The Luna Erratum
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The Luna Erratum is Maria Sledmere's first poetry collection. Maria is an artist, occasional music journalist and poet based in Glasgow, as well as being editor-in-chief at SPAM Press and member of A+E Collective. Her pamphlets include nature sounds without nature sounds (Sad Press, 2019), Rainbow Arcadia (Face Press, 2019), infrästructure - with Katy Lewis Hood (Broken Sleep Books, 2020), Chlorophyllia (OrangeApple Press, 2020), neutral milky halo (Guillemot Press, 2020), Sonnets for Hooch, with Mau Baiocco and Kyle Lovell (Fathomsun, 2021), varnish//cache (If a Leaf Falls, 2021), Polychroma...
The Luna Erratum is Maria Sledmere's first poetry collection. Maria is an artist, occasional music journalist and poet based in Glasgow, as well as being editor-in-chief at SPAM Press and member of A+E Collective. Her pamphlets include nature sounds without nature sounds (Sad Press, 2019), Rainbow Arcadia (Face Press, 2019), infrästructure - with Katy Lewis Hood (Broken Sleep Books, 2020), Chlorophyllia (OrangeApple Press, 2020), neutral milky halo (Guillemot Press, 2020), Sonnets for Hooch, with Mau Baiocco and Kyle Lovell (Fathomsun, 2021), varnish//cache (If a Leaf Falls, 2021), Polychromatics (Legitimate Snack, 2021) and Soft Friction - with Kirsty Dunlop (Mermaid Motel, 2021). With Rhian Williams she co-edited the weird folds: everyday poems from the anthropocene (Dostoyevsky Wannabe, 2020) and her poems were included in Makar/Unmakar (Tapsalteerie, 2019), an anthology of contemporary poets in Scotland, edited by Calum Rodger. Her poem 'Ariosos for Lavish Matter' was highly commended in the 2020 Forward Prize, and an epistolary work with Katy Lewis Hood, Tangents, was longlisted for the 2021 Ivan Juritz Prize. A collaborative exhibition, The Palace of Humming Trees (2021), was recently presented at Glasgow's French Street Studios, with artist Jack O'Flynn and curator Katie O'Grady. Praise for The Luna Erratum The Luna Erratum offers no truth except in things - colours, materials, beings, dreams, schemes of language, human artefacts and locations - and their known convergences, all of which hold as much affective weight and capacity for transformation as the events that precipitated this profoundly graceful, unsettling and mesmerising book. - Sophie Collins, author of Who is Mary Sue? (Faber, 2018)
