What the critics say…
Essays
“My Arrival at Crip” (Imaginary Safehouse, Frog Hollow Press; text & audio)
“Alland’s essay is both a rich resource for those interested in the formation of Canadian disability poetry and a piece that sets the stage for what the other writers in Imaginary Safehouse have to say.”
–Wordgathering, Mike Northen, Philadelphia, Dec. 2019
“Nothing About Us Without Us, No One Left Behind” (Stairs and Whispers, Nine Arches Press; text & audio)
“Alland’s excellent essay addresses ‘Writing to Disabled, Crip and/or Deaf Communities’, as well as the crucial question of how frequently disabled people ‘can’t even get into the room’.”
–Magma Poetry, London, Nov. 2017
Short Fiction
“Alland has a burgeoning reputation for lyrical and formally inventive stories, and her work is championed by short-story specialists.”
–British Council, London, Mar. 2018
“Kick-Start” (Protest!, Comma Press; text & audio)
“Alland’s fascinating story of a lesser-known movement – early 20th century blind rights’ activism – notes the gendered limitations of these campaigns.”
–Ceasefire, Ananya Wilson-Bhattacharya, Nottingham, Oct. 2019
“A cabal of fascinating and tough characters.”
–Bookmunch, Woodley, Sept. 2017
“Alland tells the story of a Manchester couple and a Glasgow poet and their fight for justice instead of charity, elegantly laying out the facts and context in three touching and human vignettes. Her character Ada Edge stayed with me.”
–Glasgow Review of Books, Henry Bell, Glasgow, Nov. 2017
“A funny and sharp-tongued story.”
–Time To Read, July 2017
“Equivalence” (Thought X, Comma Press; text, audio, film-story & live performance)
“It would be criminal to not mention ‘Equivalence’ by Sandra Alland – simply breath-taking.”
–Bookmunch, Tamim Sadikali, Woodley, July 2017
Poetry
“Sandra Alland does amazing work with sound poetry.”
–Autostraddle, Melanie Bell on Queer Canadian Poets, New York, May 2015
Sore Loser: a chronic pain and illness zine on queer disabled grief (Disability Arts Online; text, audio, flip-book & alt text)
[co-written with Etzali Hernández]
“…speaks not just to the changes in practices necessitated by Covid-19, but the alternative ways of working that sick and disabled people were already using… As well as reckoning with the grief for people being killed or disabled by Covid-19 (and a public health policy that prioritises profit), [Alland and Hernández] explore the grief of inaccessibility, of being treated as disposable, of the loss of places and practices… an act of mourning, resistance and joy. ”
–Wellcome Collection, Lea Cooper, London, June 2023
“Poetry, conversations, visual art, mash-ups, and prose quotes are present throughout the multi-genre, multi-modal, accessibly-produced zine. The creative duo’s unapologetic critique of denial, and their underscoring of the ways in which grief and loss are uneasy, necessary facets of life are met in equal measure by a strong attention to how and why queer disabled grief and the power of living with chronic pain and illness must be discussed overtly, boldly, and with love.”
–Wordgathering, Diane R. Wiener, Philadelphia, July 2022
Naturally Speaking (espresso, Toronto, text)
“Elegant and electric… this collection is a truth towards ineffable laughter and new language junctions. Alland’s poems come from the disquieting collaboration between artificial intelligence and speak to/from/of the processes of translation, identity and pain.”
–Sandra Ridley & kevin mcpherson, bpNichol Award, Toronto, 2013
“…echoes elements of language poetry, allowing the language to pinball and spark.”
–rob mclennan, Mar. 2013
Blissful Times (Book*hug, Toronto; text with multimedia links to video, audio, visuals)
“Like a gymnast who is good in every apparatus Alland jumps styles like skipping rope, without ever missing a beat… Alland masters language with tricks and tickles and makes this collection amusing, full of play but never trite…These poems are as surprising as the Alland photograph that hangs in my study. Picture perfect and pretty on first glance, something altogether different, more radiant, underneath.”
–Michael Dennis, May 2013
“A rather amazing tour de force showcasing poetry’s aptitude for invention and re-invention… Blissful Times, clearly, pays homage to [Samuel Beckett’s] Happy Days. At the same time, Alland replaces the Absurdist vision of meaninglessness with a dynamic – indeed, radical – political vision… A disarming text, playful and entertaining, yet troubling.”
–Open Letter: A Canadian Journal of Writing & Theory, John Stout, Victoria, 2009
“The Groundhog Day of poetry volumes…Alland’s innovation probably comes from her background as a multimedia artist, poet, and publisher. Not one to be tied down to one title, it is no surprise that her work cannot be tied down to just one form.”
–Danforth Review, Elysia Bryan, Toronto, 2009
“…reminds me of Bernadette Mayer’s belief that poetic experiment shows us exactly how much language can affect empirical meaning… poems like these encourage the reader to look beneath the surface of language, only to find more words there.”
–make/shift, Julia Bloch, San Francisco, Winter 2007
“Alland’s poetry flies, and it is full of her life’s intelligence and emotion, social and political connection.”
–rabble.ca, Toronto, Summer 2007
“Alland swings like a trapeze artist between forms: from the apparent opacity of language poetry to the clarity of the lyric; from snippets of dramatic dialogue to prose; from internet URLs to geometry, all the while exploiting, at times brilliantly, the many resources of poetry. Blissful Times is language at play and in play; as such it reveals this to be the ultimate resource of language – indeed, it allows us to ‘read the bodies of words’.”
–M. NourbeSe Philip, Spring 2007
“For those of us who enjoy witnessing a gifted writing talent explore the possibilities of text with an almost scientific tenacity, the book never disappoints. For those of use who simply enjoy a well-rendered read, the same satisfaction applies.”
–toronto.untilmonday.com, Stacey Mae Fowles, Spring 2007
Proof of a Tongue (McGilligan Books, Toronto; text)
“…sparse and seductive.”
–Curve Magazine, San Francisco, July 2005
“This collection of poetry is laid back enough to draw the reader in, with profound thoughts to keep you glued to the page… Alland writes poems that linger in the mind.”
–Gaiety Magazine, Toronto, July 2005
“…a striking first collection of poetry, displaying immense talent and skill.”
–word, Maggie Helwig, Toronto, June 2005
“…a warm and immediate body of poetry that shines.”
–Shameless Magazine, Damian Rogers, Toronto, Feb. 2005
“Proof of a tongue is laced with piercing poetic passion. sandra alland’s words speak hybrid truths; storytelling with conscience and consciousness.”
–d’bi.young.anitafrika, Autumn 2004
“4 me sandra alland is an xtraordinaree writr both as an innovative sound n prformativ artist with deep wittee n poignant messages xtreemlee well artikulatid cascading n precise n a text based writr with also great enerjee xhilerating insite n probing cultural n personal depth she is sew deserving uv support n acclaim”
–bill bissett, Autumn 2004
“Alland’s poems will move through you like a memory; sensual and startling.”
–Anna Camilleri, Autumn 2004
Film & Visual Art
I’m Not Your Inspiration Series (filmmaker)
“ * * * * (four stars). A strong piece.”
–Eye For Film, Jennie Kermode, Edinburgh, Mar. 2015
“…broached the important question of how we critique the work of disabled artists.”
–The Horn, Austin, Feb. 2015
The Queer & Trans Deaf & Disabled Video Project (filmmaker/mentor)
LGBT History Month Scotland Cultural Commission
“…a necessary counterpoint to the clichés and condescension disabled people at times experience… antidote and celebration in one.”
–The Skinny, Edinburgh/Glasgow, Apr. 2013
A Spot of b/other at Glasgow Gallery of Modern Art (photographer/filmmaker)
“Artist Sandra Alland, in collaboration with like-minded artists, expresses true dedication to equality and human rights through the effective use of portraits, poems and film.”
–Diva Magazine, London, Feb. 2010
“Exhibitions which confront ongoing, underlying prejudice are a necessary interlude to the vast array of self-referencing and self-involved exhibitions that speak solely to people within the art community… this show defiantly tackles LGBTI Deaf and Disabled issues head-on, without taking itself too seriously.”
–The Skinny, Edinburgh/Glasgow, Nov. 2009
Performance & Theatre
They They Theys (poet/performer)
“They They Theys are at once a band, a film and a poem. A beautifully shot film, carefully orchestrated with Sandra Alland’s words, and strings, a harmonica, percussion and an oboe, touches on the issue of bodily fluidity whilst also allowing itself to be a startling piece of art.”
–The Student, Edinburgh, Mar. 2014
Zorras (poet/performer/filmmaker)
“…epiphanic and beautiful…haunting.”
–Canadian Review of Literature in Performance, Montreal, Sept. 2012
“Stories ripe with sexuality, gender and sly humour.”
–Xtra!, Serafin LaRiviere, Toronto/Ottawa, Oct. 2011
“The highlight of the evening… spellbinding.”
–The Aberdeen Voice, Aberdeen, Oct. 2010
“A very unique mix of poetry, music, stories and just plain weird. The poetry was sharp and funny, the placement effective, the visuals fitting; a rather unforgettable experience… I turned to someone I had met at the festival and said, ‘How the hell do you follow that?’”
–Ultimate Metal, Edinburgh, Autumn 2009
“Utterly mind-blowing.”
–The F-Word: Contemporary UK Feminism, Wisrutta Atthakor, London, Autumn 2009
“The place is rammed…and the show does not disappoint. Reminiscent of Miranda July and complemented by a deadpan delivery, Alland’s words are at once both drolly funny and sweetly strange.”
–Lock Up Your Daughters Magazine, Glasgow, Spring 2009
Who’s Your Dandy? (poet/performer)
“This is Sandra Alland’s brilliant Beckett cut-ups…The images come so fast you sometimes feel like a Slinky falling down the stairs, yet the emotion and intention are clear, moving, and often funny.”
–The Skinny, 4-star review, Edinburgh/Glasgow, Dec. 2007
Body Geometry: A Good Night Out (playwright/performer)
“The impressive use of projections, both live and pre-recorded, helps shift the reality factor to a surreal half-world of wild imaginings… Alland’s verbal images are quite striking.”
–The Globe and Mail, Paula Citron, Toronto, Dec. 2002
Seeing Each Other (playwright/performer)
“…reminiscent of David Ives’ Sure Thing”
–The Village Voice, New York, Aug. 2002
“Cutting-edge theatre… This sexy two-character performance, written and performed by Sandra Alland and Heather Lash, integrated clever short films… A sardonic waiter wielded the device of a tape recorder to inject automatic rewind into an encounter that undermines the rules of mating proscribed by sexual politics. The result was a stimulating theatre experience… This cleverly-written script also contained one of the best lines of the festival.”
–NY Arts Magazine “Best of the Fringe”, L.P. Streitfeld, New York, Aug. 2002
“Conceived with a moviemaker’s storytelling sensibility, Seeing Each Other cleverly employs filmic fantasies…like the imaginary sequences in Ally McBeal when that show was still funny.”
–offoffoff.com, Kristina Feliciano, New York, Aug. 2002
“…witty discourse and well-crafted, whimsical, cleverly-edited short video sketches that appear sporadically throughout the performance.”
–nytheatre.com, Ivo Tomasini, New York, Aug. 2002