Thursday 13 and Friday 14 February 2020: Poets & Critics Symposium with Lyn Hejinian. Université Paris Diderot
Wednesday 1 July 2020: “New Work on the New York School” symposium with Rona Cran‘s and Yasmine Shamma’s research collective, in collaboration with the University of Birmingham and the University of Reading. Université Paris Est Marne-la-Vallée.
Thursday 2 and Friday 3 July 2020: Poets & Critics Symposium with Alice Notley. Université Paris Est Marne-la-Vallée.
9:45am-5pm, room 830 (8th floor of the Olympe de Gouges Building).
How to get there?
For detailed instructions and directions, click HERE.
Poetry reading with Dawn Lundy Martin, Marie de Quatrebarbes, and Maël Guesdon
Thursday 17 January, 7pm, atelier Michael Woolworth, 2 rue de la Roquette, Passage du Cheval Blanc, Cour Février, 75011 Paris France – M° Bastille. How to get there? For detailed instructions and directions, click HERE.
If you would like to attend the symposium and are not already in touch with us, please contact us and we will send you information, instructions about and directions to the symposium:
Thus far, we have focused on the writer’s own (creative and critical) work on the first day of the P&C symposiums and on broader issues of poetics and practice-based criticism 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 Dawn Lundy Martin which will take place during the afternoon session and the second day. Dawn Lundy Martin will be joining the group at 2pm on Thursday 17 January.
As usual, we intend to address all aspects of our guest’s work as poet, prose writer, critic, and editor. Please feel free to make suggestions as to particular books that you would like to discuss during the symposium.
Our Monday afternoon session with Dawn Lundy Martin should end by 6 pm, which will leave ample time for everybody to get to the poetry reading.
Dawn Lundy Martin is Professor of English in the Writing Program at the University of Pittsburgh. She is the author of several books and chapbooks including: A Gathering of Matter / A Matter of Gathering (University of Georgia Press, 2007), selected by Carl Phillips for the Cave Canem Prize; DISCIPLINE (Nightboat Books, 2011), which was selected by Fanny Howe for the Nightboat Books Poetry Prize and a finalist for the Los Angeles Times Book Prize; Candy, a limited edition letterpress chapbook (Albion Books, 2011); The Main Cause of the Exodus (O’clock Press 2014); and The Morning Hour, selected by C.D. Wright for the 2003 Poetry Society of America’s National Chapbook Fellowship. Life in a Box is a Pretty Life, was published by Nightboat Books in 2015 and won the Lambda Literary Award for Lesbian Poetry. Her latest collection, Good Stock / Strange Blood was published by Coffee House Press in 2017. Her creative nonfiction can be found in The New Yorker, Harper’s Magazine, n+1, and boundary 2. She is currently at work on a memoir.
In 2016, Martin co-founded, with poet Terrance Hayes, the Center for African American Poetry and Poetics (CAAPP) at the University of Pittsburgh. She serves as the center’s Director. A creative think tank for African American and African diasporic poetry and poetics, CAAPP brings together a diversity of poets, writers, scholars, artists, and community members who are thinking through black poetics as a field that investigates the contemporary moment as it is impacted by historical artistic and social repressions and their respondent social justice movements.
With Vivien Labaton, Martin also co-edited The Fire This Time: Young Activists and the New Feminism (Anchor Books, 2004), which uses a gender lens to describe and theorize young activist work in the U.S. She is the co-founder of the Third Wave Foundation (New York), an organization, which was for 15 years the only young activist feminist foundation in the U.S. Martin continues her activist work in collaboration with foundations and activist organizations to research and strategize about protecting the lives and freedoms of women and girls. Using a intersectional lenses that bring together feminism with racial justice and LGBT rights, Martin works to provide analytical frameworks that assist philanthropic organizations in strategic philanthropy to level the playing field and animate social justice reforms.
Martin’s current creative-scholarly work operates in the intersecting fields of experimental poetics, video installation, and performance. Letters to the Future: BLACK WOMEN / Radical WRITING, co-edited with Erica Hunt, was published in 2018 by Kore Press. Her video installation work has been featured at the Museum of Contemporary Art Detroit. In 2016 she was awarded an Investing in Professional Artists Grant from the Pittsburgh Foundation and the Heinz Endowments. Martin has also written a libretto for a video installation opera, titled “Good Stock on the Dimension Floor,” featured in the 2014 Whitney Biennial, and collaborated with architect Mitch McEwen on Detroit Opera House, a conceptual architecture project. She is the recipient of a 2018 NEA grant for Creative Writing. She is also a co-founder of the Black Took Collective, an experimental performance art/poetry group of three.
by Dawn Lundy Martin
“A Black Poetics: Against Mastery.” Boundary 2: An International Journal of Literature and Culture 44.3 (2017): 159–163.
“Black Took Collective: On Intimacy & Origin.” Among Friends: Engendering the Social Site of Poetry. Eds. Anne Dewey and Libbie Rifkin, Libbie. Iowa City, IA: U of Iowa P, 2013. 211-237.
“Alien Eggs, or, the Poet as Mad Scientist.” Poets on Teaching: A Sourcebook.Ed. Joshua M. Wilkinson. Iowa City: U of Iowa P, 2010.26-28.
Hayes, Terrance, et al. “African American Experimental Poetry Forum.” Jubilat 16 (2009): 115–154.
Martin, Dawn Lundy. “Saying ‘I Am’ Experimentalism and Subjectivity in Contemporary Poetry by Claudia Rankine, M. Nourbese Philip, and Myung Mi Kim.” Dissertation Abstracts International, Section A: The Humanities and Social Sciences, U of Massachusetts, 20090101, p. 4679.
on Dawn Lundy Martin:
De’Ath, Amy. Decolonize or Destroy: New Feminist Poetry in the United States and Canada. Women: A Cultural Review 26.3 (2015): 285-305.
Poets and Critics symposiums are not conferences in the traditional, academic sense of the term; no formal papers are usually given. They are 2-day seminar-like discussions (preceded, in this particular case, by the event at the Beinecke Library on Thursday 11 October) in the presence of the invited poet. There is 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. Mini-papers (5 min) can however be given on specific topics, if you wish, to frame a specific question and open the discussion to include all aspects of Susan’s work: early and late poetry and essays, collaborations, teaching, radio shows… We may also close-read a passage collectively.
Thursday 11 October.Beinecke Library, Yale University
1:30-3:30 pm Beinecke Library, Yale University, New Haven.
We will go to the Beinecke Library (Yale). A selection of materials from Susan Howe’s literary archive will be on view along with materials from Beinecke collections that have figured prominently in Howe’s research and writing. Susan Howe will not be in attendance.
10am: 1st session: preparatory meeting at Pratt (room tba). Please note that Susan Howe will not be present for this first session, which is devoted to preparing the conversations with her. This is the occasion to list and define the points we would like to discuss with her over the course of the Friday afternoon and Saturday sessions.
Susan Howe will be joining the group at 2pm on Friday 12 October.
> 2-5 pm. Higgins Hall Auditorium, Pratt Brooklyn, School of Architecture
From her first book, Hinge Picture in 1974, to her most recent, Debths, which won the 2018 Griffin Poetry Prize, Susan Howe has been a boundary-breaker in American poetry, creating a fusion of sound, typography, philosophy, and American history that is both fervently contemporary and grounded in a deep and nuanced understanding of American poetic traditions from Emerson onward. The author of over 30 books of poetry and prose, she has received the country’s highest poetic honors, including the Bollingen Prize in 2011, and the 2017 Robert Frost Medal from the Poetry Society of America.