darkness (make now press, 2012)
In its erasure of Conrad's narrative vision, Morrison's text reveals a shifting archipelago of words and images related to the natural world. The recast language of Darkness disturbs the symbolic meanings that lend our words for the natural world authority over it; in this sense, the work interrogates our capacity to know "nature" without doing violence to it while indicating an opening for such knowledge. Additionally, Morrison's work remarkably conjures the experience of visual art at the site of the written word. After navigating its pages, one perceived and senses one's own surrounds differently.
- Carla Harryman
In Darkness, Yedda Morrison erases—or, significantly, “whites out” Conrad’s Heart Of Darkness leaving behind only the words and phrases that reference the natural world. Morrison’s aim is not to comment on the original, but to cull or reframe the remains: “luminous estuary/brooding gloom/sea.” In this brilliantly dark contribution to the emerging fields of conceptual writing and erasure poetics, Morrison gives us (back) our natural world—plucked violently, sadly, beautifully from the “master work.” In Darkness, the reader will discover for herself what is being borrowed, plundered, recycled, purloined. - Robert Fitterman
Joseph Conrad’s Heart of Darkness with everything but references to the natural world whited out. Like most works of conceptual writing, the premise at first sounds mechanical, but what counts as “the natural world” is far from self-evident, and opens onto a range of philosophical and ethical questions. A lesser writer would have been paralyzed by indecision, their bottle of correction fluid drying to a brittle pallid skin before the little brush could set to paper (or the photoshop tool mouse to screen, as the case may be). - Craig Dworkin
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read robin tremblay mcgaw's review of darkness here