A true artist of the book, Sarah J. Sloat has transformed another text into one of her uniquely satisfying visual and literary works. Sloat is an artist of transformations who takes one literary artifact and transforms it into another. The results are surprising, witty, beautiful and strangethe way all good art is strange. Erasure and collage, in Sloats hands, are a kind of radical archeology in which she discovers a story hidden within the original text and which she uncovers, draws out, illuminates and raises up. Classic Crimes is a work of genius from a bold and visionary writer. Mark Wunderlich, author of God of Nothingness
"What a crime it would be NOT to enter these crime scenes! The poetry echoes in whats been lifted, elevated out of the detritus of foregone misdeeds. Only Sarah J. Sloat can achieve such levitation. With surprising variations in their collage elements, these visual poems rise as small wonders, each a perfect little balancing act between its text and images."
Nance Van Winckel, author of Sister Zero
Praise for Hotel Almighty:
"Absolutely marvelous." Mary Ruefle
"This book of erasure poems uses Stephen Kings Misery as its source text, highlighting themes of captivity and imagination. Sloat reproduces the original pages she used, adorned with fanciful collages on the erased sections."
The New York Times Book Review
"Sloats brilliant erasures. . . are visual delights that transcend confinement."
Kenyon Review
"Sarah J. Sloats Hotel Almighty (Sarabande, Sept.) goes all out with erasure and mixed-media collage to reimagine Stephen Kings Misery."
Barbara Hoffert, Library Journal
"Hotel Almighty is a collection full of possibility and surprise. Of yes, misery and confinement, but also of playfulness and hope. Its worth noting how unusual and thrilling it is to encounter a book of poems infused with so much color. The sophistication of the erasure pairs with the illustrative nature of collage to create a distinct mood, at times, like a subversive picture book for the Future Adult version of the kid drawing in the back of the room, who is too smart or dark or witty for the rest of the class."
J.M. Farkas, The Rumpus
"Sloat finds dreamy delight in Kings suspenseful tale. . . . Each page is a poem revealed through erasure, strange word-flowers growing up from crayons, collage fragments, and loose threads that suggest a feminine hand."
Electric Literature
