Christine Walde is a writer, artist, and librarian whose work combines library and archival research with interests in experimental prose, poetry, visual poetry, performance, and the visual arts.
Walde's latest body of work, In a New Order, was recently featured in the Victoria Arts Council’s VAULT as part of concrete is porous, a group exhibition of visual poetry. In a New Order is a series of visual poems, including remixes and reinterpretations, of Joy Division's iconic 1980s anthem "Love Will Tear Us Apart".
Her work has been published in print and online journals in Canada, the US, and the UK, including Carousel, CV2, The Fiddlehead, Lemonhound, The Malahat Review, Paratext, Plath Profiles, The Rusty Toque, and Vallum. In 2011, Baseline Press published her chapbook, The Black Car, based on her research working with Sylvia Plath's archives. Another chapbook, Noise and Silence, was published as a digital edition by Poetry is Dead in 2013. In 2018, flask publishing produced Bride Machine, a limited edition artist multiple of 14 folios of poetry inspired by Marcel Duchamp's The Bride Stripped Bare By Her Bachelors, Even. She has written two novels: The Candy Darlings, and Burning From the Inside, which was shortlisted for the 2014 ReLit Award.
Work by Christine Walde
Constitution (2016) was composed in the days following the election of Donald Trump to The White House. The work plays with the word ‘constitution’ as a double entendre that references both the supreme law of the United States and a person’s physical state, both of which have been inalterably impacted by Trump’s presidency. Using “We”, “The”, and “People” as a constraint for its composition, Constitution reimagines its’ sovereign authority as a document as a radical call for action against oppressive regimes and systems of government.