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Book Details

Format Paperback / Softback
ISBN-10 1552455106
ISBN-13 9781552455104
Publisher Coach House Books
Imprint Coach House Books
Country of Manufacture GB
Country of Publication GB
Publication Date Oct 23rd, 2025
Print length 88 Pages
Weight 181 grams
Dimensions 20.30 x 12.70 x 0.70 cms
Product Classification: Poetry
Ksh 2,500.00
Not Yet Published

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“Woman laughing alone with salad”: humorous and ironic feminist dialogue with stock photography. In her job as an instruction designer, Jennifer Bowering Delisle regularly sourced stock photography and became fascinated by these images’ distinct aesthetic: their unusual camera angles, pronounced colour filtering, and heavy-handed and often bizarre visual metaphors. She set off to give voice to the silent women that recur in these images, and to enter into dialogue with them. As a low-cost source of millions of images, stock databases provide a significant number of the images used in advertising, publishing, and other media. This ubiquity means that stock’s contrived poses and distinct look are instantly familiar – and reinforce and shape biases, privilege, and stereotypes. From found poems using metadata and keywords, to riffs on stock image database search results with titles like “Good Mother Morning Family Happy,” “Beautiful Woman Eating Salad,” and “Lady Boss Smiles with Arms Folded,” Delisle’s ekphrastic poems take a playful look at stock photography’s clichés and delight in all of its strangeness.

“Woman laughing alone with salad”: humorous and ironic feminist dialogue with stock photography.

In her job as an instruction designer, Jennifer Bowering Delisle regularly sourced stock photography and became fascinated by these images’ distinct aesthetic: their unusual camera angles, pronounced colour filtering, and heavy-handed and often bizarre visual metaphors. She set off to give voice to the silent women that recur in these images, and to enter into dialogue with them.

As a low-cost source of millions of images, stock databases provide a significant number of the images used in advertising, publishing, and other media. This ubiquity means that stock’s contrived poses and distinct look are instantly familiar – and reinforce and shape biases, privilege, and stereotypes.

From found poems using metadata and keywords, to riffs on stock image database search results with titles like “Good Mother Morning Family Happy,” “Beautiful Woman Eating Salad,” and “Lady Boss Smiles with Arms Folded,” Delisle’s ekphrastic poems take a playful look at stock photography’s clichés and delight in all of its strangeness.


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