.



Cambridge Women's Experimental Poetry Festival 2006

The following recording was made at the Cambridge Women's Experimental Poetry festival, held 6-8 October 2006 in Cambridge, UK and organised by Emily Critchley and Catherine Brown.

from 'Wildfire'

Crossing the Line

Most of this recording was made at Crossing the Line, the Plough, Museum Street, London, on 7 October 2005.


Miami University of Ohio

This performance was given at Miami University of Ohio on 8 September 2007 and recorded by Justin Katko, and is hosted through his website Meshworks.  It was part of the Chicago Review tour; Keston Sutherland and Peter Manson also performed.



Anthologies and translations

  • Translated into Slovene, Slovak and Finnish, 11th annual The Golden Boat poetry and translation residency (September 2013):
  • The Dark Would: anthology of language art, ed. Philip Davenport (Apple Pie Editions, 2013).
  • 'Saw Fit’' 'Tunic' and Interview with Andrew Duncan translated into German for the magazine Schreibheft: Zeitschrift für Literatur 80 (Feb. 2013): 155-166 by Léonce W. Lupette, Christian Lux and Susanna Mewe.
  • 'End of Days' in The Wolf Anthology (2012).
  • Infinite Difference: Other Poetries by UK Women Poets, ed. Carrie Etter (Bristol: Shearsman, 2010, ISBN 9781848610996).
  • Translated into Spanish for the anthology La Isla Tuerta: 49 poetas britanicos (1946-2006) (Madrid: Lumeneditorial, 2009)
  • Poems with French translations published in cipM 147 (Marseille, May 2006).


  • Interviewed by Sarah Howe on ‘Song for Florida 2’, praccrit 1 (July 2014)
  • Interview by Elena Juan Ruiz, I Don’t Call Myself a Poet: Interviews with Contemporary Poets Living and Working in Britain (13 August 2012)
  • Interviewed by Scott Thurston, Talking Poetics - Dialogues in Innovative Poetry: Scott Thurston talks to Karen MacCormack, Jennifer Moxley, Caroline Bergvall and Andrea Brady (Shearsman, 2011, ISBN 9781848611917).
  • Interviewed by Andrew Duncan, The Argotist
  • Interviewed by Rosheen Brennan, How2
  • Interviewed by Rob McLennan

Sample Text


In the clearing smoke scours
the photographs, hiding the animal
labour which moves insects and their
information all over the face of the earth.
I arrive in kind by light rail
transport rough and undependable, rocking
sideways with a peg of metal to make
it ring eratogenically like spraypaint in a cylinder.
And get my tag up on the boundary stone.
Apprentice to the art of uniforms.
Off the peg on the make, ashamed to be
at ease among gillyflowers where I toss
suffering to be carried back by animals,
the cabbage moth, the ordinary bee.

Chances start out anthological, and are re-
distributed by rationing, for loss looks better
and is altogether better an ethic.  I am
who ties together the navigation menu
all the compassed interests of Variety
all three corners of the fading earth.

Watch all day the screen in ratio, facing
its light and movement with more affect
and concentration than the branching
face of a lover, as these spaces slip into degrees.

Two move abreast the loan of specificity
keeping an eye on the melancholic
hourglass, poised beside the leftward arrow,
of the machine asking us to wait some more.

We share one hope, and it infuses even
the green-lipped mussel we eat sickly, and the curl
of green-fringing kale. It bolts up the sky
and our assertion that there will be a future
clearing the smoke swings from its rootless peg.
That the blood will root, and take turns
through all the living work done on the earth
to divide and return to us intact. Ours is
the most abstract, and furthest from the truth.


  • Sophie Read, ‘Awake for Ever: An Essay’, prac crit 1 (July 2014)
  • Ashleigh Lambert, Review of Mutability, The Rumpus (8 January 2014)
  • Andrew Spragg, Review of Cut from the Rushes, HixEros (January 2014)
  • Vicky Sparrow, Review of Mutability, The Literateur (6 December 2013)
  • David Kennedy and Christine Kennedy, Women’s Experimental Poetry in Britain 1970–2010: Body, Time and Locale (Liverpool University Press, 2013, ISBN: 9781846319778)
  • Jeremy Noel-Tod and Ian Hamilton, eds., The Oxford Companion to Modern Poetry in English, second ed. (Oxford University Press, 2013, ISBN 9780199640256), p. 66
  • Brian M. Reed, ‘Andrea Brady’s Peculiar Dissidence’, in Nobody's Business: Twenty-First Century Avant-Garde Poetics (Ithaca, NY: Cornell University Press, 2013, ISBN 978-0-8014-5157-7)
  • Joel Duncan, ‘She Has Been Enlisted in the Choir Under Compulsion’, Notre Dame Review 36 (Summer/Fall 2013): 207-210
  • Alex Latter, ‘Extraordinary Renditions: Voicing Opposition to War,’ Alluvium, 1.6 (1 November 2012)
  • 'Some Short Foule Field Notes: John DeWitt, Lisa Jeschke, Andrea Brady, 14th Cambridge, January 2012
  • Mandy Bloomfield, ‘Revolution in Spatial Poetics’, at Poetry and Revolution (Birkbeck 2012)
  • John Sears, ‘Andrea Brady's Wildfire: Generation’, Tempmorel: revue littéraire & artistique (29 April 2012)
  • Review of Wildfire by Ange Mlinko, Chicago Review 56.4 (Winter 2012): 122-124.
  • Jennifer Cooke, ‘Poetry and Knowledge: the Exhibition of Andrea Brady’s Wildfire’; Scott Thurston, ‘Talking Poetics: Dialogues in Innovative Poetry’; Romana Huk, ‘New British Schools’ – all at ‘Legacies of Modernism: The State of British Poetry Today’, UFR Etudes-Anglophones, Université Paris-Diderot, 9-11 June 2011.
  • Review of Wildfire by Catherine Wagner, Poetry Project Newsletter (April-May 2011): 17-18
  • Daniel C. Remein, ‘Kinesis of Nothing and the Ousia of Poetry (Part Review Essay, Part Notes on a Poetics of Auto-Commentary’, on Wildfire, Glossator: Practice and Theory of the Commentary 3 (2010): 67-94.
  • Scott Thurston, ‘Innovative Poetry in Britain Today’, Revista Canaria de Estudios Ingleses (April 2010): 15-30.
  • Marc Porée, ‘Contemporary British Women Poets (1985-2005): A New Legislature’, E-rea: Revue électronique d’études sur le monde Anglophone 6.1 (October 2008)
  • Thom Donovan, Introduction for Andrea Brady, Segue Reading Series, New York
  • Jon Clay, Sensation, Contemporary Poetry and Deleuze: Transformative Intensities (Continuum, 2010).
  • Sophie Mayer, Review of Andrea Brady's Wildfire and Simon Perrill's Nitrate, Hand+Star
  • Richard Owens, 'Working Notes: Andrea Brady's Wildfire,' Damn the Caesars
  • Amica Dall, 'Trying to Look Correctly at the Subjects of Andrea Brady's 'Saw Fit', Hot Gun 1 (Summer 2009): 22-28.
  • Nicky Marsh, ‘Going “Glocal”: The Local and the Global in Recent Experimental Women's Poetry’, Contemporary Women's Writing 1 (2007): 192-202.
  • Simon Perril, 'Two Slices of Toast: Emptiness and Disappointment in Recent Works by Peter Manson and Andrea Brady', Symbiosis 11.1 (April 2007): 75-88.
  • Tom Jones, 'Andrea Brady’s Elections', Complicities (Prague: Litteraria Pragensia, December 2007), 139-147.
  • Josh Robinson, '"Abject Self on Patrol": Immaterial Labour, Affect, and Subjectivity in Andrea Brady's Cold Calling', Complicities (Prague: Litteraria Pragensia, December 2007), 148-157.
  • John Wilkinson, 'Off the Grid', Chicago Review 53.1 (Spring 2007): 95-115, reprinted in The Lyric Touch (Cambridge: Salt, 2007).
  • 'Behind the Veil', review of Embrace, by Marianne Morris, Jacket 29 (April 2006)
  • Keston Sutherland, University of Sussex: 'Vocal Stupor 2: Notes on Love Poetry', and Jonathan Clay, Birkbeck, University of London: 'Andrea Brady's 'Saw Fit': Poetic Innovation and Politics' (New Readings of British Contemporary Poetry, University of Dundee, 3 June 2006)
  • Robin Purves, 'American Change: A Note on Andrea Brady and the Language of Consumption', Edinburgh Review 114 (2004): 177-185
  • Stuart Kelly, 'All lines are busy', review of Cold Calling, Poetry Review 94.2 (Summer 2004): 95-7
  • Reviews of Vacation of a Lifetime: Publishers Weekly 23/9/02; Keith Elliot, Terrible Work; John Hall, 'Eluded readings: trying to tell stories about reading some recent poems', The Gig 15 (Sept. 2003). Review of Liberties: Nada Gordon, readme

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