“North American Poetry 2000-2020: Poetics, Aesthetics, Politics.” Conference, Oct. 2020, Paris. Call for Papers.

International Conference

North American Poetry 2000-2020: Poetics, Aesthetics, Politics.

Institut Universitaire de France

Ministère de l’enseignement supérieur, de la recherche et de l’innovation

25 rue de la Montagne Sainte-Geneviève

75005 Paris

15, 16, 17 October 2020

Organized by Vincent Broqua (Université Paris 8 – TransCrit), Olivier Brossard (Université Gustave Eiffel – LISAA / Institut Universitaire de France), Abigail Lang (Université de Paris – LARCA UMR8225). With the support of the Poetry Foundation.

www.poetscritics.org

In his groundbreaking anthology, The New American Poetry (1960), Donald Allen grouped the poets in five sections: those “closely identified with the two important magazines of the period, Origin and Black Mountain Review,” the San Francisco Renaissance, The Beat Generation, and the New York Poets (xii-xiii). Allen’s fifth and last section, undefined, gathered poets as different as Philip Whalen, Gary Snyder, Gilbert Sorrentino, Michael McClure, LeRoi Jones, and John Wieners, amongst others: “The fifth group has no geographical definition; it includes younger poets who have been associated with and in some cases influenced by the leading writers of the preceding groups …” (xiii).

In 1994, choosing Allen’s anthology as a model, Douglas Messerli published From the Other Side of the Century: A New American Poetry 1960-1990 (Sun and Moon) with the ambition of creating a volume that would “serve […] [his] own generation—or even the earlier generation of poets … ” (31). Borrowing Allen’s method of grouping poets into sections, Douglas Messerli did not label or identify his, insisting on the porosity of the constituted groups and on the fluidity of exchanges between them: “… these gatherings do not fix a static terrain, but rather are editorial contexts into and out of which the poets can be seen to shift, move, and wander.” (33) Douglas Messerli was thus already acknowledging that the poetic field of the early 1990s was simultaneously expanding and dissolving, making comprehensive readings or “representative” anthologies increasingly difficult to establish—if they, indeed, had ever been possible.

From 1960 to 2000 many poetic groups and movements followed each other or coexisted (whether associated with a place, such as the Poetry Project in New York, with a publishing house or a literary journal, such as the journal L=A=N=G=U=A=G=E , or with academic or cultural institutions such as The Buffalo Poetics Program, the Jack Kerouac School of Disembodied Poetics at Naropa, or City Lights Bookstore, amongst others); in contrast, the poetry scene of the early 21st century seems radically different. Whereas in 1960, Allen had one unidentified group and four geographically and poetically-determined groups, and in 1994, Douglas Messerli could organize his anthology around fluid groups who focused on common issues, it seems difficult, in 2020, to identify coherent ensembles. For early 21st century movements, such as Flarf and Conceptual Poetry, how many unidentified groups would today’s anthologizers have to create for a volume spanning the last twenty or thirty years? Should we consider the advent of social media as, paradoxically, contributing to the reconfiguration of groups, movements, and communities?

What has been happening on the US poetry scene over the past twenty years? According to what criteria and principles can the field of US poetry be read today? In the 1960s, 70s, and 80s, the scene was structured and defined by poetic, aesthetic, and political tensions: is this still the case today? Or should it be approached differently, by coming up with new categories? How is poetry as a genre defined today, and particularly in relation to other genres, and other forms of art? How have the internet and digitization changed the production and distribution of poetry? Who or what authorities legitimize poetry? What relationships do poets develop with institutions? With academia? How is poetry taught? How does poetry redefine the uses of language? How does it incorporate languages other than English? How important is translation on the poetry scene today? What privileged connections are being established between the poetry of the United States and the poetries of other countries? Are the local, regional poetry scenes as active as in the 1960s? Or do poets tend to associate on a larger scale based on professed identities? What are the sociological specificities of US poetry today? What are the preferred forms for poetics and the critique of poetry? What forms does formal exploration assume?

The ambition of this conference is to explore the field of contemporary poetry in North America over the past twenty years and thus to identify the relevant notions and concepts that will allow us to accurately map its current configurations. By North American poetry, we mean the poetry of—and published in—the United States, as well as the English-language poetry of Canada whose poets are in dialogue with US poets. We welcome submissions that will question and recontextualize the term ‘North American’. We are particularly interested in groups, poets, and works that stem from the modernist and experimental traditions mentioned above even as they may question and overturn this legacy. We invite submissions focusing on poems and poetics, groups and distribution networks, the geography and sociology of North American poetry, so as to draw a map of the poetry of the past twenty years.  

Proposals for papers (English only) should include a brief abstract (300 words) and a short biographical note, and be addressed to northamericanpoetry2020@gmail.com by April 10, 2020.

Colloque International 

North American Poetry 2000-2020: Poetics, Aesthetics, Politics.

Interroger la poésie nord-américaine contemporaine (2000-2020) : Poétiques, esthétiques, politiques. 

Institut Universitaire de France

Ministère de l’enseignement supérieur, de la recherche et de l’innovation

25 rue de la Montagne Sainte-Geneviève

75005 Paris

15, 16, 17 octobre 2020

organisé par Vincent Broqua (Université Paris 8 – TransCrit), Olivier Brossard (Université Gustave Eiffel – LISAA / Institut Universitaire de France), Abigail Lang (Université de Paris – LARCA UMR8225). Avec le soutien de la Poetry Foundation.

www.poetscritics.org

Dans son anthologie The New American Poetry en 1960, Donald Allen regroupait les poètes en cinq sections : ceux publiés par Black Mountain Review ou Origin, ceux de la San Francisco Renaissance, les Beat Poets et « the New York Poets ». La dernière section d’Allen, indéterminée, regroupait des auteurs aussi différents que Philip Whalen, Gary Snyder, Gilbert Sorrentino, Michael McClure, LeRoi Jones et John Wieners.

En 1994, citant l’anthologie d’Allen comme modèle, Douglas Messerli prenait le relais avec la publication de l’imposant volume From the Other Side of the Century: A New American Poetry 1960-1990 (Sun and Moon). Souhaitant publier un ouvrage qui serve sa propre génération comme celle d’Allen avait servi celle des poètes nés du début du 20e siècle aux années trente, Douglas Messerli reprenait l’idée de grouper les poètes en sections. Sans pour autant leur donner d’intitulé clair ni leur assigner d’étiquettes contraignantes, Messerli insistait au contraire sur les nombreuses allées et venues possibles entre les différents groupes constitués : « … these gatherings do not fix a static terrain, but rather are editorial contexts into and out of which the poets can be seen to shift, move, and wander. » (Introduction, 33) En dépit de son effort considérable de présentation, Douglas Messerli prenait déjà conscience en 1994 que le champ poétique connaissait un double mouvement d’expansion et d’éclatement qui en menaçait toute tentative de compréhension et d’analyse de même qu’il rendait l’entreprise anthologique périlleuse.

Si la poésie des années 1960 aux années 2000 a été marquée par des groupes, courants ou mouvements identifiés (à des lieux comme le Poetry Project à New York ; à des maisons d’édition ou des revues, comme L=A=N=G=U=A=G=E ; à des institutions universitaires ou culturelles comme The Buffalo Poetics Program, the Jack Kerouac School of Disembodied Poetics à Naropa, ou encore City Lights Bookstore), on peut avoir l’impression au début du 21ème siècle que la situation s’est désormais inversée. Là où Donald Allen constituait un groupe non identifié dans son anthologie pour quatre groupes constitués, là où Douglas Messerli persistait à créer des groupes de poètes autour de notions larges, insistant sur la « fluidité » entre ces derniers, on peine aujourd’hui à faire émerger des ensembles cohérents : pour un mouvement comme Flarf au début des années 2000 ou comme les Conceptual Poets, combien de groupes non identifiés faudrait-il créer aujourd’hui pour qui voudrait éditer une anthologie de poésie contemporaine ? La notion de groupe ou de mouvement n’est-elle désormais pas caduque, à l’époque où les réseaux sociaux dissolvent paradoxalement la notion de communauté ?

Que s’est-il passé ces vingt dernières années dans le champ poétique aux États-Unis ? Selon quels critères organiser ce champ ? Dans les années 1960 à 80, les mouvements et les lignes de front se définissaient en fonction d’enjeux poétiques, esthétiques et politiques : est-ce toujours le cas ? Ou bien faut-il mobiliser de nouvelles catégories ? Comment le genre poétique se définit-il actuellement ? Quels rapports entretient-il avec les autres genres ? avec les autres arts ? Comment le tournant numérique a-t-il affecté la production et la diffusion de la poésie ? Quelles sont les principales instances de légitimation ? Quels rapports les poètes entretiennent-ils avec les institutions ? avec l’université ? Comment la poésie est-elle enseignée ? Comment travaille-t-elle la langue ? Quelles langues ? Quel usage fait-elle de la traduction ? Quels rapports la poésie nord-américaine entretient-elle avec la poésie d’autres zones géographiques ? Y a-t-il encore, comme dans les années 1960, des foyers poétiques régionaux ? Ou bien les groupements sont-ils fondés sur des identités revendiquées ? Quelles sont les spécificités sociologiques du champ ? Quelles formes prennent la critique de la poésie et la poétique ? Quelles formes prennent les explorations d’ordre formel ?  

Ce colloque aspire à interroger le champ poétique contemporain de ces vingt dernières années en Amérique du Nord, à faire émerger les notions pertinentes pour sa saisie et son analyse. Par poésie nord-américaine, nous entendons la poésie publiée aux États-Unis, ainsi que les œuvres des poètes canadiens engagés dans des conversations poétiques, esthétiques et politiques avec les poètes des États-Unis. Les communications qui s’attacheront à interroger et à recontextualiser le terme « poésie nord-américaine » sont les bienvenues. Nous nous intéresserons particulièrement aux poésies qui s’inscrivent dans l’héritage moderniste et expérimental esquissé plus haut tout en ayant conscience que cet héritage a été profondément remis en question et contesté par ceux-là même qui le prolongent. Nous invitons les participants à étudier les poèmes, les poétiques, les supports de diffusion, la géographie et la sociologie de la poésie nord-américaine, afin de dégager ses nouvelles lignes de force.

Merci d’adresser vos propositions de communication (300 mots; en anglais) ainsi qu’une brève notice biographique à northamericanpoetry2020@gmail.com avant le 10 avril 2020.

2020 Poets & Critics program: save the dates!

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. See Call For Papers below or here.

Thursday 2 and Friday 3 July 2020: Poets & Critics Symposium with Alice Notley. Université Paris Est Marne-la-Vallée.

More information to follow.

Call for Papers for the inaugural meeting of the Network for New York School Studies (NNYSS), 1 July 2020, Université Paris Est Marne-la-Vallée

Call for Papers:

What We Talk About When We Talk About The New York School

one need never leave the confines
© Martin Spychal, 2019

We welcome short papers addressing any aspect of New York School poetry, art, and writing for the inaugural meeting of the Network for New York School Studies (NNYSS). This event builds on the research network scholars and poets began to form during the illuminating New Work on the New York School symposium and poetry evening held at the University of Birmingham in 2018. We hope it will be the second international meeting of many.

We are particularly interested in presentations that deal with the place of New York School poetry, both in its emergent moment, and since:

  • how did New York School poetry and art define itself in its moment?
  • what has it come to mean?
  • who are its artists and poets?
  • what “schools” or movements has it influenced?
  • how did / does it sit within broader New York / American / global writing and culture (including film, music, and art)?
  • what can be said of 3rd and 4th generation New York School writing?
  • what do we talk about, now, when we talk about the New York School?

Talks are expected to be 5-10 minutes in length. Close-readings, interdisciplinary discussions, presentations of archival work, joint presentations, work-in-progress, artistic responses, and other conventional or unconventional responses to the New York School, broadly conceived, are especially welcome. Like last time, the event will be informal, conversational, interdisciplinary, and intersectional. It will conclude with a poetry reading in the evening (poets TBC).

This event is organized by Rona Cran (University of Birmingham) and Yasmine Shamma (University of Reading) and hosted by Olivier Brossard (Université Paris Est Marne-la-Vallée). It will take place at the Université Paris Est Marne-la-Vallée, on July 1, 2020, and will be followed by a 2-day Poets and Critics symposium focusing on the poetry of Alice Notley.

Paper / presentation proposals are welcome for submission until January 1, 2020. Please submit 200 words along with a 1-2 sentence bio to nwonthenys@gmail.com.

Poets and Critics Symposium 2020.1 : Lyn Hejinian, Thursday 13 and Friday 14 February

From writing.upenn.edu

The next Poets and Critics Symposium will be devoted to the work of Lyn Hejinian.

Thursday 13 and Friday 14 February, 2020.

Université Paris 7 Denis Diderot, Bâtiment Olympe de Gouges, 8 rue Albert Einstein, 75013 Paris

9:45 am-5 pm, room M19 (Mezzanine floor of the Olympe de Gouges Building, between ground floor and first floor).

image doigt petit

How  to get there?

For detailed instructions and directions, click HERE.

&

Poetry reading with Marie-Louise Chapelle and Lyn Hejinian

Thursday 13 February, 7pm, 

atelier Michael Woolworth, 

2 rue de la Roquette

Passage du Cheval Blanc, Cour Février, 

75011 Paris M° Bastille. 

How to get there? 

For detailed instructions and directions, click HERE.

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 Lyn Hejinian which will take place during the afternoon session and the second day. 

Lyn Hejinian will be joining the group at 2pm on Thursday 13 February.

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 Thursday afternoon session with Lyn Hejinian should end by 6 pm, which will leave ample time for everybody to get to the poetry reading.

*

Lyn Hejinian teaches at the University of California, Berkeley, where her academic work is addressed principally to modernist, postmodern, and contemporary poetry and poetics, with a particular interest in avant-garde movements and the social practices they entail. She is the author of over twenty-five volumes of poetry and critical prose, the most recent of which are Positions of the Sun, which was published in January, 2019 by the Brooklyn-based independent feminist literary collective and small press Belladonna, and Tribunal, published by Omnidawn books in the spring of 2019. Translations of her work have been published in Denmark, France, Spain, Japan, Italy, Russia, Sweden, China, Serbia, and Finland. She is the co-director (with Travis Ortiz) of Atelos, a literary project commissioning and publishing cross-genre work by poets, and co-editor (with Jane Gregory and Claire Marie Stancek) of Nion Editions. Other collaborative projects include a composition titled Qúê Trân with music by John Zorn and text by Hejinian; two mixed media books (The Traveler and the Hill and the Hill and The Lake) created with the painter Emilie Clark; the award-winning experimental documentary film Letters Not About Love, directed by Jacki Ochs; the multi-authored 10-volume work The Grand Piano: An Experiment in Collective Autobiography (co-authored with Rae Armantrout, Steve Benson, Carla Harryman, Tom Mandel, Ted Pearson, Bob Perelman, Kit Robinson, Ron Silliman, and Barrett Watten [Detroit: Mode A, 2006-10])

*

Bibliography

Principal literary works

Poetry/prose

Tribunal (Omnidawn, 2019)

Oxota: A Short Russian Novel (Wesleyan University Press, 2019; revised from first edition [The Figures, 1991])

Positions of the Sun (NY: Belladonna Books, 2019)

The Unfollowing (Omnidawn Books, 2016)

My Life and My Life in the Nineties (Wesleyan University Press, 2013)

The Book of a Thousand Eyes (Omnidawn Books, 2012)

Saga / Circus (Omnidawn Publishing, 2008)

The Fatalist (Omnidawn Books, 2003)

Slowly(Tuumba Press, 2002)

A Border Comedy (Granary Books, 2001)

The Beginner (Spectacular Books, 2000; Tuumba Press, 2002)

Happily (Post-Apollo Press, 2000)

The Cold of Poetry (Sun & Moon Press, 1994)

The Cell (Sun & Moon Press, 1992)

My Life (second version; Sun & Moon Press, 1987)

My Life (Burning Deck, 1980)

Writing is an Aid to Memory (The Figures, 1978; reprinted by Sun & Moon, 1996)

Volumes of collaboratively composed poetry/prose and mixed-media work

The Wide Road (written with Carla Harryman; Belladonna, 2010)

Situations, Sings(written with Jack Collom; Adventures in Poetry, 2008)

The Lake (with Emilie Clark; Granary Books, 2004)

On Laughter: A Melodrama (with Jack Collom; Baksun Books, 2003)

Chartings (written with Ray Di Palma; Chax Press, 2000)

Sunflower (written with Jack Collom; The Figures, 2000)

Sight (written with Leslie Scalapino; Edge Books, 1999)

The Traveler and the Hill and the Hill (a collaboration with Emilie Clark; Granary Books, 1998)

Wicker (with Jack Collom) (Boulder, CO: Rodent Press, 1996)

Individuals (written with Kit Robinson; Chax Press, 1988)

Volumes of poetry translated and published in other languages

Mi Vide en Los Noventa (My Life in theNineties), tr into Spanish by Patricio Grinberg and Carla Chinski (Buenos Aires, Argentina: Zindo & Gafuri, 2019)

Fatalisten (The Fatalist), tr. into Danish by Alexander Carnera (Copenhagen: Det Poetiske Bureaus Forlag, 2018)

Pauza, rosa, chto-to na bumage (A Pause, a Rose, Something on Paper / My Life), tr. into Russianby Ruslan Miranov (Moscow: Hosorog No. 7, 2018)

Ma Vie (My Life), tr. into French by Maïtreyi and Nicolas Pesquès, (Dijon, Presses du réel, 2016)

Gesualdo, tr. into Turkish by Uygar Asan (Kadikoy, Turkey: Nod, 2015)

Minha Vida (My Life), tr. into Portuguese by Mauricio Salles Vasconcelos (Sao Paolo, Brazil: Dobra Editorial, 2014)

Felizmente (Happily), tr into Spanish by Gidi Loza (Playas de Rosarito, Baja, California: Editorial Piedra Cuervo, 2013)

Mi Vida (My Life),tr. into Spanish by Tatiana Lipkes (Mexico City, Mexico: Mangos de Hacha, 2012)

from My Life, tr. into Japanese by Junichi Koizumi, Toshiro (Shige) Inoue, Mamoru Mukaiyama, and Koichiro Yamauchi (Tokyo: Meltemia Press, 2012)

Mi Vida (My Life),tr. into Spanish by Pilar Vazquez and Esteban Pujals (Tenerife, Spain: Acto Ediciones, 2011)

Gesualdo, tr. into French by Martin Richet (Marseilles: Jacataqua, 2009)

Lentement (Slowly), tr. into French by Virginie Poitrasson (Paris, 2006)

Mitt Liv (My Life and My Life in the Nineties), tr. into Swedish by Niclas Nilsson (Stockholm: Modernista, 2004)

Mit Liv (My Life), tr. into Danish by Jeppe Brixvold with Line Brandt (Copenhagen: Borgen, 2001)

Jour de Chasse (The Hunt), tr. into French by Pierre Alferi; (Paris: Cahiers de Royaumont, 1992)

Edited poetry volumes

(with Olivia Friedman) Ghosting Atoms: Poems and Reflections Sixty Years After the Bomb (Berkeley: Consortium for the Arts and UC Regents, 2005)

Best American Poetry 2004 (New York: Scribner’s, 2005)

Critical writing

Volumes of critical writing

The Language of Inquiry (University of California Press, 2000)

Two Stein Talks (Weaselsleeves Press, 1995)

Leningrad, written with Michael Davidson, Ron Silliman, Barrett Watten (Mercury House, 1991)

Volume of critical prose translated and published in another language

Det öppna och det säregna (The Language of Inquiry), tr. into Swedish by Camilla Hammarström (Stockholm: Bokförlaget Lejd: 2016)

Edited volumes

(with Barrett Watten) Poetics Journal Digital Archive (ebook; Wesleyan University Press, 2015)

(with Barrett Watten) A Guide to Poetics Journal: Writing in the Expanded Field, 1982-98 (University Presses of New England/Wesleyan University Press, 2013)

Translations

Volumes of translation

Description, poems by Arkadii Dragomoshchenko (Sun & Moon Press, 1990)

Xenia, poems by Arkadii Dragomoshchenko (Sun & Moon Press, 1994)

Other

Exhibition catalogues

In time; catalogue text for Diane Hall, “in time” (San Francisco: Rena Bransten Gallery, January 5-February 23, 2019)

Away at Home; curator’s introduction to exhibition catalogue of new works by German photographer Heike Liss (NY: CUE Art Foundation, spring 2006)

Work in other media

Visual art

Exhibition of Film Works (mixed media drawings), Kala Art Institute (Berkeley), spring 2017

Two mixed media drawings, in “Poetry and its Arts: Bay Area Interactions 1954-2004,” group exhibition at the California Historical Society (San Francisco), curated by The Poetry Center (SF State University), December 2004-April 2005

Two mixed media drawings, in “Poetry Plastique,” group exhibition, Marianne Boesky Gallery (New York), February 2001

“The Traveler and the Hill and the Hill,” two-person exhibition, Museo Nazionale dell’Architettura, Ferrara (Italy), May-June, 2000

“The Eye of Enduring,” painting and poetry (a collaboration with Diane Andrews Hall); exhibition at Sherrill Haines Gallery, San Francisco, 1995

Film

 “Letters Not About Love,” feature film directed by Jacki Ochs with script based on correspondence between Lyn Hejinian and Arkadii Dragomoshchenko (premier, South by Southwest Film Festival, First Prize: Documentary, 1998)

Music

Text for “Poetry and Playing,” CD by British avant-garde guitarist Derek Bailey (2003)

“Que Tran,” music and poetry (a collaboration with John Zorn); on cd (New Traditions in Far East Asian Bar Band Music), Electra/Nonesuch 1997

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.

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Recording of Jeffrey Lependorf’s lecture on John Ashbery’s Self Portrait in a Convex Mirror . 10 February 2020. Sorbonne U.

00:00:15 Introduction, Clément Oudart, Sorbonne Université
00:02:20 Lecture, Jeffrey Lependorf
01:01:00 Coda – Q&A Session

THE REFLECTION ONCE REMOVED: Looking and Seeing Through John Ashbery’s Self-Portrait in a Convex Mirror

Evénement organisé par le groupe Poets & Critics (UPEM) et l’axe de recherche Poetry Beyond (VALE) avec le soutien de l’Institut Universitaire de France. 

Jeffrey Lependorf, an accomplished musician, composer, visual artist and nonprofit arts professional, serves as Executive Director of The Flow Chart Foundation (www.flowchartfoundation.org), an organization dedicated to exploring the interrelationships of various art forms as guided by the legacy of poet John Ashbery. He currently also serves as Executive Director of Small Press Distribution, a nonprofit literary book distributor, and directs the Art Omi: Music International Musicians Residency, a program he created to foster international artistic collaboration. He received his undergraduate degree from Oberlin Conservatory, and his masters and doctorate degrees from Columbia University, where he taught for a number of years.

10 February 2020. Jeffrey Lependorf: Lecture on John Ashbery’s Self Portrait in a Convex Mirror

Sorbonne Université et l’Université Paris Est Marne-la-Vallée

vous invitent à une conférence de Jeffrey Lependorf

directeur de The Flow Chart Foundation (Fondation John Ashbery)

le lundi 10 février à 18h

Amphithéâtre Cauchy

17, rue de la Sorbonne

75005 Paris

Toute personne extérieure à Sorbonne Université est priée de s’inscrire afin d’assister à cette conférence en écrivant à Clément Oudart avant le 5 février : clement.oudart@sorbonne-universite.fr

THE REFLECTION ONCE REMOVED: Looking and Seeing Through John Ashbery’s Self-Portrait in a Convex Mirror

Evénement organisé par le groupe Poets & Critics (UPEM) et l’axe de recherche Poetry Beyond (VALE) avec le soutien de l’Institut Universitaire de France. 

Jeffrey Lependorf, an accomplished musician, composer, visual artist and nonprofit arts professional, serves as Executive Director of The Flow Chart Foundation (www.flowchartfoundation.org), an organization dedicated to exploring the interrelationships of various art forms as guided by the legacy of poet John Ashbery. He currently also serves as Executive Director of Small Press Distribution, a nonprofit literary book distributor, and directs the Art Omi: Music International Musicians Residency, a program he created to foster international artistic collaboration. He received his undergraduate degree from Oberlin Conservatory, and his masters and doctorate degrees from Columbia University, where he taught for a number of years.