[PUBL.] Cité Modèle de Donna Stonecipher, traduit par Jérémy Victor Robert, éditions joca seria (coll. américaine)

Just out! Donna Stonecipher’s Model City in a bilingual edition and translation by Jérémy Victor Robert, éditions joca seria, 2021.

Nous sommes heureux d’annoncer la publication de Cité Modèle de Donna Stonecipher, traduit par Jérémy Victor Robert, dans la collection américaine des éditions joca seria.

Ouvrage publié avec le soutien de la Poetry Foundation et de l’Université Gustave Eiffel (LISAA), dans le cadre du projet Cité des Dames, créatrices dans la cité, dirigé par Caroline Trotot et Philippe Gambette et soutenu par l’I-SITE FUTURE.

On peut lire l’article que Charlotte Fauve a consacré à Donna Stonecipher et Cité Modèle dans Télérama : https://www.telerama.fr/livre/donna-stonecipher-et-ses-ballades-dans-la-ville-6824774.php.

La conversation transatlantique. Les échanges franco-américains en poésie depuis 1968, by Abigail Lang, Dijon, Les presses du réel, coll. L’écart absolu – Fondamentaux, 2021

Just out! La conversation transatlantique. Les échanges franco-américains en poésie depuis 1968, by Abigail Lang, Dijon, Les presses du réel, coll. L’écart absolu – Fondamentaux, 2021. 336 p. 26.00 € EAN : 9782378961787

Le sommaire, l’introduction et une recension en anglais sont disponibles sur le site de l’éditeur.

The fertile exchanges between French and American poetry since 1968.

The dialogue between French and American poetry dates back to the nineteenth century. But if Americans in search of modernity turned immediately to France, the trend was reversed from the 1970s onwards, with French poets now looking to the United States at a time when modernity was running out of steam. This study accounts for this phenomenon by uncovering the issues that preoccupied French and American poetry and motivated their exchanges. To do so, it asks the following questions.

Why have the objectivist poets (Reznikoff, Zukofsky, Oppen…) benefited in France from a reception that has been constantly renewed for fifty years?
Why did so many French and American poets of the same generation read, quote and translate each other in the 1980s, to the point of establishing a transatlantic community?

How, after 1968, was one to “dissolve poetic solemnity” and adapt American “low voltage” into the language of Racine? How was one to say poetry out loud? How did the poetry reading become institutionalized in France? Is “being up on your feet and talking” still poetry?

At a time when poetry in France was experiencing a sense of impasse and taking stock of modernity, the transatlantic conversation provided a forum for it to redefine its forms and function. Among those heard were Ashbery, Roche, Roubaud, Royet-Journoud, Albiach, Hocquard, di Manno, Gleize, Leibovici, the Waldrop, Auster, Duncan, Palmer, Bernstein, Hejinian, Watten, Doris, Fourcade, Creeley, Rothenberg, AntinHeidsieckCadiot, Alferi.

Le dialogue entre la poésie française et la poésie américaine remonte au XIXe siècle. Mais si les Américains en quête de modernité se sont d’emblée tournés vers la France, le courant s’est inversé à partir des années 1970, les poètes français regardant désormais vers les États-Unis au moment où la modernité s’essoufflait. Cette étude rend compte de ce phénomène en mettant au jour les enjeux qui ont préoccupé les poésies française et américaine et motivé leurs échanges. Pour y parvenir, elle pose les questions suivantes.

Pourquoi les poètes objectivistes (Reznikoff, Zukofsky, Oppen…) ont-ils bénéficié en France d’une réception sans cesse recommencée depuis cinquante ans ? 

Pourquoi tant de poètes français et américains de la même génération se sont-ils lus, cités et entre-traduits dans les années 1980, au point d’établir une communauté transatlantique ? 

Comment, après 1968, « dissoudre la solennité poétique » et adapter le « bas voltage » américain dans la langue de Racine ? Comment dire la poésie ? Comment la lecture publique s’institutionnalise-t-elle en France ? « Être debout et parler », est-ce encore de la poésie ? 

Au moment où la poésie en France éprouvait un sentiment d’impasse et entreprenait un bilan de la modernité, la conversation transatlantique lui aura offert un forum pour redéfinir ses formes et sa fonction. S’y sont notamment fait entendre Ashbery, Roche, Roubaud, Royet-Journoud, Albiach, Hocquard di Manno, Gleize, Leibovici, les Waldrop, Auster, Duncan, Palmer, Bernstein, Hejinian Watten, Doris, Fourcade, Creeley, Rothenberg, Antin, Heidsieck, Cadiot, Alferi.

New writing from the USA > double bilingual issue of Nioques, fall 2020

Double Change est heureux de vous annoncer la parution d’une anthologie bilingue de “nouvelle poésie des Etats-Unis” que nous avons sélectionnée et traduite pour la revue NIOQUES. Cette sélection de 15 écrivain.e.s est la première d’une série d’anthologies sur les configurations et reconfigurations en cours de la poésie états-unienne dans sa production la plus radicale. Tous les textes sont publiés en traduction et en version originale précédés parfois de textes de position. (voir sommaire et commandes ci-dessous)

“Comment la poésie états-unienne se constitue-t-elle actuellement ? Ce dont on parle est-il encore de la poésie, le terme a-t-il encore un sens ? Si pour le lecteur averti, la poésie des années 1960, 1970, 1980 n’est pas inconnue tant les traductions, les séries de lecture et les publications diverses ont permis de cartographier les grands mouvements structurants du champ poétique à la suite du modernisme et des avant-gardes radicales, et de faire connaître jusqu’aux auteurs qui ne se reconnaissent pas dans ces mouvements, la situation actuelle est plus difficile à entrevoir depuis l’étranger. Le sentiment est celui d’un éclatement dans une diversité de pratiques et d’auteurs individuels. Or, d’une part ce constat reflète l’impression que donne inévitablement le contemporain – le même sentiment apparaît dans l’art – d’autre part, cette impression est un effet rétrospectif de la sensation, souvent illusoire, que le lecteur sait cartographier l’histoire des mouvements qui précèdent, alors qu’ils ont souvent une forme et une unité bien plus instables que ne peut le décrire l’histoire littéraire. Des contre-généalogies sont toujours à proposer.” (extrait de l’introduction au numéro).

SOMMAIRE

Introduction – Nouvelles écritures des États-Unis d’Amérique (collectif Double Change)

David Buuck – Le dehors insurrectionnel (trad. Abigail Lang)

Youmna Chlala – La caméra de papier (trad. Abigail Lang)

Lindsay Choi – Transverse (trad. Abigail Lang)

Mónica De la Torre – Équivalences (trad. Vincent Broqua)

Kate Durbin – « Marlena, Topanga Canyon, Californie » (trad. Olivier Brossard)

Ben Fama – Poèmes extraits de Fantasy (trad. Olivier Brossard)

Sophia Le Fraga – « H8M8 » (trad. Michael Valinsky)

Sara LarsenThe Riot Grrrl Thing (trad. Olivier Brossard)

Trisha Low – L’agression sexuelle de Trisha Low telle qu’elle est diffusée par l’amour au labyrinthe, ou la vertu récompensée (trad. Vincent Broqua)

Layli Long Soldier – « Attendu que » (trad. Vincent Broqua)

Allison Parrish – Et puis elle s’en est allée. Elle s’en est allée, allée, elle s’en est allée. Elle s’en est allée (trad. Vincent Broqua)

Danny Snelson – Le reliquaire de l’Apocalypse (trad. Vincent Broqua)

Divya Victor – Portraits de famille (trad. Vincent Broqua)

Mia You – Essai et poèmes (trad. Olivier Brossard)

Steven Zultanski – « Agonie 1 et 2 » (trad. Olivier Brossard)

http://revuenioques.fr/nouvelle-poesie-des-etats-unis…/

Le livre se trouve dans toutes les librairies en France, et il peut être commandé en France comme à l’étranger en s’abonnant à la revue:

Bonne lecture à vous!

Vincent Broqua, Olivier Brossard et Abigail Lang

pour Double Change

NY SCHOOL & ALICE NOTLEY SYMPOSIUMS & NORTH AMERICAN POETRY CONFERENCE RESCHEDULED TO 2021

Due to the coronavirus (COVID-19) pandemic, the inaugural meeting of the Network for New York School Studies (NNYSS), the Alice Notley Poets & Critics Symposium (originally planned 1-3 July 2020), and the “North American Poetry 2000-2020: Poetics, Aesthetics, Politics” Conference (originally planned 15-17 October 2020) are rescheduled as follows:

N E W 2 0 2 1 D A T E S :

The inaugural meeting of the Network for New York School Studies (NNYSS) will be held on Wednesday 23 June 2021 at Université Gustave Eiffel. More information HERE.

❃ The Alice Notley Poets & Critics Symposium will be held on Thursday 24 and Friday 25 June 2021 at Université Gustave Eiffel. More information to follow in due course.

❃ The North American Poetry 2000-2020 Conference will be held from Thursday 14 to Saturday 16 October 2021 at Institut Universitaire de France, Paris. CALL FOR PAPERS HERE.

Inaugural meeting of the Network for New York School Studies (NNYSS) to be held on Wednesday 23 June 2021 at Université Gustave Eiffel.

© Martin Spychal, 2019

Paris 2021: What We Talk About When We Talk About The New York School

The inaugural meeting of the Network for New York School Studies (NNYSS) will be held on Wednesday 23 June 2021 at Université Gustave Eiffel.

The Alice Notley Poets & Critics Symposium will be held on Thursday 24 and Friday 25 June 2021 at Université Gustave Eiffel.

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

The inaugural event of the Network for New York School Studies will feature short papers addressing a variety of aspects of New York School poetry, art, and writing. This event builds on the research network scholars and poets began to form during the illuminating New Work on the New York School symposium and poetry evening held at the University of Birmingham in 2018. We hope it will be the second international meeting of many. We have plans for follow-up events in New York and London in the coming years: watch this space…

Talks, close-readings, interdisciplinary discussions, presentations of archival work, joint presentations, work-in-progress, artistic responses, and other conventional or unconventional responses to the New York School, broadly conceived, will explore the place of New York School poetry, both in its emergent moment, and since:

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

Talks are expected to be 5-10 minutes in length. Like last time, the event will be informal, inclusive, conversational, interdisciplinary, and intersectional. It will conclude with a poetry reading in the evening (poets TBC).

This event is organized by Rona Cran (University of Birmingham) and Yasmine Shamma (University of Reading) and hosted by Olivier Brossard (Université Gustave Eiffel.)

If you would like to attend, please email nwonthenys@gmail.com.

Further details about the event will follow in due course.

“North American Poetry 2000-2020/1: Poetics, Aesthetics, Politics.” Conference, 14-16 Oct. 2021, Paris. Call for Papers.

“North American Poetry 2000-2020/1: Poetics, Aesthetics, Politics.” 14-16 October 2021, Institut Universitaire de France, Paris.

Organized by Vincent Broqua (Université Paris 8), Olivier Brossard (Université Gustave Eiffel / Institut Universitaire de France), Abigail Lang (Université de Paris).

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.

2020 Poets & Critics program: save the dates!

Thursday 13 and Friday 14 February 2020: Poets & Critics Symposium with Lyn Hejinian. Université Paris Diderot

Wednesday 1 July 2020: “New Work on the New York School” symposium with Rona Cran‘s and Yasmine Shamma’s research collective, in collaboration with the University of Birmingham and the University of Reading. Université Paris Est Marne-la-Vallée. See Call For Papers below or here.

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

More information to follow.

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

Call for Papers:

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

one need never leave the confines
© Martin Spychal, 2019

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

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

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

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

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

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

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

From writing.upenn.edu

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

Thursday 13 and Friday 14 February, 2020.

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

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

image doigt petit

How  to get there?

For detailed instructions and directions, click HERE.

&

Poetry reading with Marie-Louise Chapelle and Lyn Hejinian

Thursday 13 February, 7pm, 

atelier Michael Woolworth, 

2 rue de la Roquette

Passage du Cheval Blanc, Cour Février, 

75011 Paris M° Bastille. 

How to get there? 

For detailed instructions and directions, click HERE.

Thus far, we have focused on the writer’s own (creative and critical) work on the first day of the P&C symposiums and on broader issues of poetics and practice-based criticism on the second day. But there’s no specific preconceived program for the 2 days of the symposium: as the previous sessions of the program have shown, it seems important to let the conversation take its own course.

Please note that the morning session of the first day is devoted to preparing the conversation with Lyn Hejinian which will take place during the afternoon session and the second day. 

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

As usual, we intend to address all aspects of our guest’s work as poet, prose writer, critic, and editor.

Please feel free to make suggestions as to particular books that you would like to discuss during the symposium.

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

*

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

*

Bibliography

Principal literary works

Poetry/prose

Tribunal (Omnidawn, 2019)

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

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

The Unfollowing (Omnidawn Books, 2016)

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

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

Saga / Circus (Omnidawn Publishing, 2008)

The Fatalist (Omnidawn Books, 2003)

Slowly(Tuumba Press, 2002)

A Border Comedy (Granary Books, 2001)

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

Happily (Post-Apollo Press, 2000)

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

The Cell (Sun & Moon Press, 1992)

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

My Life (Burning Deck, 1980)

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

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

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

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

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

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

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

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

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

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

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

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

Volumes of poetry translated and published in other languages

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Edited poetry volumes

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

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

Critical writing

Volumes of critical writing

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

Two Stein Talks (Weaselsleeves Press, 1995)

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

Volume of critical prose translated and published in another language

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

Edited volumes

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

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

Translations

Volumes of translation

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

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

Other

Exhibition catalogues

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

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

Work in other media

Visual art

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

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

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

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

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

Film

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

Music

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

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