Poets and Critics Symposium: Erin Mouré, Monday 28 and Tuesday 29 April 2025

© Karis Shearer

The next Poets and Critics Symposium will be devoted to the work of Erin Mouré.

Monday 28 and Tuesday 29 April, 2025.

Université Paris Cité, Bâtiment Olympe de Gouges, 8 rue Albert Einstein, 75013 Paris 9:45 am-5 pm, room OdG 830 (8th floor of the Olympe de Gouges Building)

REGISTER HERE

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How  to get there?

For detailed instructions and directions, click HERE.

&

double change Poetry reading with Erin Mouré

Monday 28 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 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.

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Poets and Critics Symposium: Bhanu Kapil, Thursday 14 and Friday 15 November 2024

 
© Bhanu Kapil, 2024

 

 

The next Poets and Critics Symposium will be devoted to the work of Bhanu Kapil, in collaboration with Bastien Goursaud and Université de Picardie.

Thursday 14 and Friday 15 November, 2024.

Université Paris Cité, Bâtiment Olympe de Gouges, 8 rue Albert Einstein, 75013 Paris

9:45 am-5 pm, room OdG 830 (8th floor of the Olympe de Gouges Building)

REGISTER HERE

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How  to get there?

For detailed instructions and directions, click HERE.

&

double change Poetry reading with Bhanu Kapil, Nadid Belaatik & Catherine Weinzaepflen

Thursday 14 November, 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 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.

 

Photo from a performance at The Horse Hospital in London, © Bhanu Kapil, 2023.

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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

Autobiography of a Cyborg, Leroy Press, 2000

 

Critical Bibliography

Beer, John. “The SRPR Review Essay: To Write the Larger Scene: Notes on the New Political Lyric.The Spoon River Poetry Review, vol. 41, no. 2, 2016, pp. 106–123.

Belsare, Akash. “Feralizing the Human/Animal Distinction in Bhanu Kapil’s Humanimal.” Contemporary Literature, vol. 61, no. 3, 2020, pp. 362–387.

Berlant, Lauren. “My Dark Places.” Duke University Press, Durham, NC, June 2022, pp. 149–174.

Brady , Andrea. Radical Tenderness: Poetry in Times of Catastrophe. Cambridge University Press, Aug. 2024.

Colby, Georgina. “Housing the Stranger: Feminist Sheltering in the Work of Bhanu Kapil.” Contemporary Literature, vol. 64, no. 1, 2023, pp. 24–51.

Defalco, Amelia. Curious Kin in Fictions of Posthuman Care. Oxford University Press, July 2023.

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).

Dowling, Sarah. “They Were Girls: Animality and Poetic Voice in Bhanu Kapil’s Humanimal.” American Quarterly, vol. 65, no. 3, 2013 Sept. 2013, pp. 735–755. https://doi.org/10.1353/aq.2013.0039.

Grimmer, C. R., and Kate Rose. “Bhanu Kapil’s Schizophrene Poetics: Disability, Dispossession, and Diaspora.” Routledge, New York, NY, Apr. 2020, pp. 39–55.

Kocher, Ruth Ellen. “F/fabula A/anima: Reading Bhanu Kapil’s ‘Writing/Not-Writing: Th[a][e] Diasporic Self: Notes towards a Race Riot.’” English Language Notes, vol. 50, no. 1, 2012, pp. 47–53.

Lee, Sueyeun Juliette, and Timothy Yu. “Trauma and the Avant-Garde.” Cambridge University Press, Cambridge, England, May 2021, pp. 132–146.

Mitchell, K. Bellamy, et al. “‘A Historian of the Soft Tissue’: An Interview with Bhanu Kapil.” Palgrave Macmillan (Cham, Switzerland), Cham, Switzerland, Aug. 2024, pp. 585–594.

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/.

Sengupta, Shalini. “‘Enabling Entanglements’: Rethinking Modernist Difficulty in the Sixth Extinction.Modernism/Modernity, vol. 7, no. 2 [Online section], 7 Oct. 2022.

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.

Voris, Linda. “‘The Curious Props’: Placing Memory in Recent Experimental Writing.West Branch, vol. 82, 2016, pp. 72–78.

Wang, Dorothy, et al. “Speculative Notes on Bhanu Kapil’s Monstrous/Cyborgian/Schizophrenic Poetics.” Kelsey Street Press, Berkeley, CA, Nov. 2015, pp. 78–91.

Yu, Timothy, et al. Nests and Strangers: On Asian American Women Poets. Kelsey Street Press, Nov. 2015.

 

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

 

Poets and Critics Symposium: John Yau, Thursday 25 and Friday 26 April 2024

John Yau, photo by Gloria Graham, taken during the video taping of Add-Verse, 2003
John Yau, photo by Gloria Graham, taken during the video taping of Add-Verse, 2003

The next Poets and Critics Symposium will be devoted to the work of John Yau.

Thursday 25 and Friday 26 April, 2024.

Université Paris Cité, Bâtiment Olympe de Gouges, 8 rue Albert Einstein, 75013 Paris

9:45 am-5 pm, room OdG 830 on Thursday 25 April (8th floor of the Olympe de Gouges Building)

and room OdG 115 on Friday 26 April (1st floor of the Olympe de Gouges Building).

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How  to get there?

For detailed instructions and directions, click HERE.

&

double change Poetry reading with Anne Portugal, John Yau and his translator Marc Chénetier

On the occasion of the publication of

Une autre façon d’écrire sur le sable, Selected Poems by John Yau,

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.

*

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.

Bibliography

Poetry

  • Crossing Canal Street, Bellevue Press, 1976
  • Sometimes, Tilbury House Pub, 1980
  • Broken Off by the Music, Burning Deck, 1981
  • Corpse and Mirror, Henry Holt & Company, 1983
  • Edificio Sayonara, Black Sparrow Press, 1992
  • Forbidden Entries, Black Sparrow Press, 1996
  • Berlin Diptychon, Timken Publisher, 1995
  • Borrowed Love Poems, Penguin Books, 2002
  • Ing Grish, Saturnalia Books, 2005
  • Paradiso Diaspora, Penguin Books, 2006
  • Exhibits, Letter Machine Editions, 2010
  • Egyptian Sonnets, Rain Taxi, 2012
  • Further Adventures in Monochrome, Copper Canyon Press, 2012
  • Bijoux in the Dark, Letter Machine Editions, 2018
  • Genghis Chan on Drums, Omnidawn, 2021
  • Tell It Slant, Omnidawn, 2023

Fiction

Criticism, Essays, Art Books

  • The sleepless night of Eugene Delacroix, Small Press, 1980
  • Miklos Pogany, Paintings and Works on Paper, Phillips Collections, 1985
  • Roger Brown, George Braziller, 1987
  • Radiant Silhouette: New and Selected Work 1974-1988, Black Sparrow, 1989
  • Four Painters: Michael Kessler, Archie Rand, Mark Schlesinger, Lynton Wells, Flint Inst of Arts, 1989
  • Yuri Kuper: Recent work, Claude Bernard Gallery, 1989
  • Big City Primer: Reading New York at the End of the Twentieth Century, Timken Publishers, 1991
  • A.R. Penck, Harry N. Abrams Press, 1993
  • In the Realm of Appearances: The Art of Andy Warhol, The Ecco Press, 1993
  • Ed Moses: A Retrospective of Paintings and Drawings 1951-1996, University of California Press, 1996
  • In Pursuit of the Invisible, Hard Press, 1996
  • The United States of Jasper Johns, Zoland Books, 1997
  • Max Gimblett , Craig Potton Publishing, 2000
  • Don Gummer–sculpture: Essay, Salander-O’Reilly Galleries, 2000
  • Dazzling Water Dazzling Light: Pat Steir Paintings, University of Washington Press, 2000
  • Randy Hayes: The World Reveiled, Oglethorpe University Museum, 2000
  • Tom Uttech : New Paintings, Alexandre Gallery, 2004
  • Mark Di Suvero, Knoedler & Company, 2005
  • James Siena : New Paintings and Gouaches, Pace Wildenstein, 2005
  • The Passionate Spectator: Essays on Art and Poetry, University of Michigan Press, 2006
  • A Thing Among Things: The Art of Jasper Johns, D.A.P, 2008
  • Will Ryman : A New Beginning, Marlborough Chelsea, 2009
  • William Tillyer : Watercolours, 21 Publishing Ltd, 2010
  • Nicholas Krushenick : A Survey, Gary Snyder Gallery, 2011
  • Sam Francis, Bernard Jacobson Ltd, 2014
  • The Wild Children of William Blake, Autonomedia, 2017
  • Thomas Nozkowski, Lund Humphries, 2017
  • Please Wait by the Coatroom: Reconsidering Race and Identity in American Art, Black Sparrow Press, 2023

Editorial Work

  • Fetish: An Anthology, Four Walls Eight Windows, 1998
  • New Smoke: An Anthology Of Poetry Inspired By Neo Rauch, Off the Park Press, 2009
  • « What’s It All Mean: William T. Wiley » in Retrospect, University of California Press, 2009
  • Viva La Difference: Poetry Inspired by the Painting of Peter Saul, Off the Park Press, 2010
  • The Triumph of Poverty: Poetry Inspired by the Work of Nicole Eisenman, Off the Park Press, 2012
  • Richard Artschwager: Into the Desert, Black Dog Publishing, 2014

 

Interviews

“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.
  • Peterson, Eric. “A Bughouse Interaction.” Bughouse 2 (1994): 47–59.
  • 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. “Undercover Asian: John Yau and the Politics of Ethnic Self-Identification.” Thinking Its Presence: Form, Race, and Subjectivity in Contemporary Asian American Poetry, Stanford, Stanford University Press, 2013, p. 162-204.
  • 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.
  • Yao, Steven. “‘The Owner of One Pock-Marked Tongue’: John Yau and the Logic of Ethnic Abstraction.” Foreign Accents: Chinese American Verse from Exclusion to Postethnicity. Oxford: Oxford University Press, 2010, p. 231-264.
  • 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.

 

Bibliographie de poésie des États-Unis d’Amérique en traduction française, 1786-2023 (anthologies, formes anthologiques et volumes)

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.

 

 

CFP “Documentary Poetry, Popular Protest and Activism: An International Poetry and Poetics Seminar”

“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.

Dinner Fee: 60 euros.

 

Proposal for papers should include

  1. A brief (250-300 word) abstract
  2. A one to two page vita.

Submissions to ggilbert@aup.edu and wdow@aup.edu

Deadline for Submissions: March 15, 2023.

 

 

 

 

Just Out! William S. Merwin, Un temps au jardin, trad. Thomas Dutoit et Cécile Roudeau, Périgueux, Fanlac, 2022 & Lecture, 19.10.22, Librairie EXC, Paris

William S. Merwin, Un temps au jardin, traduction par Thomas Dutoit et Cécile Roudeau
ISBN: 9782865773206 Editions Fanlac
 
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.

https://merwinacrossborders.weebly.com/special-events.html

“North American Poetry 2000-2020/2: Poetics, Aesthetics, Politics.” Conference, 29 June-2 July 2022, Paris.

From Wednesday 29 June to Friday 1 July, the conference will be held at Institut Universitaire de France. On Saturday 2 July, the conference will be held at Université Paris Cité.

To attend the conference at the Institut Universitaire de France, located in the Ministère de l’Enseignement Supérieur et de la Recherche, ONLINE REGISTRATION is REQUIRED. Please register by Friday 24 June HERE

 

Wednesday 29 June – Friday 1 July

Institut Universitaire de France

Amphithéâtre Gay Lussac

25 rue de la Montagne Sainte-Geneviève

75005 Paris  

Wednesday 29 June

Institut Universitaire de France, Amphithéâtre Gay Lussac, 25 rue de la Montagne Sainte-Geneviève, 75005 Paris

1:30 pm Coffee & Welcome address

2-3:30 pm Panel 1: National, Transnational, Moderator: Michel Delville
1. Elizabeth Brunazzi, scholar, editor, with Charlot Lucien, storyteller, poet and visual art artist, “Contemporary Haitian Performance Poetry in and around New York, Boston, the San Francisco Bay Area and Montréal”
2. Zoë Skoulding, Bangor University, “Cross-border Ecologies of Translation”
3. Aurore Clavier, Université de Lille, “Place, Site, Nation : Joy Harjo and the multiscalar poetics of ‘Living Nations, Living Words'”

3:30-4 pm Coffee Break

4-5:30 pm Panel 2:  Renewed Ecopoetics Constellations, Moderator: Jennifer Scappettone
1. Evelyn Reilly, poet, critic, “Lucretius, Extinction Rebellion, and the Poetics of Love and Rage”
2. Marta Werbanowska, University of Vienna, “African American Ecopoetics and Black Atlantic Ecological Thinking”
3. Joshua Schuster, Western University, Canada, “After the Last Avant-Gardes: Environmental Poetics as Extreme Writing”

 

7:30pm, Opening Reading

Atelier Michael Woolworth, 2 rue de la Roquette, 75011 Paris :

Srikanth (Chicu) Reddy, Lisa Robertson 

 

Thursday 30 June

Institut Universitaire de France, Amphithéâtre Gay Lussac, 25 rue de la Montagne Sainte-Geneviève, 75005 Paris

9:15 Coffee

9:30-10:30 am Panel 3 Rethinking Montage
, Moderator: Lacy Rumsey
1. Michel Delville, University of Liège, “Erasurist Poetics and Politics in North-America: 1998-2016”
2. Steven Zultanski, poet, critic, “Genre and Process in the Poetry of Tan Lin”

10:30-11 am Coffee Break

11 am-12:30 pm Panel 4 Documentary Poetics, Moderator: Hélène Aji
1. William Dow, University Gustave Eiffel, “Metabolizing Genres: American Poetry and Literary Journalism”
2. Naomi Toth, University Paris Nanterre, “Poetic justice? Appropriating legal documents in contemporary North American poetry”
3. Martin Glaz Serup, University of Copenhagen, “To appellant, every woman is a bitch – a reading of Vanessa Place’ Statement of Facts.”

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2-3 pm Panel 5 Queer & Feminist Interventions, Moderator: Lisa Robertson
1. Claire Finch, University Paris 8, “Kathy Acker’s Cuntemporary – feminism, fuck you’s, and avant-garde literary technologies”
2. Héloïse Thomas, University Bordeaux-Montaigne, “‘It’s a poem I memorized to stay alive when everything in me screamed otherwise’: Poetry, Form, and Liberation in the 21st Century”

3-3:30 pm Coffee Break

3:30-4:30 pm Panel 6.1 The Poetics of Care and Health, Moderator: Daniel Katz
1. Toni R. Juncosa, University of Barcelona, “‘Every day is a funeral and a miracle:’ Danez Smith’s Poetry, HIV, and 21st-Century Elegiac Genre”

Friday 1 July 

Institut Universitaire de France, Amphithéâtre Gay Lussac, 25 rue de la Montagne Sainte-Geneviève, 75005 Paris

9:15 Coffee

9:30-11 am Panel 7 Anthologies, Race, and Identities
, Moderator: Olivier Brossard
1. Maria Manning, University College Cork, “‘This anthology is meant to expand the idea of who a poet is and what a poem is for’: Identity and Action in Breakbeat Poetry”
2. Samantha Majhor, Marquette University, “Indigenous Rising: Native Voices in the 21st Century North American Poetic Landscape”
3. Patrick Durgin, Art Institute of Chicago, “Xenophobia, Cosmopolitanism, Our Heuristic Conditions”

11-11:30 am Coffee Break

11:30 am-1 pm Panel 8 Xenoglossia, Accents, and Polyvocality, Moderator: Zoë Skoulding
1. Jennifer Scappettone, University of Chicago, Visiting Professor, Université Gustave Eiffel, “Glottal Stop: Xenoglossic Breathing and Poetic Transmutations of the Mother Tongue”
2. Andrew Eastman, Université de Strasbourg, “Listening with the body: poetics of accent in the work of Cathy Park Hong”
3. Shiv Kotecha, New York University / Rhode Island School of Design, “Side Kicks: Not White Fabulation in White Poetry”

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2:30-4 pm Panel 9 Digital Poetics and Mixed Media, Moderator: Martin Glaz Serup
1. Alessandro De Francesco, Turin Academy of Fine Arts, Bern Academy of the Arts, and Danny Snelson,  University of California, Los Angeles, “Immersive Poetry and VR Poetics”
2. Joe Milutis, University of Washington-Bothell, “Attack of the Vernacular: Internet Poetics, Platforms, Pedagogy”
3. Zsófia Szatmári, Université Paris 8 / Eötvös Loránd University, “Abigail Child’s ‘Foreign’ Poems”

4-4:30 pm Coffee Break

4:30-6 pm Panel 10 The Politics of Teaching, Moderator: Vincent Broqua
1. Hélène Aji, Ecole normale supérieure, “Modernist Hangover : Bob Perelman, ‘poet, teacher and critic'”
2. Chloé Thomas, Université d’Angers, “Revisiting the poetry workshop”
3. Michael Barnholden, poet, artist, scholar, “The Kootenay School of Writing: A political intervention more than anything else”

7:30 pm, Collective Poetry Reading,

Michael Barnholden, Alessandro De Francesco, Patrick Durgin, Claire Finch, Toni R. Juncosa, Shiv Kotecha, Charlot Lucien, Joe Milutis, Evelyn Reilly, Jennifer Scappettone, Sophie Seita, Martin Glaz Serup, Zoë Skoulding, Danny Snelson et Steve Zultanski

Maison de la poésie de Paris, 157 Rue Saint-Martin, 75003 Paris 

 

Saturday 2 July

Université Paris Cité

Salle des thèses 580F

Bâtiment Halle aux Farines

10, 16 rue Françoise Dolto 75013 Paris

9, 15 esplanade Pierre Vidal-Naquet 75013 Paris  

La salle des thèses se situe au 5e étage de la Halle aux Farines (Hall F, accès par le Hall E, allée paire, ascenseur F, Salle 580). Vous pouvez y accéder par le 10, rue Françoise Dolto ou par le 9, Esplanade Vidal-Naquet.

The Salle des thèses is located on the 5th floor of the Halle aux Farines (Hall F, access by Hall E, allée paire, elevator F, Room 580). You can access the building at 10, rue Françoise Dolto or 9, Esplanade Vidal-Naquet.

10:30 am Coffee

11 am-12:30 pm Panel 11 Listening to Poetry, Moderator : Abigail Lang
1. Alexander Bell, University of East Anglia, “Lisa Robertson’s Prosody”
2. Lacy Rumsey, Ecole normale supérieure de Lyon, “Directions and Limits in Twenty-First Century Prosody”
3. Sophie Seita, artist, writer, researcher, “Poetry Live: A Playlist”

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2-2:30 pm Panel 6.2 The Poetics of Care and Health, Moderator: Vincent Broqua
1. Adam Clay, University of la Rochelle, “Politics and aesthetics of care in Brandy Nalani McDougall’s poems”

2:30-4 pm Panel 12 Poetics of Address, Moderator: Xavier Kalck

1. Paulina Ambroży, Adam Mickiewicz University, Poznań, “The Unfindable Self and Poem-as-Habitat in Evelyn Reilley’s Echolocation and a. rawlings’ Wide Slumber for Lepidopterists”
2. Andrew Gorin, New York University, “Lyric Noise: The Phatic Subject of Poetry in the Mass Public Sphere”
3. Daniel Katz, University of Warwick, “‘These Feelings of Futurelessness’: Peter Gizzi’s Now It’s Dark

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Colloque organisé avec le soutien de l’Institut Universitaire de France, des laboratoires LISAA EA 4120 de l’Université Gustave Eiffel, LARCA UMR8225 de l’Université Paris Cité, et TransCrit de l’Université Paris 8. Avec le soutien de l’association double change, de l’atelier Michael Woolworth et de la Maison de la Poésie de Paris.

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This is the closing conference of a 5-year research program on the history of US poetry and poetics, in relation with the Poets and Critics program in Paris.

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 inventing 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 in North American poetry today? What privileged connections are being established between the poetry of the United States and the poetries of other countries, especially its North American neighbors (whether the Caribbean, Central America, or Canada)? Are the local and regional poetry scenes as active as in the 1960s? Or do poets tend to associate on a larger scale based on professed identities? How do gender, race, and class call for and enact redefinitions of the poetic spectrum? What are the sociological specificities of North American 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 to identify the relevant notions and concepts that will allow us to map its current configurations. We invite papers which focus on English-language poetry as well as bilingual or multilingual works including English as one of their languages. We welcome submissions that question and recontextualize the term “North American.” We are particularly interested in groups, poets, and works that stem from the modernist and experimental traditions even as they may question and overturn this legacy. We also invite submissions focusing on poems and poetics, groups and distribution networks, the geography and sociology of North American poetry, with the hope that they will contribute to sketching a recent history of North American poetry.

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 January 8, 2021.

North American Poetry 2000-2020/2 Conference Registration (Required) + How to get there

The first three days of the North American Poetry 200-2020/2 Conference will take place in the Amphithéâtre Gay Lussac of the Institut Universitaire de France, Ministère de l’Enseignement Supérieur et de la Recherche, 25 rue de la Montagne Sainte Geneviève, 75005 Paris.

REGISTRATION IS REQUIRED TO ATTEND THE CONFERENCE (Please register below by June 24). There is no fee to attend.

Metro stations nearby: Cardinal Lemoine (line 10), Maubert Mutualité (line 10).

On Saturday 2 July, the Conference will be held at Université Paris Cité, see main page and program for details.

Registration is required to attend the conference at the Institut Universitaire de France. Please register below by Friday 24 June, 2022 and see instructions below as to how to get to Amphithéâtre Gay Lussac.

 

 

Instructions to get to Amphithéâtre Gay Lussac, Institut Universitaire de France, Ministère de l’Enseignement Supérieur et de la Recherche

 

Please allow 10 minutes to go through security and reach the amphithéâtre.

1. On the day of the conference, please go to 25 rue de la Montagne Sainte Geneviève: a pass will be given to you (you have to have registered online first).

Institut Universitaire de France, Ministère de l’Enseignement Supérieur et de la Recherche, accueil.

2. Once you have your pass (1), please exit and make a left: use main entrance (2)

3. Proceed to Amphithéâtre Gay Lussac (which will be signposted).

4. Once you’re inside the building, go down the stairs and you will be there.

Amphithéâtre Gay Lussac, Institut Universitaire de France