The
question of plurality in Redell Olsen’s SPRIGS
& spots is pivotal
because
of the text’s emphasis on reproduction, repetition, multiplicity of machines
with
respect to the manufacture of lace. I
have decided to isolate the aesthetic
sibilance and slip-sliding of plural nouns detached
from hands as they recur in varieties
of
printed fonts (though her historic fonts are not reproduced here--only some of
the emphases). I want to underscore how
Olsen is doing important work with respect to plurality and hierarchy—that the
machines that liberate also generate an anonymity of labor—and the relative
anonymity of a “speaker” in this text resonates with the sense of an assemblage
of parts which obfuscate and render dense any notions of individual writers. It is in this
spirit
that I do one patterned assemblage of words from SPRIGS & spots:
SPRIGS spots
Weavers SPRIGS spots
Bodies Sleeues
Skirts Knots Roses
Gloues
Lace-Chambers landscapes
seascapes activities
spots sprigs
motifs ruffles years spots
sprigs
props spots sprigs
sprigs spots paintings
periwinkles Subjects arches
executions colours
oils pastels
hands shoulders grounds
f r a m e s m i t h s
operations years spots thirds heads Red-Coats hands
years spots
motifs sides loopes
spots sprigs machines
hangynges arms
operatives legs backes
doublets
dubles spots sprigs
workers complexions splashes
spots troops
revolutions stones shoulders
shrouds
words sides
sides convertors lines
parts insides
0’s strips
cards Sprigs improvements bars
threads note-
books Sprigs leaves
fibres patterns
flowers leaves
spots honeycombs
stoppages worts spots sprigs
Sprigs edgings
machines holes instructions
disks
quantities forms threads bobbins
bands intricacies
advertisements lacers
breadths cards advertisements
appliances standards
times insides edges
breadths’
symbols results
operations numbers operations
advertisements communications
rollers appears
Workers Makers
carriages patterns
makers parts
postures garments
parts sprigs spots spots``
Sarah
Riggs
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