An excellent”constellation” of essays and texts on Alice Notley’s work, curated by Carol Watts and Edmund Hardy (A Collaboration between Birkbeck Centre for Poetics, Openned and “Intercapillary Space”).
Tag: Poets and Critics
Lyn Hejinian on Eclipsearchive.org
A Selected Lyn Hejinian Critical Bibliography, ed. Alice Wambergue
Lyn Hejinian: Selected Criticism
AJI, Hélène. “The Stakes of Narrative in the Poetries of David Antin, Ron Silliman, and Lyn Hejinian: New Forms, New Constraints,” Revue française d’études américaines, 103.1 (2005): 79-92.
–. “ ‘Life’ ‘Drafts’: Towards Two Non-Dogmatic Poetics,” Revue française d’études américaines, 147.2 (2016): 78-92.
ALTIERI, Charles. “What Is Living and What Is Dead in American Postmodernism: Establishing the Contemporaneity of Some American Poetry,” Critical Inquiry, 22.4 (1996): 754-89.
–. “Lyn Hejinian and the Possibilities of Postmodernism,” Women Poets of the Americas: Toward a Pan-American Gathering, Cordelia Candelaria and Jacqueline Vaught Brogan (eds.), IN: University of Notre Dame Press, 1999.
CARDUNER, Zach and Al FILREIS. “Surpassing things we’ve known before (PoemTalk#15),” the Kelly Writers House, PennSound, and the Poetry Foundation, March 2009, [podcast] available at https://jacket2.org/podcasts/surpassing-things-weve-known-poemtalk-15.
CAZÉ, Antoine. “Alterna(rra)tives: Syntactic Spaces and Self-Construction in the Writing of Lyn Hejinian and Leslie Scalapino,” Ideas of Order in Contemporary American Poetry, Diana von Finck and Oliver Scheiding (eds.), Würzburg: Könighausen & Neumann, 2007, 197-214.
–. “ ‘The event is the adventure of that moment’: Hejinian Happenstance Happiness,” Lectures du Monde Anglophone, 2 Littérature et événement (2016).
CRITCHLEY, Emily. “Dilemmatic boundaries: constructing a poetics of thinking,” Intercapillary Editions, November 2006, [e-book #1] available at http://www.lulu.com/shop/emily-critchley/dilemmatic-boundaries-constructing-a-poetics-of-thinking/ebook/product-577108.html#productDetails.
DWORKIN, Craig Douglas. “Penelope Reworking the Twill: Patchwork, Writing, and Lyn Hejinian’s ‘My Life’,” Contemporary Literature, 36.1 (Spring 1995): 58-81.
–. “Parting With Description,” American Women Poets in the 21st Century: Where Lyric Meets Language, Claudia Rankine and Juliana Spahr (eds.), CT: Wesleyan UP, 2001, 243-265.
EDMOND, Jacob. “ ‘A Meaning Alliance’: Arkady Dragomoshchenko and Lyn Hejinian’s Poetics of Translation,” The Slavic and East European Journal, 46.3 (Autumn 2002): 551-64.
–. “Locating Global Resistance: The Landscape Poetics of Arkady Dragomoshchenko, Lyn Hejinian, and Yang Lian,” Journal of the Australasian Universities Modern Language Association, 101 (May 2004), 71-98.
–. “The Closures of the Open Text: Lyn Hejinian’s ‘Paradise Found’,” Contemporary Literature, 50.2 (Summer 2009), 240-72. –. “Lyn Hejinian and Russian Estrangement,” A Common Strangeness: Contemporary Poetry, Cross-cultural Encounter, Comparative Literature, NY: Fordham UP, 2012, 72-94.
GOLSTON, Michael. “A=L=L=E=G=O=R=I=E=S: Peter Inman, Myung Mi Kim, Lyn Hejinian,” Poetic Machinations: Allegory, Surrealism, and Postmodern Poetic Form, NY: Columbia UP, 2015, 101-44.
HINTON, Laura. “Postmodern Romance and the Descriptive Fetish of Vision in Fanny Howe’s The Lives of a Spirit and Lyn Hejinian’s My Life,” We Who Love to Be Astonished, Laura Hinton and Cynthia Hogue (eds.), AL: University of Alabama Press, 2002, 140-51.
HOFER, Jen and Rod SMITH (eds.). Aerial 10: Lyn Hejinian, DC: Aerial/Edge, 2015.
KELLER, Jim. “Language as Visible Vapor: Skywriting through Lyn Hejinian’s Happily,” Poetry and Pedagogy: The Challenge of the Contemporary, Joan Retallak and Juliana Spahr (eds.), NY: Palgrave Macmillan, 2006, 224-232.
LEMARDELEY, Marie-Christine. “Lyn Hejinian : l’écriture à la limite,” Études anglaises, 61.2 (2008): 192-201.
MANNING, Nicholas. “Entre organisme et mécanisme : une façon désuète de penser la forme poétique contemporaine ?” Le Modèle végétal dans l’imaginaire contemporain, Inès Cazalas and Marik Froidefond (eds.), Strasbourg: Presses universitaires de Strasbourg, 2014, 59-71.
NICHOLLS, Peter. “Phenomenal Poetics: Reading Lyn Hejinian,” The Mechanics of the Mirage: Postwar American Poetry, Michel Delville and Christine Pagnoulle (eds.), Liège: English Department, University of Liège, 2000, 241-52.
PERLOFF, Marjorie. “Happy World: What Lyn Hejinian’s Poetry Tells Us About Chance, Fortune, and Pleasure,” Boston Review (February 2001),
[online] http://bostonreview.net/poetry-books-ideas/marjorie-perloff-happy-world.
SAMUELS, Lisa. “Eight Justifications for Canonizing Lyn Hejinian’s My Life,” Modern Language Studies, 27.2 (1997): 103-19.
SCAPPETTONE, Jennifer. “Microreviews: Summer 2003. A Border Comedy,” Boston Review (June 2003), [online] http://bostonreview.net/poetry/microreviews.
SHOPTAW, John. “Hejinian Meditations: Lives of The Cell,” Journal X, 1.1 (1996): 57-83.
SPAHR, Juliana. “Resignifying Autobiography: Lyn Hejinian’s My Life,” American Literature, 68 (1996): 139-59.
SWENSEN, Cole. “Re-membering Time in Hejinian’s My Life,” Revue française d’études américaines, 147.2 (2016): 93-99.
THOMAS, Chloé. “Déplacements du lyrisme dans le poème autobiographique postmoderne My Life de Lyn Hejinian,” Revue française d’études américaines, 145.4 (2015), 67-75.
TOMICHE, Anne. “ ‘We Do Not Encourage a Nightingale’ : Avatars du rossignol romantique dans la poésie du vingtième siècle,” Écrire l’animal aujourd’hui, Lucile Desblaches (ed.), Clermont-Ferrand: Presses Universitaires Blaise Pascal, 2006, 135-51.
VICKERY, Ann. “Supporting a Scene: Tuumba Press,” Leaving Lines of Gender: A Feminist Genealogy of Language Writing, NH: University Press of New England, 2000, 63-73.
WALDROP, Rosmarie. “ ‘Chinese Windmills Turn Horizontally’: On Lyn Hejinian,” Temblor,10 (1989): 219-22.
WOOD, Tim. “Between bibetgekess and ‘but…’ A Review of Lyn Hejinian’s The Book of a Thousand Eyes,” Jacket2 (April 2013), [online] https://jacket2.org/reviews/between-bibetgekess-and.
Poets and Critics 2016 (1): Eileen Myles Symposium Thursday 4 & Friday 5 February
On Thursday 4 and Friday 5 February, we will be hosting a 2 day symposium on Eileen Myles’s work in Paris.
Université Paris 7 Denis Diderot, Bâtiment Olympe de Gouges
9:45am-5pm, room 340 (3rd floor of the Olympe de Gouges Building).
How
to get there?
to get there?For detailed instructions and directions, click HERE.
+ Poetry reading with Eileen Myles and Sarah Bahr, Thursday 4 February, 7:30pm, galerie éof, 15 rue Saint Fiacre, 75002 Paris (métro Grands Boulevards). For detailed directions, click HERE.
So far, we’ve tried to focus on the writer’s own (creative and critical) work on the first day of the P&C symposia and on broader issues of poetics and practice-based criticism with the writer on the second day. But there’s no specific preconceived program for the 2 days of the symposium: as the previous sessions of the program have shown, it seems important to let the conversation take its own course.
Please note that the morning session of the first day is devoted to preparing the conversation with Eileen Myles which will take place during the afternoon session and the second day. Eileen Myles will be joining the group at 2pm on Thursday 4 February.
Program:
Thursday 4 February
9:45am-12 > premilinary session with all participants
12-2pm > lunch
2pm > Eileen Myles will be joining us for the afternoon session
7:30pm > Poetry reading with Eileen Myles and Sarah Bahr
Friday 5 February
9:45am-12 > morning session with Eileen Myles
12-2pm > lunch
2pm-5pm > afternoon session with Eileen Myles
8pm > symposium dinner
From Eileen Myles’s website : http://www.eileenmyles.com/
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| Photo by Libby Lewis |
Poet, novelist, performer and art journalist Eileen Myles is the author of nineteen books including I Must Be Living Twice: New & Selected Poems and a re-issue of Chelsea Girls, both out in fall 2015, from Ecco/Harper Collins.
Eileen Myles was born in Cambridge, Massachusetts in 1949, attended Catholic schools in Arlington, and graduated from the University of Massachusetts (Boston) in 1971. She came to New York in 1974 to be a poet. Her poetic education primarily took place at St. Mark’s Poetry Project from 1975 to 1977, through attending readings and participating in workshops led by Alice Notley, Ted Berrigan, and Paul Violi. From 1984 to 1986 Eileen was the artistic director of St. Mark’s Poetry Project.
From 1977 to 1979 she published dodgems, a poetry magazine that represented a collision of New York School, Language Poetry, performance texts, unconventional prose, as well as tossed-off notes from neighbors and celebrities. In 1977, she co-edited the feminist anthology Ladies Museum, and in 1979 she worked as an assistant to poet James Schuyler. That same year, Eileen was a founding member of the Los Texans Collective (along with Elinor Nauen and Barbara McKay), which went on to produce the play Patriarchy and the spiritual entertainment Joan of Arc.
Eileen Myles has toured and read all over North America and Europe on and off since the early 1980s. Her solo performances include Leaving New York (1989), Life (1991), and Summer in Russia (1996) at PS 122 in New York. Her plays include Feeling Blue (Parts 1, 2, and 3) at Modern Art, and Our Sor Juana Ines de la Cruz, written for Alina Troyano and produced at PS 122. In 2004, she wrote the libretto for the opera Hell, composed by Michael Webster. In 2010, she created and directed her Dia Center for the Arts performance piece, The Collection of Silence, which involved dancers, poets, children, visual artists, and Buddhists in a collective public act of silence at the Hispanic Society in New York.
Her other books include Snowflake/different streets (2012), Inferno: A Poet’s Novel ( 2010), The Importance of Being Iceland: Travel Essays in Art (2009), Sorry, Tree (2007), Tow (2005, with artists Larry C. Collins), Skies (2001),on my way (2001), Cool for You (novel, 2000), School of Fish (1997), Maxfied Parrish (1995), Not Me (1991), andChelsea Girls (1994). In 1995, with Liz Kotz, she edited The New Fuck You: Adventures in Lesbian Reading. As a poet and art journalist, she has contributed to a wide number of publications including Art Forum, The New Yorker, Harpers, Parkett, The Believer, Vice, Cabinet, The Nation, TimeOut, Paris Review, and AnOther Magazine. She often contributes essays to catalogs for major exhibitions such as the Whitney and Liverpool Biennials.
Eileen Myles is the recipient of a Guggenheim Fellowship in non-fiction, an Andy Warhol/Creative Capital art writers’ grant, a Lambda Book Award, the Shelley Prize from the Poetry Society of America, was named to the Slate/Whiting Second Novel List, and received a poetry award from the Foundation for Contemporary Arts. She lives in Marfa, TX and New York.
Bibliography (click on image below):
Eileen Myles’s I Must Be Living Twice, New and Selected Poems, Ecco, 2015
Eileen Myles’s Skies, Black Sparrow, 2001
Eileen Myles’s Maxfield Parrish: Early & New Poems, Black Sparrow Press, 1995
Eileen Myles’s Inferno: (a poet’s novel), OR Books, 2010
A Bibliography of Eileen Myles Interviews compiled by Libby Hopfauf
For access to an extensive list of interviews of Eileen Myles, please click on image below which will direct you to Libby Hopfauf’s extremely resourceful bibliography.
Eileen Myles, a Critical Bibliography
Buchan-Watts, Sam. “’Fun with Friends’: Collaboration and the New York School.” PN Review 41.6 (2015): 35-37.
Creeley, Robert. “Thinking of Robert Lowell.” Harvard Review 25 (2003): 109-12.
Durgin, Patrick F. “Eileen Myles.” American Poets since World War II. Ed. Joseph Conte. Detroit, MI: Thomson Gale, 1998. 203-12.
Hillringhouse, Mark. “The New York School Poets.” Literary Review: An International Journal of Contemporary Writing 48.4 (2005): 146-79.
Kaufman, Erica. “Giant Creatures Sculpted Here: Collectivity, Gender, and Performance in the Collaborations of Eileen Myles.” New York School Collaborations: The Color of Vowels. Ed. Mark Silverberg. New York, NY: Palgrave Macmillan, 2013. 215-240.
Kremins, Kathleen Ann. “Blurring Boundaries: Eileen Myles and the Irish American Identity.” Too Smart to Be Sentimental: Contemporary Irish American Women Writers. Eds. Sally Barr Ebest, Kathleen McInerney, and Caledonia Kearns. Notre Dame, IN: U of Notre Dame P, 2008. 189-198.
Miller, Stephen Paul. “Ted Berrigan’s Legacy: Sparrow, Eileen Myles, and Bob Holman.” Talisman: A Journal of Contemporary Poetry and Poetics 23.26 (2001): 217-23.
Nelson, Maggie. “A Note on Women and the New York School.” Mississippi Review 31.3 “Poets of the New York School” (Fall 2003): pp. 240-252.
—.“When We’re Alone in Public. The Metabolic Work of Eileen Myles.” Women, the New York School, and Other True Abstractions. Iowa City, IA: U of Iowa P, 2007. 170-208.
Spahr, Juliana and Stephanie Young. “Numbers Trouble.” Chicago Review 53.2-3 (2007): 88-111.
Stosuy, Brandon, Ed. Up Is Up, But So Is Down. New York’s Downtown Literary Scene, 1974-1992. With an afterword by Dennis Cooper and Eileen Myles. New York, NY: 2006.
Tennant-Moore, Hannah. “Eileen Myles’ Song of the Self.” Gay & Lesbian Review Worldwide 12.5 (2005): 20-22.
Weinreich, Regina. “Ed Sanders: The Un-Fuzzy Fug.” Review of Contemporary Fiction 19.1 (1999): 57.
Weinstein, Debra. “Eileen Myles.” Contemporary Lesbian Writers of the United States: A Bio-Bibliographical Critical Sourcebook. Eds. Sandra Pollack, Denise Knight, Tucker Pamella Farley. Westport, CT: Greenwood, 1993. 391-93.