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Image courtesy of publisher's website.
y separately published work icon No Document single work   essay  
Issue Details: First known date: 2021... 2021 No Document
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AbstractHistoryArchive Description

'A groundbreaking new work of non-fiction by one of Australia’s most respected essay writers.

'No Document is an elegy for a friendship cut short prematurely by death. The memory of this friendship becomes a model for how we might relate to others in sympathy, solidarity and rebellion. At once intimate and expansive, Anwen Crawford’s book-length essay explores loss in many forms: disappeared artworks, effaced histories, abandoned futures. From the turmoil of grief and the solace of memory, her perspective embraces histories of protest and revolution, art-making and cinema, border policing, and especially our relationships with animals. No Document shows how love and resistance echo through time.

'Anwen Crawford is best known for her writing as a critic, but here she draws on her background as a zine-maker and visual artist, and her training in poetry, to develop a new way of writing about the past, using a symphonic method of composition and collage. No Document is an urgent, groundbreaking work of non-fiction that reimagines the boundaries that divide us – as people, nations and species – and asks how we can create forms of solidarity that endure.'

Source : publisher's blurb

Notes

  • Epigraph: You could say an event in history is over, the way a book is slapped shut when it is done. But where is the market? -Fanny Howe

Publication Details of Only Known VersionEarliest 2 Known Versions of

    • Artarmon, North Sydney - Lane Cove area, Sydney Northern Suburbs, Sydney, New South Wales,: Giramondo Publishing , 2021 .
      image of person or book cover 3005339998733120252.png
      Image courtesy of publisher's website.
      Extent: 160p.p.
      Note/s:
      • Published April 2021.
      ISBN: 9781925818611

Works about this Work

“The Cut Is Tangible” : A Conversation with Anwen Crawford Mireille Juchau (interviewer), 2022 single work interview
— Appears in: Los Angeles Review of Books , 3 August 2022;
'DURING THE SENSORY MONOTONE of Sydney’s lockdown, I failed to finish several contemporary novels that registered no difference between quotidian matters and violence or suffering. Everyone I knew was one click from COVID death tolls as they filtered Zoom to blur domestic chaos. In literature, I could no longer narcotically scroll. Then I read Anwen Crawford’s No Document (2022) and felt the sharp cut that is part of the book’s compositional strategy. Here was an astute awareness of the violence of particular juxtapositions — refugees and nationalism, borders and the state — and an insight into protest cant like “not in our name.” If we’re made and unmade by documents, as Crawford suggests in her sampling of official reports and state directives, then we can hardly ignore how our own words fall on the page. No Document’s use of white space and lineation, its ethically attuned emphasis, is exhilarating. Its shifting tone is wry, bracing, and affecting.' (Introduction)

 
Book Review : No Document by Anwen Crawford Anna Westbrook , 2021 single work review
— Appears in: ArtsHub , April 2021;

— Review of No Document Anwen Crawford , 2021 single work essay

'An elegy for a friendship and artistic partnership cut short by death, this new non-fiction book grasps at profundity that fails to land, says Anna Westbrook.'

Lens on the Lines That Divide Geordie Williamson , 2021 single work review
— Appears in: The Weekend Australian , 21 August 2021; (p. 18)

— Review of No Document Anwen Crawford , 2021 single work essay
Anwen Crawford, No Document Declan Fry , 2021 single work review
— Appears in: The Saturday Paper , 3-9 April 2021;

— Review of No Document Anwen Crawford , 2021 single work essay
Neha Kale Reviews No Document by Anwen Crawford Neha Kale , 2020 single work review
— Appears in: Mascara Literary Review , no. 26 2020-2021;

— Review of No Document Anwen Crawford , 2021 single work essay

'Anwen Crawford’s No Document, a memorial to the casualties of late capitalism, occupies the space between elegy and witness, language and art.' (Introduction)

Anwen Crawford, No Document Declan Fry , 2021 single work review
— Appears in: The Saturday Paper , 3-9 April 2021;

— Review of No Document Anwen Crawford , 2021 single work essay
Neha Kale Reviews No Document by Anwen Crawford Neha Kale , 2020 single work review
— Appears in: Mascara Literary Review , no. 26 2020-2021;

— Review of No Document Anwen Crawford , 2021 single work essay

'Anwen Crawford’s No Document, a memorial to the casualties of late capitalism, occupies the space between elegy and witness, language and art.' (Introduction)

Lens on the Lines That Divide Geordie Williamson , 2021 single work review
— Appears in: The Weekend Australian , 21 August 2021; (p. 18)

— Review of No Document Anwen Crawford , 2021 single work essay
Book Review : No Document by Anwen Crawford Anna Westbrook , 2021 single work review
— Appears in: ArtsHub , April 2021;

— Review of No Document Anwen Crawford , 2021 single work essay

'An elegy for a friendship and artistic partnership cut short by death, this new non-fiction book grasps at profundity that fails to land, says Anna Westbrook.'

“The Cut Is Tangible” : A Conversation with Anwen Crawford Mireille Juchau (interviewer), 2022 single work interview
— Appears in: Los Angeles Review of Books , 3 August 2022;
'DURING THE SENSORY MONOTONE of Sydney’s lockdown, I failed to finish several contemporary novels that registered no difference between quotidian matters and violence or suffering. Everyone I knew was one click from COVID death tolls as they filtered Zoom to blur domestic chaos. In literature, I could no longer narcotically scroll. Then I read Anwen Crawford’s No Document (2022) and felt the sharp cut that is part of the book’s compositional strategy. Here was an astute awareness of the violence of particular juxtapositions — refugees and nationalism, borders and the state — and an insight into protest cant like “not in our name.” If we’re made and unmade by documents, as Crawford suggests in her sampling of official reports and state directives, then we can hardly ignore how our own words fall on the page. No Document’s use of white space and lineation, its ethically attuned emphasis, is exhilarating. Its shifting tone is wry, bracing, and affecting.' (Introduction)

 
Last amended 20 Jul 2022 12:03:16
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