Charlotte’s poetry is minimalist and concrete. With it she explores the basic building blocks of language – denotation, graphical representation and sound. Her poetry aims to highlight the defining power of structure on one hand, and the life enhancing force of movement on the other. Notable inspiration comes from other language and minimalist poets such as Susan Howe, Agneta Enckell and, of course Aram Saroyan. Abstract expressionist art and philosophy on time, movement and space are other vital sources of inspiration.
PUBLICATIONS
MBRYO, chapbook, Puddles of Sky Press (© 2019) SOLD OUT
(SEED), chapbook, Timglaset Editions (© 2020) SOLD OUT
HOLE BEING, chapbook, No Press (© 2021) available for purchase through the publisher here.
A B C D E, chapbook, Trombone (© 2021) available for purchase through the publisher here.
CO2, leaf collection of 5 pieces, nOIR:Z (© 2021) SOLD OUT
FINAL FIGURES, z-folded leaflet, Non Plus Ultra (© 2022) SOLD OUT
RED RULES bent, z-folded leaflet, Viktlösheten Press (© 2022) available for purchase through the publisher here.
RAPE, chapbook, The Blasted Tree (© 2022) available for purchase through the publisher here.
Translations
54, dikter i urval av Nelson Ball, Trombone förlag (© 2022, co-translation with Eva Ribich, available for purchase here.
Den röda skottkärran och andra dikter, William Carlos Williams, H:ström Förlag (© 2020, co-translation with Eva Ribich) available for purchase here.
Charlotte’s minimalist poetry has also been seen in, among others; G.U.E.S.T, ToCall, Pocket Lint and the Nordic poetry magazines Populär Poesi, Addenda and Divan. For a full resume please see here.
C, REVIEWS AND COMMENTARY
“I’ve read [C] with great engagement and interest. // Pages brimming with subtleties and Delphian connotations, discrete echoes, graphical finesses, and much more.//It’s a text I would appreciatively explore further.” ~Aris Fioretos, writer, translator and literary critic DN. (email June-19.)
“C is truly a beautiful collection of poetry, not resembling anything I’ve previously come across; the minimalist – if that is the right word – becomes [in C] highly dramatic. At first glance the text is clean and spare, but with a closer read it’s markedly eventful, almost to breaking point, for the eye, as well as the ear. The unpronounced and unpronounceable gradually transforming into something pronounced and pronounceable.” ~Carl-Johan Malmberg, writer, literary critic and art critic SvD. (email June-19.)
“Words turned into art. // To me C is more an art book than a book of poetry. This because Jung utilizes the different features of language the way that she does. // The visual component almost becoming more important than the words’ meaning. // It’s a tremendously beautiful book.” ~Thomas Almqvist, Opulens (05/20/2019)
“Minimalism to its limit. // Every word, every sound take on extra meaning and substance in a poem containing only a few words. It’s clear nothing is there by coincidence – every word, every syllable, every sign is there for the reader’s discovery. // Everything is in relation, everything is in movement.“ ~Eva Wissting, Dagens bok (01/06/2020)
“To a large extent C is art, and in art a few words and a few signs take on great importance. For me [C] brought about a concrete awakening from a limited mindset when it comes to writing. I now see language from a new perspective, and for the first time in my life I’ve faced true minimalism. It’s a dramatic sight.// I welcome this type of hybrid form of poetry and art, previously gone undetected by my radar. ~Nicko Smith, poetry blog “Nicko Poet” (10/17/2020)
(Above translations by Charlotte Jung.)
For an appraisal of Charlotte’s minimalist poetry please see also: https://periodicityjournal.blogspot.com/2021/01/amanda-earl-charlotte-jungs-feminist.html