Louis Armand, (born 1972, Sydney) is a writer, visual artist and critical theorist. He has lived in Prague since 1994. Armand’s work has been described as “Avant-garde […], best appreciated by readers prepared to abandon the baggage of identity-driven poetry and systematically naturalist prose."
He has published eight novels, The Combinations (2016), Cairo (2014; longlisted for the Dublin IMPAC Award), and Breakfast at Midnight (2012; described by 3:AM's Richard Marshall as "a perfect modern noir"). In addition, he is the author of ten collections of poetry – most recently, East Broadway Rundown (2015) The Rube Goldberg Variations (2015), & Synopticon (with John Kinsella, 2012) – & of a number of volumes of criticism, including Videology (2015) & The Organ-Grinder’s Monkey: Culture after the Avantgarde (2013). His poetry has appeared in the anthologies Thirty Australian Poets, The Best Australian Poems, Calyx: 30 Contemporary Australian Poets & The Penguin Anthology of Australian Poetry.
In 1997 he received the Max Harris prize for poetry at the Penola Festival (Adelaide) and in 2000 he was awarded the Nassau Review Prize (New York). His screenplay Clair Obscur won honourable mention at the 2009 Trieste Film Festival.< In 2004, Armand founded the Prague International Poetry Festival, and since 2009 has co-organised the Prague Microfestival.
He is a member of the editorial board of Rhizomes: Studies in Cultural Knowledge and founding editor (1994) of the online journal HJS (Hypermedia Joyce Studies). He is the founding editor of VLAK Magazine, and directs the Centre for Critical & Cultural Theory at Charles University, Prague.
Morning birds on telephone wires talking in secret
brain language. Another 4th of May. Grew old and then.
Last night, listening at words for intimation of.
(The avid crowd. The child-teacher, sunkeneyed,
...
Out of the sprawl slouching through the money jungle -
a sound like feet on stairways going up and
down never stops and love is a doleful saxophone
in a cubicle room. Some things are not the way
...
i got much more from some charts of the sea i obtained in copenhagen—from these i could measure the distances & for a judgment of heights
Jørn Utzon
1. concrete primal naked forms—
the anti-constructs of
...
fixed in mundane matter the prone body—
penumbral man—dissipates, the trace
of an utterly contingent "this" . . .
or dispossessed & devoured by space—
...
nuanced like afterthoughts
the delicate arrangement of the foreshore
in variegated shades
of complacency, other vagaries—
...