La poétesse étasunienne Asiya Wadud est l’invitée de l’UFR de Langues de l’Université Gustave Eiffel et du programme de recherche « Savoirs, Urbanitésdu Genre, Minorisations » dirigé par Mari Oiry et Caroline Trotot :
– pour un séminaire de recherche sur son travail d’écriture le vendredi 29 mai de 14h à 17h.
Une lecture avec Asiya Wadud, ses traducteurices, ainsi qu’avec Charlène Dinhut et Simone White aura lieu le jeudi 28 mai à l’atelier Michael Woolworth à Paris à 19h : www.doublechange.org
American poet Asiya Wadud will be the guest of the Department of Languages at Gustave Eiffel University and the « Savoirs, Urbanités du Genre, Minorisations » Research group led by Mari Oiry and Caroline Trotot:
– for a 4-day collective translation workshop from Tuesday, May 26, to Friday, May 29, in the Copernic building (Department of English, 3rd floor, room 3B133). ➡️ More info & registration here.
– for a research seminar on Asiya Wadud’s writing on Friday, May 29, from 2:00 p.m. to 5:00 p.m.
Asiya Wadud will read with the group of translators and with writers Charlene Dinhut and Simone White in the double change reading series on May 28 at 7 pm at Michael Woolworth’s atelier in Paris : www.doublechange.org
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 Claudia Rankine which will take place during the afternoon session and the second day.
Claudia Rankine will be joining the group at 2pm on Wednesday 24 September.
As usual, we intend to address all aspects of our guest’s work.
Please feel free to make suggestions as to particular books that you would like to discuss during the symposium.
Our Wednesday afternoon session with Claudia Rankine should end by 5 pm, which will leave ample time for everybody to get to the poetry reading.
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Please note that Claudia Rankine will also be giving a talk and reading at The American University of Paris on Tuesday 23 September at 6 pm.More information here.
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Claudia Rankine Bibliography
Books
Nothing in Nature Is Private. Cleveland State University Poetry Center (1994)
The End of the Alphabet. Grove Press (1998)
Plot. Grove Press (2001)
Don’t Let Me Be Lonely: An American Lyric. Graywolf Press (2004)
Citizen: An American Lyric. Graywolf Press (2014)
The White Card: A PlayGraywolf Press (2019)
Just Us: An American Conversation. Graywolf Press (2020)
Don’t Let Me Be Lonely: An American Lyric: 20th Anniversary Edition.Graywolf Press (2024)
Edited Anthologies & Essay Collections
Rankine, C., & Spahr, J. (Eds.). (2002).American Women Poets in the Twenty‑First Century: Where Lyric Meets Language. Wesleyan University Press.
Rankine, C., & Sewell, L. (Eds.). (2007).American Poets in the Twenty‑First Century: The New Poetics. Wesleyan University Press.
Rankine, C., & Sewell, L. (Eds.). (2012).Eleven More American Women Poets in the Twenty‑First Century: Poetics Across North America. Wesleyan University Press.
Rankine, C., & Loffreda, B. (Eds.). (2014).The Racial Imaginary: Writers on Race in the Life of the Mind. Fence Books.
Carson, A. (Co-Librettist), Diller Scofidio + Renfro (Co-creators), & Lang, D. (Composer). (October 3–8).The mile-long opera: A biography of 7 o’clock [Site-specific choral performance]. The High Line, New York, NY.
Rawls, W. (Co-creator). (September).What remains [Performance]. Danspace Project, New York, NY.
2020
(February 6).The white card [Play]. Penumbra Theatre, Minneapolis, MN. (Originally premiered at Arts Emerson and the American Repertory Theater, Boston, MA.)
2022
(March). Magar, T. (Director).HELP [Play]. The Shed, New York, NY.
(October 9–12). Sellars, P. (Director), & Sorey, T. (Composer).Perle Noire: Meditations for Josephine Baker [Opera]. Dutch National Opera, Amsterdam, Netherlands.
2023
(February).Revolutionary hope: A conversation between Audre Lorde and James Baldwin [Theatrical performance]. Performance Space New York.
Video Series & Multimedia Projects
Rankine, C., & Lucas, J. (Producer).Situation One (and other “Situation” video essays).
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 Erin Mouré which will take place during the afternoon session and the second day.
Erin Mouré will be joining the group at 2pm on Monday 28 April.
As usual, we intend to address all aspects of our guest’s work.
Please feel free to make suggestions as to particular books that you would like to discuss during the symposium.
Our Monday afternoon session with Erin Mouré should end by 6 pm, which will leave ample time for everybody to get to the poetry reading.
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 Bhanu Kapil which will take place during the afternoon session and the second day.
Bhanu Kapil will be joining the group at 2pm on Thursday 14 November.
As usual, we intend to address all aspects of our guest’s work.
Please feel free to make suggestions as to particular books that you would like to discuss during the symposium.
Our Thursday afternoon session with Bhanu Kapil should end by 6 pm, which will leave ample time for everybody to get to the poetry reading.
Bhanu Kapil, FRSL is the author of six full-length collections: The Vertical Interrogation of Strangers (Kelsey Street Press, 2001), Incubation: a space for monsters (Leon Works, 2006), humanimal [a project for future children] (Kelsey Street Press, 2009), Schizophrene (Nightboat, 2011), Ban en Banlieue (Nightboat, 2015), and How to Wash a Heart (Liverpool University Press, 2020).Two new, non-identical editions of Incubation (out of print for seven years in the U.S.) were published by Prototype (UK) and Kelsey Street Press (USA) in 2023. Bhanu is based now in Cambridge, where she is an Extraordinary Fellow of Churchill College, thinking and writiing [with] [near] [beneath] the archive of Enoch Powell. She has been awarded a Cholmondeley Award, a Windham-Campbell Prize and the T.S. Eliot Prize. For twenty years, she taught seminars in experimental writing, performance, and ritual at Naropa University. Current manuscripts include a novel, The Secret Garden, and an unpublishable work of creative non-fiction, Promiscuity.
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Full-length works:
Incubation: a space for monsters, Prototype, 2023 (UK) and Kelsey Street Press, 2023 (USA)
How To Wash A Heart, Liverpool University Press, 2020
Ban en Banlieue, Nightboat Books, 2016
Schizophrene, Nightboat Books, 2011
Humanimal [a project for future children], Kelsey Street Press, 2009
Incubation: a space for monsters, Leon Works, 2007 (out of print)
The Vertical Interrogation of Strangers, Kelsey Street Press, 2001
Chapbooks/Pamphlets:
THREADS (co-written with Sandeep Parmar and Nisha Ramayya), Clinic Publishing, 2018
Entre-Ban, Vallum Press, 2017
Treinte Ban: notes for a novel never written, New Herring Press, 2013
(a poem-essay, or precursor: NOTES: for a novel: Ban en Banlieues), Belladonna Press, 2010
THE BODY THAT DOESN’T BELONG TO YOU ANYMORE, [2nd Floor Projects], 2008
Water-damage: a map of three black days, Corollary Press, 2007
The Wolfgirls of Midnapure, Belladonna Press, 2002
Dick, Jennifer K. “The Dissenting Red Self: Lyn Hejinian’s Tribunal, Anne Carson’s Autobiography of Red & Bhanu Kapil’s Incubation: A Space for Monsters” in Couleurs et Cultures / Colors and Cultures: Interdisciplinary Explorations, eds. Sami Ludwig, Astrid Starck-Adler & André Karliczek. Jena, Salana, 2022. ISBN: 978-3-00-073026-9. (364 p), pp. 143-152.
Dick, Jennifer K. “The Nonsingular Self: A study of Bhanu Kapil and Eleni Sikelianos’ Poetic Autobiographical Writing” in Vulnerability and Radicality in Contemporary British and American Autobiographies, eds. Nelly Monk & Aude Haffen. Presses Universitaires de Bordeaux, 2025 (forthcoming).
Quaid, Andrea. “Continuity and Change: Experimental Women’s Writing and the Epic Tradition.” ProQuest Dissertations & Theses Global, University of California, Santa CruzProQuest, vol. 75, no. 8, 2015 Feb. 2015.
Ramayya, Nisha. “Curve Warp Corpse.” Journal of British and Irish Innovative Poetry, vol. 12, no. 1, Apr. 2020. https://doi.org/10.16995/.
Singh, Julietta. “Errands for the Wild.” South Atlantic Quarterly, vol. 117, no. 3, 2018 July 2018, pp. 567–580. https://doi.org/10.1215/00382876-6942159.
Wang, Dorothy, et al. “Speculative Notes on Bhanu Kapil’s Monstrous/Cyborgian/Schizophrenic Poetics.” Kelsey Street Press, Berkeley, CA, Nov. 2015, pp. 78–91.
Please contact us if you wish to share an essay or text about Bhanu Kapil’s work.
The Poets & Critics symposium on Bhanu Kapil’s work is organized in collaboration with the CERCLL Research Center of Université de Picardie Jules Verne
edited and translated by Marc Chénetier (joca seria, 2024).
Thursday 25 April, 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 John Yau which will take place during the afternoon session and the second day.
John Yau will be joining the group at 2pm on Thursday 25 April.
As usual, we intend to address all aspects of our guest’s work as poet, prose writer, critic, editor, and publisher.
Please feel free to make suggestions as to particular books that you would like to discuss during the symposium.
Our Thursday afternoon session with John Yau should end by 6 pm, which will leave ample time for everybody to get to the poetry reading.
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Poet, fiction writer, essayist, art critic, and publisher of Black Square Editions, John Yau has written across genres and worked in different mediums in order to expand poetry beyond the printed page. Starting in the mid-1980s, he began collaborating with American and European artists, from the widely celebrated to the young and emerging. The collaborations took the form of paintings, drawings, artist books, prints, postcards, objects, clothing, and jazz compositions. Starting in the late 1970s, he began writing reviews and essays for art magazines, galleries, and museums in the late 1970s. ) Since 2002, he has taught contemporary art history in the art department of the Mason Gross School of the Arts (Rutgers University). He has written monographs on many artists, most recently, Liu Xiaodong (2021) and Joe Brainard: The Art of the Personal (2022). His most recent book of essays is Please Wait by the Coatroom: Reconsidering Race and Identity In American Art. In 2012, he began writing reviews regularly for the online magazine, Hyperallergic. He has published more than 20 books of poetry.
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The following bibliographical section is a work in progress: please contact us if you see a missing title & wish to add it to one of the bibliographies below.
“A Symposium on John Yau, Commentary and Criticism”: Talisman Special Issue on John Yau (JSTOR open access – click on image)
Critical Bibliography
Birns, Nicholas. “John Yau.” In Asian American Writers, edited by Deborah L. Madsen, 348–58. Dictionary of Literary Biography: 312. Detroit, MI: Thomson Gale; Gale Cengage, 2005.
Campbell, Bruce. “‘Pieces of a Piece.’” Talisman: A Journal of Contemporary Poetry and Poetics 5 (1990): 126–34.
Caples, Garrett. “John Yau.” In American Short-Story Writers since World War II: Third Series, edited by Patrick Meanor and Richard E. Lee, 305–15. Dictionary of Literary Biography: 234. Detroit, MI: Thomson Gale; Gale Cengage, 2001.
Chaloner, David. “On John Yau.” Talisman: A Journal of Contemporary Poetry and Poetics 5 (1990): 113–14.
Cooperman, Matthew. “What the Poet Sees: An Interview with John Yau.” Jubilat 19 (2011): 26–49.
Corbett, William. “On John Yau.” Talisman: A Journal of Contemporary Poetry and Poetics 5 (1990): 114–15.
Donahue, Joseph. “Harmonic Interferences: A Note on John Yau.” Talisman: A Journal of Contemporary Poetry and Poetics 5 (1990): 118–19.
Fickle, Tara. “English Before Engrish: Asian American Poetry’s Unruly Tongue.” Comparative Literature Studies 51, no. 1 (2014): 78–105. doi:10.5325/complitstudies.51.1.0078.
Foster, Edward Halsey. “John Yau and the Seductions of Everything That Used to Be.” MultiCultural Review 3, no. 1 (March 1994): 36–39.
Foster, Edward. “An Interview with John Yau.” Talisman: A Journal of Contemporary Poetry and Poetics 5 (1990): 31–50.
Foster, Edward. “John Yau.” Talisman: A Journal of Contemporary Poetry and Poetics 5 (1990): 31.
Foster, Edward. “John Yau: A Selected Bibliography.” Talisman: A Journal of Contemporary Poetry and Poetics 5 (1990): 147–51.
Hemensley, Kris. “On John Yau.” Talisman: A Journal of Contemporary Poetry and Poetics 5 (1990): 116–18.
Huang, Yunte. “Pidginizing Chinese.” In Bilingual Games: Some Literary Investigations, edited by Doris Sommer, 205–20. New Directions in Latino American Cultures. New York, NY: Palgrave Macmillan (London), 2003.
Jeon, Joseph Jonghyun. Racial Things, Racial Forms: Objecthood in Avant-Garde Asian American Poetry. Contemporary North American Poetry Series. Iowa City, IA: University of Iowa Press, 2012.
Kim, Hyo. “The Pleasure of Indeterminacy: John Yau’s ‘Genghis Chan: Private Eye.’” College Literature: A Journal of Critical Literary Studies 48, no. 2 (2021): 233–58.
Lagapa, Jason. “Parading the Undead: Camp, Horror and Reincarnation in the Poetry of Frank O’Hara and John Yau.” Journal of Modern Literature 33, no. 2 (2010): 92–113. doi:10.2979/JML.2010.33.2.92.
Lee, Merton. “A Canon of Alterity: John Yau’s Corpse and Mirror.” In Positioning the New: Chinese American Literature and the Changing Image of the American Literary Canon, edited by Tanfer Emin Tunc and Elisabetta Marino, 143–55. Newcastle upon Tyne, England: Cambridge Scholars Publishing, 2010.
Leong, Michael. “Neo-Surrealism’s Forked Tongue: Reflections on the Dramatic Monologue, Politics, and Community in the Recent Poetry of Will Alexander and John Yau.” Contemporary Literature 55, no. 3 (2014): 501–33. doi:10.1353/cli.2014.0027.
Malroux, Claire. “La Poésie Au Fronton de La Ville: Jenny Holzer.” Po&sie 120 (2007): 248–55. doi:10.3917/poesi.120.0248.
Mar, Christine. “The Language of Ethnicity: John Yau’s Poetry and the Ethnic/Aesthetic Divide.” In Literary Gestures: The Aesthetic in Asian American Writing, edited by Rocío G. Davis and Sue-Im Lee, 70–85. Philadelphia, PA: Temple University Press, 2006.
Mobilio, Albert. “The Dream Science of John Yau’s ‘Dragon’s Blood.’” Talisman: A Journal of Contemporary Poetry and Poetics 5 (1990): 119–20.
Morris, Daniel. “Strangers and Oneself: John Yau’s Writings on Contemporary Art.” Talisman: A Journal of Contemporary Poetry and Poetics 21–22 (2001): 45–57.
Morris, Daniel. Remarkable Modernisms: Contemporary American Authors on Modern Art. Amherst, MA: University of Massachusetts Press, 2002.
Rohrer, Matthew. “John Yau.” In The VERSE Book of Interviews: 27 Poets on Language, Craft, and Culture, edited by Brian Henry and Andrew Zawacki, 177–98. Amherst, MA: Verse Press, 2005.
Schelb, Edward N. “Embalmed in the Camera’s Glowing Formaldehyde: On John Yau’s Hollywood Asians.” Interdisciplinary Literary Studies: A Journal of Criticism and Theory 18, no. 1 (2016): 81–95. doi:10.5325/intelitestud.18.1.0081.
Schelb, Edward. “Corpse and Mirror, Mirror and Corpse: John Yau and the Paintings of Jasper Johns.” Word & Image: A Journal of Verbal/Visual Enquiry 23, no. 2 (April 2007): 211–22. doi:10.1080/02666286.2007.10435781.
Wald, Priscilla. “‘Chaos Goes Uncourted’: John Yau’s Dis(-)Orienting Poetics.” In Cohension and Dissent in America, edited by Carol Colatrella and Joseph Alkana, 133–58. SUNY Series in American Literature. Albany: State University of New York Press, 1994.
Wald, Priscilla. “Guilt by Dissociation: John Yau’s Poetics of Possibility.” Talisman: A Journal of Contemporary Poetry and Poetics 5 (1990): 121–25.
Wang, Dorothy J. “Undercover Asian: John Yau and the Politics of Ethnic Self-Identification.” In Asian American Literature in the International Context: Readings on Fiction, Poetry, and Performance, edited by Rocío G. Davis and Sämi Ludwig, 135–55. Contributions to Asian American Literary Studies: 1. Hamburg, Germany: LIT Verlag, 2002.
Wang, Dorothy J. “Genghis Chan: Parodying Private Eye.”Thinking Its Presence: Form, Race, and Subjectivity in Contemporary Asian American Poetry, Stanford, Stanford University Press, 2013, p. 205-243.
Yao, Steven. “Oceanic Etymologies: Shanghai and the Transpacific Routes of Global Modernity.” Verge: Studies in Global Asias 3, no. 1 (2017): 77–106. doi:10.5749/vergstudglobasia.3.1.0077.
Yu, Timothy. “Forgotten Capital: Touring Berlin with John Yau and Bill Barrette.” Xcp: Cross-Cultural Poetics 23 (2010): 105–15.
Yu, Timothy. “Form and Identity in Language Poetry and Asian American Poetry.” Contemporary Literature 41, no. 3 (2000): 422–61. doi:10.2307/1208892.
Yu, Timothy. “John Yau and Experimental Asian American Writing.” Race and the Avant-Garde, Experimental and Asian American Poetry Since 1965, Stanford, Stanford University Press, 2009, p. 138-159.
Zhou, Xiaojing. “Postmodernism and Subversive Parody: John Yau’s ‘Genghis Chan: Private Eye’ Series.” College Literature: A Journal of Critical Literary Studies 31, no. 1 (2004): 73–102.
Zhou, Xiaojing. “Two Hat Softeners ‘In the Trade Confession’: John Yau and Kimiko Hahn.” In Form and Transformation in Asian American Literature, edited by Xiaojing Zhou and Samina Najmi, 168–89. The Scott and Laurie Oki Series in Asian American Studies. Seattle, WA: University of Washington Press, 2005.
This page is in French. For automated translation click on
Pour accéder à la bibliographie, cliquer sur l’image ci-dessus.
Pour une présentation de la bibliographie, voir le bandeau à droite de cette publication, ou se rendre sur cette page.
Pour une carte géographique des éditeurs de poésie des Etats-Unis en traduction française (carte arrêtée en septembre 2022), cliquer sur l’image ci-dessous.
“Documentary Poetry, Popular Protest and Activism: An International Poetry and Poetics Seminar”
The American University of Paris.
Co-Directors: Geoff Gilbert and William Dow.
June 15-17, 2023.
The American University of Paris announces a call for papers for a documentary poetry conference to be held 15-17 June 2023 at the American University of Paris.
How do contemporary poets in the US and France position themselves in relation to popular political protest and activism? What use are they making of experimental documentary traditions (whose practices can be placed along a continuum from “subjective” auto-ethnographies to “objective” documentary tendencies)? How does writing outside France and the US relate to these two centers for poetry and poetics? What challenges does this offer to conceptions of the relation between poetry as an art form and other social and political utterances and actions? The conference will also look at the history of documentary poetry traditions in France and the United States, locating this history in an international, transnational, and pluri-disciplinary context.
Topics may include but are not limited to:
The documentary traditions of innovation and experiment in French and American poetry and how such traditions are articulated with political, economic, and social struggles; periodization and the documentary traditions
Contradictory tensions: documentary poetry as resistance to and a haven for the personal.
Documentary poetry takes as its primary subject historical events and the people who are the perpetrators and victims of such events. How might this poetry help readers to become “virtual witnesses”? What alternatives to the model of ‘temoignage’ and ‘witness’ can be proposed?
How poetry works with pre-existing cultural documents to uncover hidden historical claims and voices.
Documentary poetics and the question of appropriation.
The relationship between documentary modalities and social resistance poetry.
French and American documentary epistemologies and documentary poetry as alternatives to the viewpoints and subjects of mass media journalism.
Documentary poetry as an “investigative poetics”; and as an “investigative poetry” (P. Metres).
Documentary poetry as an international phenomenon.
Documentary poetry and the forms through which collective life is imagined – class, gender, race, sexuality, and debates within the left about these formations
Documentary poetry as forms of empowerment and rethinking reading practices.
How French and American documentary poetry implicitly questions the status of both poetry and documentary materials; questions of the canon and the archive.
Documentary poetry, the polyvocal, intertextual, and multimedia.
Documentary poetry: articulations of collectivity and social justice.
Plenary speakers: Juliana Spahr, Mark Nowak, Nathalie Quintane, Franck Leibovici.
Conference Fee: (includes coffee breaks and opening and closing receptions): 40 euros.
Un temps au jardin, dernier recueil de W. S. Merwin publié en 2016 sous le titre de Garden Time, est le legs d’un poète qui laisse à ceux qui vivent encore la trace poétique d’un présent partagé, une mémoire entretissée d’oubli. Veilleur du crépuscule, le poète fuit la lumière décapante, celle qui découpe et capture et appauvrit le monde, et nous engage à goûter ce qui toujours échappe. Maintenant. Une fois pour toutes, c’est-à-dire, dans la reprise infinie qu’est le temps du poème, le temps au jardin.
Un temps au jardin est présenté dans une version bilingue, traduit en français par Thomas Dutoit et Cécile Roudeau.
Le volume comprend leur commentaire, « L’éblouissement de l’ombre : écrire à l’approche du crépuscule », et leur traduction inédite d’un essai biographique de Robert Becker, « La forêt de palmiers de W.S. Merwin », qui rappelle l’attachement profond du poète à sa palmeraie de Maui à Hawaï.
W. S. Merwin est né à New York en 1927. Grand traducteur de poésie, auteur depuis le début des années 1950 d’une vingtaine de recueils de poèmes et de récits et essais en prose, W. S. Merwin reçut deux fois le prix Pulitzer de poésie : en 1971 pour The Carrier of Ladders et en 2009 pour The Shadow of Sirius. Au début des années cinquante, il avait acheté une vieille bâtisse à moitié en ruines dans le causse du Haut Quercy où il rédigea une partie de son œuvre, dans ce qu’il appela « l’autre pôle de ma vie ». W. S. Merwin s’est éteint en mars 2019 dans sa maison d’Haiku à Hawaï où il s’était installé dans les années soixante-dix. Merwin n’oublia pas le causse où il avait planté un jardin de roses anciennes, et où il revenait souvent. À Maui, le poète jardinier sema 14 000 palmiers ; il en survit aujourd’hui environ la moitié.
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Le colloque Merwin Across Borders Conference (Université Paris Cité et ENS Ulm, 20-21 octobre) s’ouvrira par une lecture bilingue des poèmes de W.S. Merwin à la librairie EXC, Passage Molière, 75003 Paris, Mercredi 19 octobre à 18h.
