Lilyfoil is a biography. Set off by contrast, Lilyfoil is impossible to pinpoint. She is the thing when not compared to something is as temporary as a monofilm candy wrapper… We must recognize the seduction of sentiment and the way that definition will suffocate. It is a tenuous line that Elizabeth Treadwell walks, seducing with memory but not letting the fog clear. — Sarah Anne Cox
Praise for LILYFOIL + 3
I imagine this “Lilyfoil” as a modern heroine, a no-nonsense young woman in the extensive nonsense of “scenarioville.” She cuts through the “postnatural pap” and keeps coming; sallies into the “sullied grainhouse” as necessary. Elizabeth Treadwell wades into the “pioneer rubbish” of “Rumsfeldhouse” and the tabloid rubbish of the reign of QE2, setting off linguistic fireworks until we become new Elizabethans.
— Rae Armantrout
In her recent books, Elizabeth Treadwell has been pushing hard against language to get to a deeper and often overlooked musicality in our world. In Lilyfoil + 3 she arrives at a musicality that is feminist and angular; that is Gertrude Stein and Mina Loy; that is pointed and luminous; that is, in short, Lilyfoil, not lily flower.
— Juliana Spahr
Elizabeth Treadwell’s art offers irresistible engagement with the intersections of poetry and fiction, culture and intimacy, revolution and description.
— Carol Mirakove
T’s imploded psychological narratives sally through various planes of reference and anti-reference… prettiness has been partly hijacked, so that it must accommodate vultures, tear gas, and oceans full of shit as well as tea-parties, flowers, and doll bouquets. This is a music gone awry from itself, but it has a beat and you can dance to it, reworking Chaka Khan lyrics as needed for psychoanalytic ambidexterity. So like she says, climb out of your shape and wreck it.
— K. Silem Mohammad