29 Jun Book Review of Prairie, Dresses, Art, Other
Exploring Spaces in Literature: A Review of Prairie, Dresses, Art, Other by Danielle Dutton
There’s something exhilarating about discovering a book that challenges the conventional boundaries of storytelling—a thrilling invitation to rethink how we engage with art and fiction. Danielle Dutton’s Prairie, Dresses, Art, Other caught my eye from the moment I learned it was longlisted for the Gordon Burn Prize 2025. Her unique perspective, illuminating spaces within stories rather than simply crafting plots, resonates deeply with my own wandering mind. Open any page, and you’re drawn into a conversation that melds art and narrative, evoking a sense of wonder in the way we perceive our world.
Dutton’s intriguing exploration begins with the "Art" section, where she embraces ekphrastic writing as a dynamic dialogue between two worlds—art and literature—reimagining their familiar territories. Here, the sentence "How might fiction be conceived of as a space within which we attend to the world?" lays the groundwork for her overarching ambition: to open spaces that allow the world to breathe and unfold organically. This sentiment echoes throughout the book, crafting a moody and contemplative atmosphere that beckons readers to pause and reflect.
The structure of Prairie, Dresses, Art, Other is an artful collage. The "Dresses" section—a whimsical series titled "Sixty-Six Dressed I Have Read"—is particularly enchanting. Dutton curates brief and evocative descriptions of dresses from various literary works, allowing us to revel in their symbolic significance while simultaneously giving voice to the characters who wore them. This playful approach left me pondering the ways clothing can encapsulate identity and story, reminding me of the many layers we all carry.
Dutton excels with her short-short stories in the "Prairie" and "Other" sections. In "To Want for Nothing," the narrator’s layered interaction with Valeria Luiselli’s Lost Children Archive and its internal references left me marveling at the way intertextuality can enhance our reading experience. The thrilling moment when the narrator realizes she’s reading in English while the character in the book reads in French brought me to a humbling realization about my own engagement with literature—an ode to the polylingual nature of storytelling.
Another highlight is "Installation," which resonates with Virginia Woolf and Anna Kavan while playfully acknowledging Yayoi Kusama’s iconic dots. Here, Dutton’s ability to weave together disparate threads into a cohesive narrative fabric is nothing short of mesmerizing. The dialogue among these influences invites us to reflect on how stories echo and reverberate across various mediums.
And let’s not overlook Pool of Tears (A Play in One Act)—the longest piece in the collection—where Dutton addresses the incredibly timely themes of climate change and contemporary art. Her references to scholars like Zoe Todd ground the work in a socio-political context, reminding us of the critical conversations literature can inspire.
Dutton’s fluid, nuanced writing style invites readers to engage deeply. The pacing flows easily, weaving through concepts and stories like threads through fabric, creating a tapestry rich with meaning. While the book offers moments that could be challenging to unpack, it rewards patience with profound insights.
I would highly recommend Prairie, Dresses, Art, Other to fellow readers who appreciate innovative narratives and those who are open to a multifaceted exploration of art’s interplay with fiction. Whether you come to this book as an art aficionado or a literature lover, Dutton’s collection promises to expand your horizons, encouraging you to see the beautiful intricacies woven within the everyday.
In a world often fixated on straightforward storytelling, Dutton invites us to slow down and relish the spaces in between—a refreshing reminder that literature can, indeed, be a vibrant map of how we inhabit our reality.
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