atelier Michael Woolworth, 2 rue de la Roquette, Passage du Cheval Blanc, Cour Février, 75011 Paris M° Bastille. How to get there? For detailed instructions and directions, click HERE.
Thus far, we have focused on the writer’s own (creative and critical) work on the first day of the P&C symposiums and on broader issues of poetics and practice-based criticism on the second day. But there’s no specific preconceived program for the 2 days of the symposium: as the previous sessions of the program have shown, it seems important to let the conversation take its own course.
Please note that the morning session of the first day is devoted to preparing the conversation with Erin Mouré which will take place during the afternoon session and the second day.
Erin Mouré will be joining the group at 2pm on Monday 28 April.
As usual, we intend to address all aspects of our guest’s work.
Please feel free to make suggestions as to particular books that you would like to discuss during the symposium.
Our Monday afternoon session with Erin Mouré should end by 6 pm, which will leave ample time for everybody to get to the poetry reading.
atelier Michael Woolworth, 2 rue de la Roquette, Passage du Cheval Blanc, Cour Février, 75011 Paris M° Bastille. How to get there? For detailed instructions and directions, click HERE.
Thus far, we have focused on the writer’s own (creative and critical) work on the first day of the P&C symposiums and on broader issues of poetics and practice-based criticism on the second day. But there’s no specific preconceived program for the 2 days of the symposium: as the previous sessions of the program have shown, it seems important to let the conversation take its own course.
Please note that the morning session of the first day is devoted to preparing the conversation with Bhanu Kapil which will take place during the afternoon session and the second day.
Bhanu Kapil will be joining the group at 2pm on Thursday 14 November.
As usual, we intend to address all aspects of our guest’s work.
Please feel free to make suggestions as to particular books that you would like to discuss during the symposium.
Our Thursday afternoon session with Bhanu Kapil should end by 6 pm, which will leave ample time for everybody to get to the poetry reading.
Bhanu Kapil, FRSL is the author of six full-length collections: The Vertical Interrogation of Strangers (Kelsey Street Press, 2001), Incubation: a space for monsters (Leon Works, 2006), humanimal [a project for future children] (Kelsey Street Press, 2009), Schizophrene (Nightboat, 2011), Ban en Banlieue (Nightboat, 2015), and How to Wash a Heart (Liverpool University Press, 2020).Two new, non-identical editions of Incubation (out of print for seven years in the U.S.) were published by Prototype (UK) and Kelsey Street Press (USA) in 2023. Bhanu is based now in Cambridge, where she is an Extraordinary Fellow of Churchill College, thinking and writiing [with] [near] [beneath] the archive of Enoch Powell. She has been awarded a Cholmondeley Award, a Windham-Campbell Prize and the T.S. Eliot Prize. For twenty years, she taught seminars in experimental writing, performance, and ritual at Naropa University. Current manuscripts include a novel, The Secret Garden, and an unpublishable work of creative non-fiction, Promiscuity.
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Full-length works:
Incubation: a space for monsters, Prototype, 2023 (UK) and Kelsey Street Press, 2023 (USA)
How To Wash A Heart, Liverpool University Press, 2020
Ban en Banlieue, Nightboat Books, 2016
Schizophrene, Nightboat Books, 2011
Humanimal [a project for future children], Kelsey Street Press, 2009
Incubation: a space for monsters, Leon Works, 2007 (out of print)
The Vertical Interrogation of Strangers, Kelsey Street Press, 2001
Chapbooks/Pamphlets:
THREADS (co-written with Sandeep Parmar and Nisha Ramayya), Clinic Publishing, 2018
Entre-Ban, Vallum Press, 2017
Treinte Ban: notes for a novel never written, New Herring Press, 2013
(a poem-essay, or precursor: NOTES: for a novel: Ban en Banlieues), Belladonna Press, 2010
THE BODY THAT DOESN’T BELONG TO YOU ANYMORE, [2nd Floor Projects], 2008
Water-damage: a map of three black days, Corollary Press, 2007
The Wolfgirls of Midnapure, Belladonna Press, 2002
Dick, Jennifer K. “The Dissenting Red Self: Lyn Hejinian’s Tribunal, Anne Carson’s Autobiography of Red & Bhanu Kapil’s Incubation: A Space for Monsters” in Couleurs et Cultures / Colors and Cultures: Interdisciplinary Explorations, eds. Sami Ludwig, Astrid Starck-Adler & André Karliczek. Jena, Salana, 2022. ISBN: 978-3-00-073026-9. (364 p), pp. 143-152.
Dick, Jennifer K. “The Nonsingular Self: A study of Bhanu Kapil and Eleni Sikelianos’ Poetic Autobiographical Writing” in Vulnerability and Radicality in Contemporary British and American Autobiographies, eds. Nelly Monk & Aude Haffen. Presses Universitaires de Bordeaux, 2025 (forthcoming).
Quaid, Andrea. “Continuity and Change: Experimental Women’s Writing and the Epic Tradition.” ProQuest Dissertations & Theses Global, University of California, Santa CruzProQuest, vol. 75, no. 8, 2015 Feb. 2015.
Ramayya, Nisha. “Curve Warp Corpse.” Journal of British and Irish Innovative Poetry, vol. 12, no. 1, Apr. 2020. https://doi.org/10.16995/.
Singh, Julietta. “Errands for the Wild.” South Atlantic Quarterly, vol. 117, no. 3, 2018 July 2018, pp. 567–580. https://doi.org/10.1215/00382876-6942159.
Wang, Dorothy, et al. “Speculative Notes on Bhanu Kapil’s Monstrous/Cyborgian/Schizophrenic Poetics.” Kelsey Street Press, Berkeley, CA, Nov. 2015, pp. 78–91.
Please contact us if you wish to share an essay or text about Bhanu Kapil’s work.
The Poets & Critics symposium on Bhanu Kapil’s work is organized in collaboration with the CERCLL Research Center of Université de Picardie Jules Verne
edited and translated by Marc Chénetier (joca seria, 2024).
Thursday 25 April, 7pm
atelier Michael Woolworth, 2 rue de la Roquette, Passage du Cheval Blanc, Cour Février, 75011 Paris M° Bastille.
How to get there? For detailed instructions and directions, click HERE.
Thus far, we have focused on the writer’s own (creative and critical) work on the first day of the P&C symposiums and on broader issues of poetics and practice-based criticism on the second day. But there’s no specific preconceived program for the 2 days of the symposium: as the previous sessions of the program have shown, it seems important to let the conversation take its own course.
Please note that the morning session of the first day is devoted to preparing the conversation with John Yau which will take place during the afternoon session and the second day.
John Yau will be joining the group at 2pm on Thursday 25 April.
As usual, we intend to address all aspects of our guest’s work as poet, prose writer, critic, editor, and publisher.
Please feel free to make suggestions as to particular books that you would like to discuss during the symposium.
Our Thursday afternoon session with John Yau should end by 6 pm, which will leave ample time for everybody to get to the poetry reading.
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Poet, fiction writer, essayist, art critic, and publisher of Black Square Editions, John Yau has written across genres and worked in different mediums in order to expand poetry beyond the printed page. Starting in the mid-1980s, he began collaborating with American and European artists, from the widely celebrated to the young and emerging. The collaborations took the form of paintings, drawings, artist books, prints, postcards, objects, clothing, and jazz compositions. Starting in the late 1970s, he began writing reviews and essays for art magazines, galleries, and museums in the late 1970s. ) Since 2002, he has taught contemporary art history in the art department of the Mason Gross School of the Arts (Rutgers University). He has written monographs on many artists, most recently, Liu Xiaodong (2021) and Joe Brainard: The Art of the Personal (2022). His most recent book of essays is Please Wait by the Coatroom: Reconsidering Race and Identity In American Art. In 2012, he began writing reviews regularly for the online magazine, Hyperallergic. He has published more than 20 books of poetry.
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The following bibliographical section is a work in progress: please contact us if you see a missing title & wish to add it to one of the bibliographies below.
“A Symposium on John Yau, Commentary and Criticism”: Talisman Special Issue on John Yau (JSTOR open access – click on image)
Critical Bibliography
Birns, Nicholas. “John Yau.” In Asian American Writers, edited by Deborah L. Madsen, 348–58. Dictionary of Literary Biography: 312. Detroit, MI: Thomson Gale; Gale Cengage, 2005.
Campbell, Bruce. “‘Pieces of a Piece.’” Talisman: A Journal of Contemporary Poetry and Poetics 5 (1990): 126–34.
Caples, Garrett. “John Yau.” In American Short-Story Writers since World War II: Third Series, edited by Patrick Meanor and Richard E. Lee, 305–15. Dictionary of Literary Biography: 234. Detroit, MI: Thomson Gale; Gale Cengage, 2001.
Chaloner, David. “On John Yau.” Talisman: A Journal of Contemporary Poetry and Poetics 5 (1990): 113–14.
Cooperman, Matthew. “What the Poet Sees: An Interview with John Yau.” Jubilat 19 (2011): 26–49.
Corbett, William. “On John Yau.” Talisman: A Journal of Contemporary Poetry and Poetics 5 (1990): 114–15.
Donahue, Joseph. “Harmonic Interferences: A Note on John Yau.” Talisman: A Journal of Contemporary Poetry and Poetics 5 (1990): 118–19.
Fickle, Tara. “English Before Engrish: Asian American Poetry’s Unruly Tongue.” Comparative Literature Studies 51, no. 1 (2014): 78–105. doi:10.5325/complitstudies.51.1.0078.
Foster, Edward Halsey. “John Yau and the Seductions of Everything That Used to Be.” MultiCultural Review 3, no. 1 (March 1994): 36–39.
Foster, Edward. “An Interview with John Yau.” Talisman: A Journal of Contemporary Poetry and Poetics 5 (1990): 31–50.
Foster, Edward. “John Yau.” Talisman: A Journal of Contemporary Poetry and Poetics 5 (1990): 31.
Foster, Edward. “John Yau: A Selected Bibliography.” Talisman: A Journal of Contemporary Poetry and Poetics 5 (1990): 147–51.
Hemensley, Kris. “On John Yau.” Talisman: A Journal of Contemporary Poetry and Poetics 5 (1990): 116–18.
Huang, Yunte. “Pidginizing Chinese.” In Bilingual Games: Some Literary Investigations, edited by Doris Sommer, 205–20. New Directions in Latino American Cultures. New York, NY: Palgrave Macmillan (London), 2003.
Jeon, Joseph Jonghyun. Racial Things, Racial Forms: Objecthood in Avant-Garde Asian American Poetry. Contemporary North American Poetry Series. Iowa City, IA: University of Iowa Press, 2012.
Kim, Hyo. “The Pleasure of Indeterminacy: John Yau’s ‘Genghis Chan: Private Eye.’” College Literature: A Journal of Critical Literary Studies 48, no. 2 (2021): 233–58.
Lagapa, Jason. “Parading the Undead: Camp, Horror and Reincarnation in the Poetry of Frank O’Hara and John Yau.” Journal of Modern Literature 33, no. 2 (2010): 92–113. doi:10.2979/JML.2010.33.2.92.
Lee, Merton. “A Canon of Alterity: John Yau’s Corpse and Mirror.” In Positioning the New: Chinese American Literature and the Changing Image of the American Literary Canon, edited by Tanfer Emin Tunc and Elisabetta Marino, 143–55. Newcastle upon Tyne, England: Cambridge Scholars Publishing, 2010.
Leong, Michael. “Neo-Surrealism’s Forked Tongue: Reflections on the Dramatic Monologue, Politics, and Community in the Recent Poetry of Will Alexander and John Yau.” Contemporary Literature 55, no. 3 (2014): 501–33. doi:10.1353/cli.2014.0027.
Malroux, Claire. “La Poésie Au Fronton de La Ville: Jenny Holzer.” Po&sie 120 (2007): 248–55. doi:10.3917/poesi.120.0248.
Mar, Christine. “The Language of Ethnicity: John Yau’s Poetry and the Ethnic/Aesthetic Divide.” In Literary Gestures: The Aesthetic in Asian American Writing, edited by Rocío G. Davis and Sue-Im Lee, 70–85. Philadelphia, PA: Temple University Press, 2006.
Mobilio, Albert. “The Dream Science of John Yau’s ‘Dragon’s Blood.’” Talisman: A Journal of Contemporary Poetry and Poetics 5 (1990): 119–20.
Morris, Daniel. “Strangers and Oneself: John Yau’s Writings on Contemporary Art.” Talisman: A Journal of Contemporary Poetry and Poetics 21–22 (2001): 45–57.
Morris, Daniel. Remarkable Modernisms: Contemporary American Authors on Modern Art. Amherst, MA: University of Massachusetts Press, 2002.
Rohrer, Matthew. “John Yau.” In The VERSE Book of Interviews: 27 Poets on Language, Craft, and Culture, edited by Brian Henry and Andrew Zawacki, 177–98. Amherst, MA: Verse Press, 2005.
Schelb, Edward N. “Embalmed in the Camera’s Glowing Formaldehyde: On John Yau’s Hollywood Asians.” Interdisciplinary Literary Studies: A Journal of Criticism and Theory 18, no. 1 (2016): 81–95. doi:10.5325/intelitestud.18.1.0081.
Schelb, Edward. “Corpse and Mirror, Mirror and Corpse: John Yau and the Paintings of Jasper Johns.” Word & Image: A Journal of Verbal/Visual Enquiry 23, no. 2 (April 2007): 211–22. doi:10.1080/02666286.2007.10435781.
Wald, Priscilla. “‘Chaos Goes Uncourted’: John Yau’s Dis(-)Orienting Poetics.” In Cohension and Dissent in America, edited by Carol Colatrella and Joseph Alkana, 133–58. SUNY Series in American Literature. Albany: State University of New York Press, 1994.
Wald, Priscilla. “Guilt by Dissociation: John Yau’s Poetics of Possibility.” Talisman: A Journal of Contemporary Poetry and Poetics 5 (1990): 121–25.
Wang, Dorothy J. “Undercover Asian: John Yau and the Politics of Ethnic Self-Identification.” In Asian American Literature in the International Context: Readings on Fiction, Poetry, and Performance, edited by Rocío G. Davis and Sämi Ludwig, 135–55. Contributions to Asian American Literary Studies: 1. Hamburg, Germany: LIT Verlag, 2002.
Wang, Dorothy J. “Genghis Chan: Parodying Private Eye.”Thinking Its Presence: Form, Race, and Subjectivity in Contemporary Asian American Poetry, Stanford, Stanford University Press, 2013, p. 205-243.
Yao, Steven. “Oceanic Etymologies: Shanghai and the Transpacific Routes of Global Modernity.” Verge: Studies in Global Asias 3, no. 1 (2017): 77–106. doi:10.5749/vergstudglobasia.3.1.0077.
Yu, Timothy. “Forgotten Capital: Touring Berlin with John Yau and Bill Barrette.” Xcp: Cross-Cultural Poetics 23 (2010): 105–15.
Yu, Timothy. “Form and Identity in Language Poetry and Asian American Poetry.” Contemporary Literature 41, no. 3 (2000): 422–61. doi:10.2307/1208892.
Yu, Timothy. “John Yau and Experimental Asian American Writing.” Race and the Avant-Garde, Experimental and Asian American Poetry Since 1965, Stanford, Stanford University Press, 2009, p. 138-159.
Zhou, Xiaojing. “Postmodernism and Subversive Parody: John Yau’s ‘Genghis Chan: Private Eye’ Series.” College Literature: A Journal of Critical Literary Studies 31, no. 1 (2004): 73–102.
Zhou, Xiaojing. “Two Hat Softeners ‘In the Trade Confession’: John Yau and Kimiko Hahn.” In Form and Transformation in Asian American Literature, edited by Xiaojing Zhou and Samina Najmi, 168–89. The Scott and Laurie Oki Series in Asian American Studies. Seattle, WA: University of Washington Press, 2005.
Organizing committee: Rona Cran (University of Birmingham), Yasmine Shamma (University of Reading), Olivier Brossard, Carmen Husti & Nedjima Hassaoui (Laboratoire LISAA, Université Gustave Eiffel)
Practical details and program in the poster links & posts below.
Organizing committee: Vincent Broqua (Université Paris 8), Abigail Lang (Université Paris Cité), Olivier Brossard, Carmen Husti & Nedjima Hassaoui (Laboratoire LISAA, Université Gustave Eiffel)
Practical details and program in the poster links & posts below.
When you walk into the Copernic building, you can either take the elevators to the third floor (the elevators are located behind the staircase below) or take the stairs up to the third floor.
Room 3.071 will be on your right as you reach the third floor (if you take the stairs) or right in front of you (if you take the elevators)
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Poetry reading with Alice Notley and Pascale Petit
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 Alice Notley which will take place during the afternoon session and the second day.
Alice Notley will be joining the group at 2pm on Thursday 21 April.
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 Alice Notley will end at 5 pm, which will leave ample time for everybody to get to the poetry reading.
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If you would like to attend the symposium and are not already in touch with us, please contact us and we will send you information, instructions about and directions to the symposium:
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BIO
Alice Notley was born in Bisbee, Arizona in 1945 and grew up in Needles, California in the Mojave Desert. She was educated in the Needles public schools, Barnard College, and The Writers Workshop, University of Iowa. She has lived most extensively in Needles, in New York, and since 1992 in Paris, France. She is the author of numerous books of poetry, and of essays and talks on poetry, and has edited and co-edited books by Ted Berrigan and Douglas Oliver. She edited the magazine CHICAGO in the 70s and co-edited with Oliver the magazines SCARLET and Gare du Nord in the 90s. She is the recipient of various prizes and awards, including the Los Angeles Times Book Award (for Mysteries of SmallHouses, which was also a finalist for the Pulitzer Prize), the Griffin Prize (for Disobedience), the Academy of American Poets’ Lenore Marshall Prize (for Grave of Light, Selected Poems 1970-2005), and the Poetry Foundation’s Ruth Lilly Prize, a lifetime achievement award. She is also a collagist and cover artist. Her most recent books are For the Ride and Eurynome’s Sandals. Forthcoming from Archway Editions is an artbook called Runes and Chords.
BIBLIOGRAPHY
Publications by Alice Notley
Books of Poetry
Runes and Chords, New York: Archway Editions, Forthcoming.
Songs for the Unborn Second Baby, London: Distance No Object, 2021 (reissued).
At The Foot At The Belt Of The Raincoat: Five Hundred places, 2020.
For the Ride, New York: Penguin, 2020.
Eurynome’s Sandals, Mont-Saint-Aignan, France, Presses universitaires de Rouen et du Havre, 2019.
Les Sandales d’Eurynome: Mont-Saint-Aignan, France: Presses universitaires de Rouen et du Havre, 2019.
Undo, Ottawa: above/ground press, 2018.
Certain Magical Acts, New York,:Penguin, 2016.
Benediction, Tucson: Letter Machine Editions, 2015.
Manhattan Luck, Oakland: Heart’s Desire, 2014.
Negativity’s Kiss, Mont-Saint-Aignan, France : Presses universitaires de Rouen et du Havre, 2014.
Le Baiser de la Négativité, Mont-Saint-Aignan, France, Presses universitaires de Rouen et du Havre, 2014.
Secret I D, Iowa City, Walla Walla: The Catenary Press, 2013.
Songs and Stories of the Ghouls, Middletown CT: Wesleyan University Press, 2011.
Culture of One, New York: Penguin, 2011.
Reason and Other Women, Tucson: Chax Press, 2010.
In the Pines, New York: Penguin, 2007.
Grave of Light: New and Selected Poems 1970-2005, Middletown CT: Wesleyan University Press, 2006.
Alma, or The Dead Women, New York: Granary Books, 2006.
City of, Minneapolis: Rain Taxi, 2006.
From the Beginning, Woodacre CA: The Owl Press, 2004.
Bendall, Molly, and Alice Notley. The Antioch Review, vol. 55, no. 2, 1997, pp. 247–248.
Bloch, Julia. “Alice Notley’s Descent: Modernist Genealogies and Gendered Literary Inheritance.” Journal of Modern Literature, vol. 35, no. 3, 2012, pp. 1–24.
Dubois, Page. “‘An Especially Peculiar Undertaking’: Alice Notley’s Epic.” Differences: A Journal of Feminist Cultural Studies, vol. 12, no. 2, 2001, pp. 86–97.
DuCharme, Mark. “Interview: Alice Notley.” Onthebus, vol. 4–5, no. 2–1 [10–11], 1992, pp. 284–95.
Foster, Edward. “An Interview with Alice Notley.” Talisman: A Journal of Contemporary Poetry and Poetics, vol. 1, 1988, pp. 14–35.
Foster, Edward. “An Interview with Alice Notley.” Talisman: A Journal of Contemporary Poetry and Poetics, vol. 23–26, 2001, pp. 526–35.
Hinton, Laura. “Down in the Dump: The Abject in Alice Notley’s Culture of One.” Journal of Foreign Languages and Cultures, vol. 3, no. 1, June 2019, pp. 127–37.
Hix, H. L. “Alice Notley’s Mythic Descent/Dissent.” Interlitteraria, vol. 13, no. 2, 2008, pp. 329–43.
Irwin, Mark. “Machine’s Corpse: Within the City’s Body.” Denver Quarterly, vol. 32, no. 1–2, 1997, pp. 125–33.
Johnson, Eleanor. “Critical Poetics: A Meditation on Alternative Critical Vernaculars.” Postmedieval: A Journal of Medieval Cultural Studies, vol. 6, no. 4, 2015, pp. 375–84.
Keelan, Claudia, and Alice Notley. “A Conversation: September 2002-December 2003.” The American Poetry Review, vol. 33, no. 3, May 2004, pp. 15–19.
Keelan, Claudia. “I Find Out Everything I Believe Through Writing: An Interview with Alice Notley.” Quo Anima: Spirituality and Innovation in Contemporary Women’s Poetry, edited by Jennifer Phelps and Elizabeth Robinson, University of Akron Press, 2019, pp. 58–75.
Lamm, Kimberly. “On Alice Notley’s In the Pines.” Talisman: A Journal of Contemporary Poetry and Poetics, vol. 36–37, 2008, pp. 23–27.
Lipkin, Elline. “Resist, Reframe, Insist: Alice Notley’s Poetics of Inclusion.” North American Women Poets in the 21st Century: Beyond Lyric and Language, edited by Lisa Sewell and Kazim Ali, Wesleyan University Press, 2020, pp. 108–28.
Macari, Anne Marie. “I Invented the Arts to Stay Alive: ‘Alice Notley’s’ Culture of One.” The American Poetry Review, vol. 42, no. 3, 2013, pp. 42–43.
Mccabe, Susan. “Alice Notley’s Epic Entry: ‘An Ecstasy of Finding Another Way of Being.’” The Antioch Review, vol. 56, no. 3, 1998, pp. 273–280.
McCabe, Susan. “Alice Notley’s Experimental Epic: ‘An Ecstacy of Finding Another Way of Being.’” We Who Love to Be Astonished: Experimental Women’s Writing and Performance Poetics, edited by Laura Hinton et al., University of Alabama Press, 2002, pp. 41–53.
Nelson, Maggie. “Dear Dark Continent: Alice Notley’s Disobediences.” Women, the New York School, and Other True Abstractions, University of Iowa Press, 2007.
Notley, Alice, and Robert Dewhurst. “Alice Notley.” Bomb, no. 133, 2015, pp. 96–102.
Notley, Alice. “Doublings.” The Grand Permission: New Writings on Poetics and Motherhood, edited by Patricia Dienstfrey et al., Wesleyan University Press, 2003, pp. 137–43.
David Reckford. “Interview of Alice Notley”, Transatlantica [En ligne], 1 | 2019, mis en ligne le 01 juin 2020, consulté le 19 avril 2022. URL : http://journals.openedition.org/transatlantica/13862 ; DOI : https://doi.org/10.4000/transatlantica.13862
Robbins, Amy. “Alice Notley’s Post-Confessional I: Toward a Poetics of Postmodern Witness.” Pacific Coast Philology, vol. 41, 2006, pp. 76–90.
Roman, Christopher. “The Owl of the System: Alice Notley’s Queer Poetics in The Descent of Alette.” Postmedieval: A Journal of Medieval Cultural Studies, vol. 6, no. 2, 2015, pp. 211–23.
Sadoff, Ira. “Inside/Out.” The American Poetry Review, vol. 29, no. 2, Mar. 2000, pp. 9–12.
Scalapino, Leslie. “Pattern-and the ‘Simulacral.’” Artifice and Indeterminacy: An Anthology of New Poetics, edited by Christopher Beach, University of Alabama Press, 1998, pp. 130–39.
Selinger, Eric Murphy. “That Awkward Glance.” Parnassus: Poetry in Review, vol. 21, no. 1–2, 1995, pp. 298–324.
Shamma, Yasmine. Spatial Poetics: Second Generation New York School Poetry. Oxford University Press, 2018.
Sikelianos, Eleni. “Eleni Sikelianos on Alice Notley.” Women Poets on Mentorship: Efforts and Affections, edited by Arielle Greenberg and Rachel Zucker, University of Iowa Press, 2008, pp. 217–27.
Zurawski, Magdalena. “Marxism for Single Mothers: Anne Boyer’s Garments against Women.” Polish Journal for American Studies: Yearbook of the Polish Association for American Studies, vol. 11, 2017, pp. 359–63.
The North American Poetry 2000-2020/2 Conference will be held from Wednesday 29 June to Saturday 1 July, 2022 in Paris (Institut Universitaire de France).
Details will be posted in due time on this website.
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.
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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])
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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
Visualart
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
