Much of the power of Rachel Carson’s Silent Spring has the urgency toward preservation of a powerful yet fragile world of life forms, their “song” that could, without attention, justice, and ethical response descend to a horrifying silence.  

The lithograph here entitled “Sound Print of a Nightingale over a Heartbeat Sound Print on Ancient Calligraphy” is one of several that explore variations of nightingale sound prints over human heart sound prints and other indexical marks. This consideration of bird song relates to the earliest descriptions of poetry up through Romantic poetry one might associate with John Keats’ “Ode to a Nightingale.” Primarily a poet working in avant-garde practices such as “writing through texts” and writing in a series, Deborah Meadows has seven books and four chapbooks published with various well-regarded publishers of experimental literature.

Deborah Meadows is highly aware of traditions of calligraphy, and how vitality of the calligraphic line is older than painting, that, in some calligraphic traditions such as Japan’s, writing preceded and created painting using the same brush, yet she seeks to bend the comparison to include markings that press toward the illegible as well. 

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