Hélène Aji is Professor of American literature at the Ecole normale supérieure in Paris, and Vice-President of the Institut des Amériques. She was Visiting Professor at the University of Texas at Austin in 2017 and has been a regular Guest Professor at the National and Kapodistrian University of Athens, Greece. In addition to articles on 20th- and 21st-century American poetry, she is the author of Ezra Pound et William Carlos Williams: Pour une poétique américaine (L’Harmattan, 2001), William Carlos Williams: Un plan d’action (Belin, 2004) and a book-length essay on Ford Madox Ford’s The Good Soldier (Armand Colin, 2005). She co-edited several volumes among which an issue of online journal IdeAs on small presses and avant-garde poetry in the Americas (http://ideas.revues.org/1832, Summer 2017), an issue on “records of contingency” in literature and the arts for comparative literature journal Synthesis (https://ejournals.
Paulina Ambroży is Associate Professor and Head of American Literature Department at the Faculty of English, Adam Mickiewicz University in Poznań, Poland. Her research centers on American (more recently also Canadian and Polish) avantgarde and experimental poetry. She is interested in intersections between poetry, literary philosophy, science and the visual arts. She is the author of (Un)concealing the Hedgehog: Modernist American Poets and Contemporary Critical Theories (Poznań, 2012), which received the 2014 American Studies Network Book Prize for remarkable research in American studies, and which focused on Marianne Moore, Wallace Stevens, Gertrude Stein, William Carlos Williams and Mina Loy. With Liliana Sikorska, Joanna Jarząb-Napierała and Marta Frątczak-Dąbrowska she has authored Between the Self and the Other: Essays on the Poetry of Paul Muldoon (2018), a study which fuses four perspectives: autobiographical, geopoetic, postcolonial and intertextual. Her current book project is devoted to intermediality and provisionally titled Turn of the Sign: Crisis of Representation in American Poetry and the Visual Arts. Concurrently, she is working on a comparative project involving posthumanist approaches to the North American and Polish lyric.
Kacper Bartczak is an associate professor of American literature and Head of the Department of North-American Literature and culture at the University of Łódź, Poland. He is the author of In Search of Communication and Community: the Poetry of John Ashbery (Peter Lang 2006), Świat nie scalony (Biuro Literackie, 2009), Materia i autokreacja (słowo/obraz terytoria, 2019). He is also the editor (with Jakub Macha) of Wallace Stevens: Poetry, Philosophy, and Figurative Language (Peter Lang, 2018). As a poet, Bartczak has published seven collections, one of which has been a finalist for two major Polish literary awards. As a poetry translator, Bartczak translated and published as volumes of selected poetry by Peter Gizzi, Rae Armantrout, and Charles Bernstein.
Michael Barnholden was born in Moose Jaw Saskatchewan on Treaty 4 territory. He has worked in construction, agriculture and forestry, as a child care worker and disability advocate. He worked at the Native Education Centre, UBC and finally Emily Carr, as a Teaching Assistant and Sessional Instructor. He has also worked in publishing at Talonbooks, NewStar, Tsunami, West Coast Line and Line Books. He has written 10 books of poetry and several non-fiction titles such as Circumstances Alter Photographs, Reading the Riot Act, and translated Gabriel Dumont Speaks. He has recently completed a translation of some of Louis Riel’s Montana poems: Flat Willow Creek and is working on a biography: Louis Riel: Poet. His editorial work includes Writing Class: The Kootenay School of Writing Anthology and poetry collections such as Roy Miki’s FLOW and Garry Thomas Morse’s Lexicon Standoff. He began attending The Kootenay School of Writing in 1990 where he purchased a Masters Degree as part of a fundraising drive. Barnholden is also a photographer, painter, and carver. He has recently worked on 360riotwalk.ca, an interactive walking tour of the 1907 Anti-Asian Riots in Vancouver, and is consulting on the movie Stanley Park.
Al Bell is completing a PhD at the University of East Anglia on Constraint in Contemporary Poetry.
Elizabeth Brunazzi’s articles and reviews have appeared, in among other publications, the journals Les Lettres modernes, James Joyce Quarterly. European Joyce Studies and French Cultural Studies; The Languages of Joyce; and in the collection of essays Culture and Daily Life in Occupied France, eds. Elizabeth Brunazzi and Jeanine Plottel. Her original poetry and translations in English and French appear in Le Nouveau recueil, La Traductière, and the online poetry review Recoursaupoème.fr. Recoursaupoèmeéediteurs.com published her bilingual ebooks The Beginning Ends Here/Le Commencement prend fin ici, English and French texts, Elizabeth Brunazzi; rpt Lambert Academic Publishing, 2019; and Baby Pictures of Famous Dictators/Photos bébés de dictateurs célèbres, original English texts by Charles Simic, French translations, Elizabeth Brunazzi. Her most recent article on “Tourmente sur l’Afghanistan, Grand Reporter Andrée Viollis and Civil War in Afghanistan, 1929,” appeared in the February, 2019, issue of French Cultural Studies, UK. A PhD in Comparative Literature, she accepted an appointment to teach at the University of New Mexico in the Fall 2019 and currently resides in Taos, New Mexico. She is the organizer and co-editor of a new multilingual anthology of contemporary Haitian poetry featuring the work of thirty women and men from regions across the US, Canada, Haïti and France, expected publication in 2022.
Aurore Clavier is an Associate Professor at the Université de Lille (CECILLE/UR 4074), where she teaches North American literature. Her research bears on twentieth and twenty-first century poetry and the relationships between form and tradition and the spatial and historical constructions of “America.” She is the author of a forthcoming book on the work of Marianne Moore (Marianne Moore ou la Tradition Singulière: Réinventions Américaines, Honoré Champion, 2023), and of various articles on William Carlos Williams, Wallace Stevens, or John Ashbery. She has recently launched a research project on anthologies of Native American poetry, centering on Poet Laureate Joy Harjo’s signature project “Living Nations, Living Words.”
Adam Clay is a tenured tutor and lecturer in English studies (professeur certifié) at the University of La Rochelle where he is also an associate member of the Centre for Research in International and Atlantic History (CRHIA). A Fellow of the Higher Education Academy, Adam completed his PhD in English Literature at the University of Edinburgh in 2019 after having both studied and taught at universities in France and in New Zealand.
Alessandro De Francesco (Italy, 1981) is a poet, artist, and essayist. Among his books: And Agglomerates, of Trees Or (Mousse Publishing, forthcoming), ((( (Uitgeverij / punctum books, 2021), Pour une théorie non-dualiste de la poésie (MIX, 2021), Remote Vision. Poetry 1999-2015 (punctum books, 2016). He has exhibited and performed internationally (Centre Pompidou, Fondation Louis Vuitton, Kunsthalle Basel, MAMCS Strasbourg, Kelly Writers’ House at U-Penn, Brown University, Babycastles Gallery in NYC, Brussels Museum of Art & Design, Kunsthalle Mulhouse, Der TANK Basel, Biennale Gherdeina, Personal Structures at Venice Biennale, etc.). Graduated in Philosophy from the University of Pisa and with a doctorate in Literary Theory from the Sorbonne in Paris, he has been teaching poetry and fine arts studio practice in several universities and art academies, among which the European Graduate School, the Ecole Normale Supérieure, the ENSAV “La Cambre” in Brussels, and the Basel Academy of Art & Design. He currently holds the professorship in Creative Writing at the Turin Academy of Fine Arts in Italy and is a visiting professor of interdisciplinary studio practice at the Bern Academy of the Arts, Switzerland. More information on www.alessandrodefrancesco.net.
Michel Delville teaches English and American literatures, as well as comparative literature, at the University of Liège, where he directs the Interdisciplinary Center for Applied Poetics. He is the author or co-author of ca. twenty books including The American Prose Poem, J.G. Ballard, Frank Zappa, Captain Beefheart, and the Secret History of Maximalism (w. Andrew Norris), Food, Poetry, and the Aesthetics of Consumption: Eating the Avant-Garde, Crossroads Poetics, Radiohead: OK Computer, The Political Aesthetics of Hunger and Disgust (w. Andrew Norris), and Undoing Art (w. Mary Ann Caws). He has (co-)edited several volumes of essays on contemporary poetics, including Postwar American Poetry: The Mechanics of the Mirage, Sound as Sense: US Poetry &/In Music, L’œuvre en morceaux: Esthétiques de la mosaïque, Boucle et répétition: musique, littérature, arts visuels, Le dégoût: histoire, langage et politique d’une émotion plurielle, Le thriller métaphysique, and Literature Now: Key Terms and Methods for Literary History and The Edinburgh Companion to the Prose Poem (w. Mary Ann Caws).
William Dow is Professor of American Literature at the Université Gustave Eiffel (Paris-Est) and Professor of English at The American University of Paris. He is an Associate Editor of Literary Journalism Studies (Northwestern University Press) and has published articles in such journals as Publications of the Modern Language Association, Twentieth-Century Literature, ESQ: A Journal of the American Renaissance, and MELUS. He is the author of the book, Narrating Class in American Fiction (2009), and co-editor of Richard Wright: New Readings in the 21st Century (2011), Richard Wright in a Post-Racial Imaginary (2014), Latitudes Unknown: James Baldwin’s Radical Imagination (2019), and The Routledge Companion to American Literary Journalism (2020).
Patrick Durgin is the author of PQRS and, with Jen Hofer, The Route. A poet, scholar, and art critic involved with performance and poets theater, Durgin has also published text-sound works and three artist’s books: Daughter, Singles, and Zenith. From 2015–2017, he co-curated the Festival of Poets Theater in Chicago. In 2019 he translated French Unpublished Poems & Facsimile 1958-1960, by Miyó Vestrini. For over twenty years, he has been at the helm of the independent literary press Kenning Editions. He currently teaches in the Visual and Critical Studies, Creative Writing, Art History, and Liberal Arts programs at the School of the Art Institute of Chicago.
Andrew Eastman is maître de conférences in the Anglophone Studies Department at the University of Strasbourg, and is the author of numerous articles on poetic practices in modern and contemporary United States poetry. Recent work includes “Me, After Me : Whitman’s Rhyme” (Whitman Feuille à feuille, Editions Rue d’Ulm, 2018); ”Hearing Things: Voice and Rhyme in the Poems of Elizabeth Bishop” (Elizabeth Bishop and the Music of Literature, Palgrave McMillan 2019), and “The sonnet sequence as speech sound continuum: how we read Shake-speares Sonnets” (The early modern English sonnet: Ever in motion, Manchester UP 2020). He also participated in the translation of A Henri Meschonnic Reader (Edinburgh UP, 2018). He is currently working on a study of rhythm and voice in Elizabeth Bishop’s poems.
Claire Finch is a doctoral candidate in Gender Studies at the University of Paris 8. She recently wrote the introduction and editorial notes for Kathy Acker 1971-1975 (Editions Ismael, Paris/Lisbon 2019). She has presented her work on Kathy Acker at Badischer Kunstverein Karlsruhe, the ICA London, and the Seminary Coop Chicago. She is part of the Parisian-based dyke, nonbinary and trans author’s collective RER Q.
Andrew Gorin (he/him) is a poet and Postdoctoral Teaching Fellow in the New York University English department, where his work focuses on the intersection of poetry and poetics, media studies, and theories of the public sphere. He is the author of Someone Like You (Gauss PDF, 2017) and the forthcoming chapbook Simple Location, and the creator and co-editor of the collaborative writing project Executive Orders (The Operating System and Organism for Poetic Research, 2016-2020). His critical and creative writings have appeared or are forthcoming in journals and periodicals including Chicago Review, Criticism, Boston Review, and Urban Omnibus, among other publications, and he’s been a Writer-in-Residence at Millay Arts and Yaddo. He also serves as an organizer and editor for the multi-sited poetics working group and small press, the Organism for Poetic Research, and as a contributing editor for the climate-crisis-and-culture platform, The Distance Plan. Since 2012, he’s taught courses on literature, critical theory, and creative writing on the campuses of CUNY Brooklyn College, CUNY Queens College, and NYU.
Toni R. Juncosa is a PhD candidate at the University of Barcelona whose research approaches modern and contemporary US literature under the lens of Queer Theory and Critical Thought, with a special focus on American culture and identity. He obtained an MA in Modern and Contemporary Literature, Culture and Thought from the University of Sussex, and an MA in Creation and Representation of Cultural Identities from the University of Barcelona, where he is writing his thesis about 21st-century experiences of HIV in poetry. Juncosa is a “la Caixa” fellow and a member of the research project “(Un)Housing: Dwellings, Materiality, and the Self in American Literature.” He is currently on a research stay at the University of California, Berkeley, where he has been the recipient of a Black Studies Collaboratory grant. His latest publication is “‘My Proof of Life’: HIV as Reification of Black Metaphysics in Danez Smith’s Homie” in 452ºF Journal.
Daniel Katz is Professor of English and Comparative Literary Studies at the University of Warwick, Founding Editor of Bloomsbury Studies in Critical Poetics, and author of many articles as well as three books on 20th and 21st century literature, of which the most recent is The Poetry of Jack Spicer (Edinburgh UP, 2013). He has recent or forthcoming articles on Ben Lerner, Robert Duncan, and Jack Spicer in Textual Practice, Qui Parle, and Raritan, and is currently editing Be Brave to Things: The Uncollected Poetry and Plays of Jack Spicer (forthcoming, Wesleyan UP, 2021).
Shiv Kotecha writes across genres. The Switch (Wonder, 2018) makes a case for friendship over love using fiction and verse. His book EXTRIGUE novelizes Billy Wilder’s noir Double Indemnity shot-by-shot. He writes about art and film for publications like 4Columns, Aperture, BOMB, Texte Zur Kunste, art-agenda, MUBI’s Notebook, and frieze, where he is a contributing editor. He is based in New York where he edits Cookie Jar, a pamphlet series produced by for the Andy Warhol Foundation’s Arts Writers Grant. He holds a PhD in English from New York University, and teaches a graduate poetry seminar for NYU’s XE: Experimental Humanities Department. He also teaches in the MFA program for the Department of Photography at the Rhode Island School of Design.
Charlot Lucien, Directeur of the Haitian Artists Assembly of Massachusetts, is a Haitian storyteller, poet and visual art artist who resides in Massachusetts. As a storyteller, he has released four storytelling CDs in Haitian Creole and French. As a poet and writer his works have been released in various publications, newspapers, and anthologies. His first book of poetry “La tentation de l’autre rive” was published in 2013 (Trilingual Press, Cambridge MA).
Lucien frequently offers lectures, poetry readings and conferences on Haiti in academic and cultural venues in the U.S., Canada, Haiti, Guadeloupe, and France, promoting a greater awareness of Haitian history and culture. While his early poetry has primarily been influenced by 19th century French poets (Hugo, Baudelaire, Rimbaud…) and 20th century Haitian poets of the Indigenist School, his traveling abroad, his bearing witness of others’ culture, history, and struggles, have awakened cultural affinities and shifted his writing toward the meaning and the dimensions of “being” in other spaces and spheres.
Charlot Lucien is history lecturer at the University of Massachusetts’ OLLI Institute. He is the father of two children, and resides with his wife Evangéline in Massachusetts, USA.
Samantha Majhor (Dakota and Assiniboine descendant) is an Assistant Professor of Native American Literature in English at Marquette University. Her current book project “We are All Related: Contemporary Native American Literature and the Nonhuman Turn” explores the portrayal of natural and cultural materials like beaded dresses, houses, books, cars, and rivers in prose and poetry by Native writers. The project underscores long-held indigenous philosophies about material life and makes visible the ways those concepts are both congruent with and divergent from recent theoretical turns toward materialism and object-oriented ontologies. She is also an advocate for Indigenous language revitalization efforts and a student of the Dakota language.
Maria Manning is a 2nd Year PhD Candidate in the School of English, UCC, supervised by Professor Lee Jenkins. Her doctoral research investigates the links between performance poetry and e-poetics, focussing on contemporary iterations such as Instapoetry. She is the Postgraduate/Early Career Rep for the Irish Association of American Studies.
Peter Middleton is the author of Expanding Authorship: Transformations in American Poetry Since 1950 (University of New Mexico Press, 2021), Physics Envy: American Poetry and Science in the Cold War and After (Chicago, 2015), and other books and articles on modern literature. His essay “Unknowns” in the Chicago Review 61.2 (2018) sets out his current interests. He is Emeritus Professor of English at the University of Southampton, UK.
Joe Milutis is a writer, media artist and Associate Professor of Interdisciplinary Arts and the MFA in Creative Writing and Poetics at the University of Washington-Bothell. Work has appeared in Fence, Triple Canopy, Cabinet, PennSound Authors, Amodern, Tagvverk, Gauss PDF, as well as a variety of performance and gallery venues. He is the author of Failure, A Writer’s Life (Zer0 Books: 2013), Ether: The Nothing That Connects Everything (University of Minnesota Press: 2006), and Bright Arrogance, a column on experimental translation in Jacket2. His translation of Roland Barthes’ all except you is forthcoming from Punctum Books. Numerous chapbooks, media-literary hybrid works, videos and sound pieces can also be found at <www.joemilutis.com>
Evelyn Reilly is a New York-based poet, scholar, and environmentalist. Her books include Styrofoam, Apocalypso and Echolocation, all of which are published by Roof Books. Her poetry has appeared in many anthologies, among them The Arcadia Project: Postmodernism and the Pastoral, Big Energy Poets of the Anthropocene, The &NOW AWARDS 2: The Best Innovative Writing, and Poetics for a More-than-Human World. Her work is also included in the Feral Atlas: The More-than-Human Anthropocene, a multimedia compendium of work by scientists, thinkers, poets and artists. Recent essays have been published in Jacket2, The Supposium: Thought Experiments & Poethical Play in Difficult Times, and Fractured Ecologies. She is a member of the Steering Committee of the climate activist group 350NYC.
Lacy Rumsey is Associate Professor in the English department of the Ecole Normale Supérieure de Lyon, where he teaches poetry and translation. His research focuses on the prosody of English-language poetry, particularly free verse, and he has published numerous articles and chapters on prosodic and other formal aspects of English-language poetry. These include a theoretical and critical account of the contribution of intonation to poetic form, studies of rhythm in the poetry of Whitman, Swinburne, Bishop, MacNeice and J.H. Prynne, an analysis of the history and nature of found poetry, and a consideration of the ways in which prosody is discussed in the Pound / Zukofsky, Williams / Zukofsky, Olson / Creeley and Bishop / Lowell correspondences. Other essays have considered Jonathan Williams, Ronald Johnson, R.F. Langley and Jeff Hilson. His chapter on free-verse and open-form poetry features in A Companion to British and Irish Poetry, 1965-2015 (Wiley-Blackwell, 2020), and a French-language analysis of the diverse rhythmic practices of English-language free-verse poets in the year 1922 is about to appear.
Sophie Seita is an artist, writer, and researcher whose work explores text in its various translations into book objects, performances, videos, or other languages and embodiments. She often works collaboratively and internationally on multiple projects; currently she’s developing a community-oriented project and queer gardening talk-show opera with her long-term collaborator Naomi Woo, funded by the British Council, Canada Council, Canada High Commission, and Farnham Maltings. She’s performed or exhibited her work at Café Oto, [ SPACE ], Hoxton253, La MaMa Galleria, Bold Tendencies, the Arnolfini, Jawaharlal Nehru University (JNU), Kettle’s Yard, Parasol Unit, Flat Time House, Art Night London, Kunsthalle Darmstadt, Taller Bloc (Santiago de Chile) and elsewhere, and has received funding and fellowships from Creative Scotland, Deutscher Übersetzungsfonds, a-n, Dover Prize at Darlington, Yale, Princeton, Columbia, Cambridge, Boston University, PEN America, Hackney Council, among others. Her recent and upcoming publications include: a book of experimental performance writing, My Little Enlightenment Plays (Pamenar, 2020), a book of criticism, Provisional Avant-Gardes: Little Magazine Communities from Dada to Digital (Stanford University Press, 2019), a book of lyric essays, Lessons of Decal (87 Press, 2023, forthcoming), an article on lecture performances called ‘Playing with Knowledge’ (TDR, June 2022), and translations of Uljana Wolf work, Subsisters: Selected Poems (Belladonna, 2017) and Etymological Gossip: Essays and Lectures (Nightboat Books, 2023, forthcoming).
Jennifer Scappettone works at the confluence of the literary, visual, and scholarly arts to rethink the way language shapes our relation to the built and natural environments. Her poetry collections include From Dame Quickly, The Republic of Exit 43: Outtakes & Scores from an Archaeology & Pop-Up Opera of the Corporate Dump, Belladonna Elders Series #5: Poetry, Landscape, Apocalypse (with Etel Adnan and Lyn Hejinian), and SMOKEPENNY LYRICHORD HEAVENBRED: 2 Acts, an e-libretto for “mixed-reality” performance. Her translations of the poet-refugee from Fascist Italy Amelia Rosselli were gathered in the award-winning collection Locomotrix. Her critical study Killing the Moonlight: Modernism in Venice investigated the undeath of an urban assemblage deemed past and was shortlisted for the Modernist Studies Association Book Prize. She has collaborated with dancers, architects, musicians, and code writers on performance works for sites ranging from Fresh Kills Landfill to Rome’s Janiculum Hill. Her work has been recognized by fellowships at the Civitella Ranieri Foundation, the Stanford Center for the Humanities, the Bogliasco Foundation, and the American Academy in Rome, among others. She is Associate Professor working across several programs at the University of Chicago and Visiting Professor at the Université Gustave Eiffel.
Joshua Schuster is an associate professor of English at Western University in Canada. He is author of The Ecology of Modernism: American Environments and Avant-Garde Poetics (2015). A co-written book Three Critiques of Existential Risk is scheduled to appear in 2021 with University of Minnesota Press. Recent essays on ecopoetics have appeared in the journal Resilience and the edited volumes Literature and Sustainability (2017) and Ecopoetics: Essays from the Field (2018), as well as in a series of blog posts on Jacket 2.
Zoë Skoulding is a poet and literary critic interested in translation, sound and ecology. She is Professor of Poetry and Creative Writing at Bangor University. Her collections of poetry (published by Seren Books) include The Mirror Trade (2004); Remains of a Future City (2008), shortlisted for Wales Book of the Year; The Museum of Disappearing Sounds (2013), shortlisted for Ted Hughes Award for New Work in Poetry; and Footnotes to Water (2019), which was a Poetry Book Society Recommendation and won the Wales Book of the Year Poetry Award 2020. In 2020 she also published The Celestial Set-Up (Oystercatcher) and A Revolutionary Calendar (Shearsman). She received the Cholmondeley Award from the Society of Authors in 2018 for her body of work in poetry, and is a Fellow of the Learned Society of Wales. Her critical work includes two monographs, Contemporary Women’s Poetry and Urban Space: Experimental Cities (2013), and Poetry & Listening: The Noise of Lyric (2020). Her current research project (which supports her participation here) is Transatlantic Translation: Poetry in Circulation and Practice Across Languages, funded by the UK Arts and Humanities Research Council.
Danny Snelson is a writer, editor, and archivist working as an Assistant Professor in the Department of English at UCLA. His online editorial work can be found on PennSound, Eclipse, UbuWeb, and the EPC. He is the publisher of Edit Publications and founding editor of the Jacket2 Reissues project. His books include Full Bleed: A Mourning Letter for the Printed Page (Sync, 2019), Apocalypse Reliquary: 1984-2000 (Monoskop/Mediabus, 2018), Radios (Make Now, 2016), EXE TXT (Gauss PDF, 2015), Epic Lyric Poem (Troll Thread, 2014), and Inventory Arousal with James Hoff (Bedford Press/Architectural Association, 2011). With Mashinka Firunts Hakopian and Avi Alpert, he performs as one-third of the academic performance group Research Service. He is currently developing a manuscript exploring online collections of art and letters entitled The Little Database: A Poetics of Media Formats. See also: http://dss-edit.com
Zsófia Szatmári wrote her PhD at Paris 8 University and Eötvös Loránd University on filmic poetics in contemporary French and North American poetry (on works by Pierre Alferi, Abigail Child, Caroline Dubois, Thalia Field, Jérôme Game, Liliane Giraudon, Kevin Killian, Lyn Hejinian, Emmanuel Hocquard, Cécile Mainardi, Cole Swensen). She translates from French and English to Hungarian (now working on Pleasures and Days by Marcel Proust and selected essays by George Orwell), and from Hungarian to French, especially Hungarian poetry in collaboration with Jean-François Puff. She participated to a collaborative translation of Samuel Beckett’s plays in Hungarian, and translated the essay How to Do Nothing by the US artist Jenny Odell. She is an editor and co-founder of Éditions L’Usage, a French publishing house specialized in poetry; and wrote film reviews at Filmtekercs.hu and Filmvilág, and publishes poems.
Chloé Thomas is Assistant Professor of English at the University of Angers, France. Her latest book, Les Excentrés: poètes modernistes américains, was published in 2021 by CNRS éditions and deals with the first generation of American modernist poets. She is also a translator, most recently of Lyn Hejinian’s The Unfollowing (L’Insuivant, joca seria, 2022).
Heloise Thomas received her PhD in 2021 from Bordeaux Montaigne University and currently teaches at Lyon 3 University. Her dissertation explored the aesthetic and political possibilities of reparative histories and queer utopias in contemporary North American literature (especially poetry), and her most recent publications discuss lesbian identities, memorial politics, and queer counter-apocalypses. In addition to her research, she also writes and organizes creative writing workshops centered on poetry.
Naomi Toth lectures in English literature at the Université Paris Nanterre. She is currently working on an IUF project entitled “Tragic documents”, which explores the way in which contemporary documentary aesthetics (poetry, the novel, non fiction, theatre and visual arts) incarnates the law in order to transform it.
Dr. Marta Werbanowska is a Postdoctoral Assistant in American Literature and Culture at the University of Vienna, Austria. She obtained her Ph.D. from Howard University in 2019, and was a Fulbright Scholar at the University of North Carolina in Charlotte in 2014-15. Her research and teaching interests include contemporary African American and Caribbean poetries, literatures of social and environmental justice, Black Studies, and Environmental Humanities. Her scholarship has been published in Interdisciplinary Studies in Literature and Environment (ISLE) and the College Language Association Journal (CLAJ), among others. She is currently completing her first book manuscript, tentatively titled Vital Necessity: Ecological Thinking in Contemporary Black Poetry.
Steven Zultanski is the author of several books of poetry, most recently Relief (2021), Honestly (2018), and Bribery (2014). He has also written two works of experimental criticism, On the Literary Means of Representing the Powerful as Powerless (2018) and Thirty-Odd Functions of Voice in the Poetry of Alice Notley (2020). His critical writing has appeared in Frieze, Art in America, Spike Art Magazine, and elsewhere. With the artist Ed Atkins, he co-wrote and co-directed a new play, Sorcerer, which premiered in March 2022 at Revolver in Copenhagen.