Poets and Critics

2011-2014 CALENDAR


February 4-5 EILEEN MYLES > + Feb. 4 poetry reading


December 14-15 FRED MOTEN > + Dec. 14 poetry reading


December 15-16 ANN LAUTERBACH > + Dec. 15, 8pm poetry reading

May 12-13 ANNE WALDMAN > + May 12 Poetry Reading, 8pm, Maison de la poésie de Paris : Anne Waldman & Patrick Beurard-Valdoye


FINAL SYMPOSIUM Dec. 11-12 COLE SWENSEN > + Dec 11 Poetry Reading, 8pm, Maison de la poésie de Paris : Cole Swensen & Nicolas Pesquès

Sept. 26-27 CLARK COOLIDGE> + Sept. 26, 8 pm Poetry/Music Reading, CLARK COOLIDGE & THURSTON MOORE, Maison de la poésie de Paris

April 11-12 MARJORIE WELISH > + April 11, 7:30 pm Poetry Reading MARJORIE WELISH & JACQUES ROUBAUD, Galerie éof, Paris


December 13 & 14 LISA ROBERTSON> Thursday December 13 7:30pm poetry reading with Lisa Robertson, Anne Parian and Pascal Poyet, galerie éof, Paris.

September 27 & 28 REDELL OLSEN

May 29 & 30 PETER GIZZI



September 29-30 VANESSA PLACE at Université Paris Est Marne-la-Vallée

June 30 July 1 CAROLINE BERGVALL at Université Paris Est Créteil

June 15 DAVID ANTIN at Université Paris Est Marne-la-Vallée

Flash Labels by NBT

Tuesday, December 22, 2015

Eileen Myles Symposium Thursday 4 & Friday 5 February 2016

On Thursday 4 and Friday 5 February, we will be hosting a 2 day symposium on Eileen Myles’s work in Paris (practical details to follow). 

From Eileen Myles's website : http://www.eileenmyles.com/

Photo by Libby Lewis
Poet, novelist, performer and art journalist Eileen Myles is the author of nineteen books including I Must Be Living Twice: New & Selected Poems and a re-issue of Chelsea Girls, both out in fall 2015, from Ecco/Harper Collins.
Eileen Myles was born in Cambridge, Massachusetts in 1949, attended Catholic schools in Arlington, and graduated from the University of Massachusetts (Boston) in 1971. She came to New York in 1974 to be a poet. Her poetic education primarily took place at St. Mark's Poetry Project from 1975 to 1977, through attending readings and participating in workshops led by Alice Notley, Ted Berrigan, and Paul Violi. From 1984 to 1986 Eileen was the artistic director of St. Mark's Poetry Project.
From 1977 to 1979 she published dodgems, a poetry magazine that represented a collision of New York School, Language Poetry, performance texts, unconventional prose, as well as tossed-off notes from neighbors and celebrities. In 1977, she co-edited the feminist anthology Ladies Museum, and in 1979 she worked as an assistant to poet James Schuyler. That same year, Eileen was a founding member of the Los Texans Collective (along with Elinor Nauen and Barbara McKay), which went on to produce the play Patriarchy and the spiritual entertainment Joan of Arc.
Eileen Myles has toured and read all over North America and Europe on and off since the early 1980s. Her solo performances include Leaving New York (1989), Life (1991), and Summer in Russia (1996) at PS 122 in New York. Her plays include Feeling Blue (Parts 1, 2, and 3) at Modern Art, and Our Sor Juana Ines de la Cruz, written for Alina Troyano and produced at PS 122. In 2004, she wrote the libretto for the opera Hell, composed by Michael Webster. In 2010, she created and directed her Dia Center for the Arts performance piece, The Collection of Silence, which involved dancers, poets, children, visual artists, and Buddhists in a collective public act of silence at the Hispanic Society in New York.
Her other books include Snowflake/different streets (2012), Inferno: A Poet's Novel ( 2010), The Importance of Being Iceland: Travel Essays in Art (2009), Sorry, Tree (2007), Tow (2005, with artists Larry C. Collins), Skies (2001),on my way (2001), Cool for You (novel, 2000), School of Fish (1997), Maxfied Parrish (1995), Not Me (1991), andChelsea Girls (1994). In 1995, with Liz Kotz, she edited The New Fuck You: Adventures in Lesbian Reading. As a poet and art journalist, she has contributed to a wide number of publications including Art Forum, The New Yorker, Harpers, Parkett, The Believer, Vice, Cabinet, The Nation, TimeOutParis Review, and AnOther Magazine. She often contributes essays to catalogs for major exhibitions such as the Whitney and Liverpool Biennials.
Eileen Myles is the recipient of a Guggenheim Fellowship in non-fiction, an Andy Warhol/Creative Capital art writers' grant, a Lambda Book Award, the Shelley Prize from the Poetry Society of America, was named to the Slate/Whiting Second Novel List, and received a poetry award from the Foundation for Contemporary Arts. She lives in Marfa, TX and New York.

Bibliography (click on image below):

Friday, September 11, 2015

Fred Moten Symposium at Université Paris 8 and Paris Diderot, Monday 14 December & Tuesday 15 December 2015

On Monday 15 December and Tuesday 16 December, we will be hosting a 2 day symposium on Fred Moten’s work at Université Paris 8 and Université Paris Diderot. 

Monday 14 December 

Université de Paris 8 Vincennes Saint Denis
2 rue de la liberté, 
93526 Saint-Denis
Room B313

Tuesday 15 December

Université Paris 7 Paris Diderot
Bat. Olympe de Gouges,
8 rue Albert Einstein,
75013 Paris

Room 829-830

Practical details to follow.

Fred Moten is author of In the Break: The Aesthetics of the Black Radical Tradition (University of Minnesota Press), Hughson’s Tavern(Leon Works), B. Jenkins (Duke University Press), The Feel Trio (Letter Machine Editions) and co-author, with Stefano Harney, ofThe Undercommons: Fugitive Planning and Black Study (Minor Compositions/Autonomedia). His current projects include two critical texts, consent not to be a single being (forthcoming from Duke University Press) and Animechanical Flesh, which extend his study of black art and social life, and a new collection of poems, The Little Edges.
In 2009 Moten was Critic-in-Residence at In Transit 09: Resistance of the Object, The Performing Arts Festival at the House of World Cultures, Berlin and was also recognized as one of ten “New American Poets” by the Poetry Society of America; in 2011 he was a Visiting Scholar and Artist-in-Residence at Pratt Institute; in 2012, he was Whitney J. Oates Fellow in the Humanities Council and the Center for African American Studies at Princeton University and a member of the writing faculty of the Milton Avery Graduate School of the Arts, Bard College; and in 2013 he was a Guest Faculty Member in the Summer Writers Program at the Jack Kerouac School of Disembodied Poetics, Naropa Institute. He was also a member of the Critical Theory Institute at the University of California, Irvine from 2002 to 2004 and a member of the Board of Directors for the Center for Lesbian and Gay Studies at the City University of New York from 2001 to 2002.
Moten served as a member of the Board of Managing Editors of American Quarterly and has been a member of the Editorial Collectives of Social Text and Callaloo, and of the Editorial Board of South Atlantic Quarterly. He is also co-founder and co-publisher (with Joseph Donahue) of a small literary press called Three Count Pour.

List of publications


consent not to be a single being: Essays 2002-2016, Duke University Press, forthcoming.
The Service Porch, Letter Machine Editions, forthcoming 2016.
The Little Edges, Wesleyan University Press, 2015.
The Feel Trio, Letter Machine Editions, 2014.
The Undercommons: Fugitive Planning and Black Study (with Stefano Harney), Minor
Compositions/Autonomedia, 2013.
B Jenkins, Duke University Press, 2010.
I ran from it and was still in it. (with collages by Theodore Harris), Cusp Books, 2007.
Hughson’s Tavern, Leon Works, 2008.
In the Break: The Aesthetics of the Black Radical Tradition, University of Minnesota Press, 2003.
Poems (with Jim Behrle), Pressed Wafer, 2002
Arkansas, Pressed Wafer, 2000.

Co-Edited Anthologies and Journal Issues

“911—A Public Emergency?” (co-edited with Brent Edwards, Stefano Harney,
Randy Martin, Timothy Mitchell and Ella Shohat), Social Text 72, Fall 2002.
“Staging Sound: Feminism, Re/Production and Performance,” (co-edited with
Jennifer Fink and June Reich)Women and Performance 9:2, 1997.


“Jurisgenerative Grammar,” George E. Lewis & Benjamin Piekut, ed. The Oxford
Handbook of Critical Improvisation Studies, Oxford University Press, forthcoming, 2015.
“Ex-Foliation (Reading in the Flesh),” Small Axe 19:1 (46), forthcoming 2015.
“On Poetry and the Turntable,” (with Kevin Beasley). Ralph Lemon, ed. On
Value, Triple Canopy, 2015, 123-47.
“Mikey The Rebelator” (co-written with Stefano Harney), Performance Research 20:4, Fall 2015, 141-45.
“Michael Brown” (co-written with Stefano Harney), boundary2 42:4, Fall 2015, 81-87.
“Some Extrasubtitles for Wildness,” Gregor Jansen, et. al., ed. Wu Tsang: Not in My
Language, Köln, Verlag der Buchhandlung Walther König, 2015, 160-62.
“To Feel, To Feel More, To Feel More Than,” Rose Bouthiller & Megan Lynch
Reich, with Elena Harvey Collins, ed. How to Remain Human, Museum of
Contemporary Art, Cleveland, 2015, 59-62.
“History Does Not Repeat Itself, but It Does Rhyme,” Annet Busch & Anselm
Franke, ed. After Year Zero: Geographies of Collaboration, University of Chicago
Press/Museum of Modern Art, Warsaw, 2015, 200-04.
“Blackness and Poetry,” Evening Will Come 55, July 2015,
http://www.thevolta.org/ewc55-fmoten-p1.html; reprinted, Arcade: Literature
Humanities and the World, July 23, 2015.
“Remind,” Stephen Hoban, Yasmil Raymond & Kelly Kivland, ed. Thomas
Hirschhorn, Gramsci Monument. Walther König/Dia Art Foundation, 2015, 326-28.
“The Touring Machine (Flesh Thought Inside Out), Brenna Bhandar & Jonathan
Goldberg-Hiller, ed. Plastic Materialities: Politics, Legality and Metamorphosis in
the Work of Catherine Malabou, Duke University Press, 2015, 265-86.
“Amuse-bouche,” Claudia La Rocco, ed. Dancers, Buildings and People in the Streets:
Danspace Project Platform 2015, 86-96; Reprinted, Tracie Morris, ed. “The Motion of Light: Celebrating Samuel R. Delany,” Jacket2, February 12, 2015, https://jacket2.org/article/amuse-bouche.
“Poetics (of Blackness),” Joshua Marie Wilkinson, ed. The Volta Book of Poets, Sidebrow Books, 2015, 217.
“Al-Khwāriddim, or Savoir Faire is Everywhere” (co-written with Stefano Harney),” Really Useful Knowledge, Museo Nacional Centro de Arte Reina Sofia, 2014.185-90.
“Notes on Passage (The New International of Sovereign Feelings),” Palimpsest 3.1, 2014, 51-74.
Die äußere Welt (wenn ein Fremder erscheint),” Ulrich Baer & Amir Eshel, ed. Hannah Arendt zwischen den Diziplinen, Wallstein Verlag, 2014, 253-69.
“The Beauty of José Esteban Muñoz,” in “José Esteban Muñoz (1967-2013): A Collage,” boundary2.org, March 10, 2014, http://boundary2.org/2014/03/10/the-beauty-of-jose-esteban-munoz/.
“Nobody, Everybody (Prayer, Prepare, Repair),” Harold Mendez: but I sound better since you cut my throat, Three Walls, Chicago, 2014.
“The Sustain,” Bombay Gin 40:1, Spring 2014, 66-68.
“An Ecology of (Eloquent) Things,” A Gathering of the Tribes 14, 2013, 57-58.
“Blackness and Nothingness (Mysticism in the Flesh),” South Atlantic Quarterly 112:4, Fall 2013, 737-80.
“The Subprime and the Beautiful,” African Identities 11:2, 2013, 237-45.
“Un respire in affanno: La fatticità della blackness,” Miguel Angel Mellino, ed. Fanon
postcoloniale: I dannati della terra oggi, Ombre Corte, 2013, 135-45.
“Nowhere, Everywhere,” Theaster Gates: My Labor Is My Protest, White Cube, 2012, 70-76.
“Liner Notes for Lick Piece,” Valerie Cassel Oliver, ed. Ben Patterson: Born in the State of
FLUX/us, Contemporary Arts Museum Houston, 2012, 212-20.
“Necessity, Immensity and Crisis: Many Edges/Seeing Things,” Floor, Issue 1,
“Politics Surrounded” (co-written with Stefano Harney), South Atlantic Quarterly 110:4, Fall 2011, 985-88.
“Blackness and Governance” (co-written with Stefano Harney), Patricia Ticineto Clough and Craig Willse, ed. After Foucault: Life, Death, and Biopolitics, Duke University Press, 2011, 351-61.
“It’s Not That I Want To Say,” Joshua Marie Wilkinson, ed. Poets on Teaching: A Sourcebook, University of Iowa Press, 2010, 58.
“Debt and Study” (co-written with Stefano Harney), e-flux 14, March 2010
(http://www.e-flux.com/journal/view/119); abridged and reprinted as “Homeless Economics” in Chronic: Now-Now, A Quarterly Pan-African Gazette, March 2013, 35.
“Policy and Planning” (co-written with Stefano Harney), Social Text 100, Fall 2009, 182-187; reprinted in darkmatter, http://www.darkmatter101.org/site/2010/04/19/policy-and-planning.
Sonata Quasi Una Fantasia,” Hambone 19, Fall 2009, 110-133.
“Black Op,” PMLA 123:5, October 2008, 1743-47.
“The Case of Blackness,” Criticism 50:2, Spring 2008, 177-218; reprinted in Nicholas Mirzoeff, The Visual Culture Reader, Third Edition, Routledge, 2012, 466-494.
“The New International of Rhythmic Feeling/s,” Sylvia Mieszkowski, Joy Smith, and Marijke de Valck, ed. Aural Cultures, Rodopi, 2007, 31-56.
“Gestural Critique of Judgment,” Ulla Haselstein & Klaus Benesch, ed., The Power and Politics of the Aesthetic in American Culture, Publications of the Bavarian American Academy, Volume 7, Universitätsverlag Winter, 2007, 91-111.
“Democracy,” Bruce Burgett & Glenn Hendler, ed., Keywords for American Cultural Studies, New York University Press, 2007, 76-79.
“Taste Dissonance Flavor Escape” Women and Performance: A Journal of Feminist Theory 17:2, July 2007, 217-246.
“Uplift and Criminality,” Alys Eve Weinbaum & Susan Gillman, ed., Next to the Color
Line: Gender, Sexuality and W. E. B. Du Bois, University of Minnesota Press, 2007, 317-49.“The University and the Undercommons: Seven Theses” (co-written with Stefano
Harney), Social Text 79, Spring 2004, 101-15; Reprinted, Edu-Factory Collective, ed. Toward A Global Autonomous University: Cognitive Labor, The Production Of Knowledge And Exodus From The Education Factory, Autonomedia, 2009; Translated as “A Universidade E S Undercommons,” E-Misférica 11:1 The Decolonial Gesture, Spring 2014, Http://Hemi.Nyu.Edu/Hemi/En/Emisferica-111-The-Decolonial-Gesture/Harney and as “L’università E Gli Undercommons” In Edu-Factory Collective, Ed. L’università Globale: Il Nuovo Mercato Del Sapere, Manifestolibri, 2008.
 “The Phonographic Mise-en-Scéne,” Cambridge Opera Journal 16:3, 2004, 269-81.
“Knowledge of Freedom” in CR: The New Centennial Review 4:2, Fall 2004, 269-310.
 “Not in Between: Lyric Painting, Visual History and the Postcolonial Future,” The Drama Review 47:1, Spring 2003, 127-48.
“Magic of Objects,” Callaloo 26:1, Spring 2003, 109-111.
 “The New International of Decent Feelings,” Social Text 72, Fall 2002, 189-99.
“Ensemble and Improvisation,” Hambone 16, Fall 2002, 194-215.
“Black Mo’nin’ in the Sound of the Photograph,” David Kazanjian and David Eng, ed. Loss, University of California Press, 2002, 59-76.
“Return of the Oppressed” (co-written with B Jenkins), Lauren Berlant and Lisa Duggan, ed. Our Monica, Ourselves, New York University Press, 2001, 137-55.
“Voices/Forces: Migration, Surplus and the Black Avant-garde,” Brandon LaBelle and Christof Migone, eds. Writing Aloud: The Sonics of Language, Errant Bodies Press, 2001, 47-59.
“Interpolation and Interpellation,” Allen Weiss, ed., Experimental Sound and Radio, The MIT Press, 2001, 116-24.
“The Academic Speed-up” (co-written with Stefano Harney), Workplace: the Journal for Academic Labor 2:2, November 1999 (http://www.workplace-gsc.com).
“Doing Academic Work” (co-written with Stefano Harney), Randy Martin, ed. Chalk Lines: The Politics of Work in the Managed University, Duke University Press, 1999, 154-80.
“A(bridge(d: Acting Out with the Cecil Taylor Unit,” Lawrence Rickels, ed., Acting Out In Groups, The University of Minnesota Press, 1999, 69-108.
“Bridge and One,” May Joseph and Jennifer Fink, eds. Performing Hybridity, University of Minnesota Press, 1999, 229-46.
“Introduction” and “The Dark Lady and the Sexual Cut,” Women and Performance 9: 2, 1997, 9-10, 143-161.
“Sound in Florescence,” Adalaide Morris, ed. Sound States: Innovative Poetics and Acoustical Technologies, University of North Carolina Press, 1997, 213-34.
Tragedy, Elegy, Improvisation: Voices of Baraka II,” Semiotics 94: Proceedings of the Semiotic Society of America Nineteenth Annual Meeting, Peter Lang, 1995, 431-49.
“Stanza, Record, Frame: Temporality, Technics and Artifact in Baraka, Eisenstein and Shakespeare,” Semiotics 93: Proceedings of the Semiotic Society of America Eighteenth Annual Meeting, Peter Lang, 1995, 268-78.
“Nathaniel Mackey Overheard,” Proliferations 2, November 1994, 23-27.


“Whatnot to the Music,” in Ralph Lemon, ed. Passage of a Rumor, published in Triple
“william parker,” “Modern language day," and “we live after a river,” Aldon Lynn
Nielsen and Lauri Ramey, ed. What I Say: Innovative Poetry by Black Writers in America, University of Alabama Press, 2015, 174-77.
“2.8 [Blackness is Generativity]” Lucy Clark, et. al., ed. February: An Anthology, February Press, 2015.
“sweet nancy wilson saved frank ramsay.” Fred Wah & Amy De’Ath, ed. Toward.
Some Air. Banff Center Press, 2015, 113-14.
AJ, this is for underneath your beautiful proof of concept” and “RA, this echo of your gignity,” in Joshua Marie Wilkinson, ed. The Volta Book of Poets, Portland: Sidebrow Books, 2015, 219, 221.
“that’s who,” The Broome Street Review 6, Summer 2014.
“wait for it” and “celebrate,” American Quarterly 66:2, June 2014, 421.
“the derosiers of sevier” and “hariot + harriot + sound +,” The Enemy, http://theenemyreader.org/two-poems/, 19 May 2014
“The gramsci monument,” Social Text 118, Spring 2014, 117-18; reprinted in Fred Wah & Amy De’Ath, ed. Toward. Some Air. Banff Center Press, 2015, 115.
“eve is a texture, dave is centering.” Finery: An Online Journal from Birds of Lace,
http://finery.tumblr.com/post/62417594795/eve-is-a-texture-dave-is-centering-by-fred-moten, 27 September 2013; reprinted in Joshua Marie Wilkinson, ed. The Volta Book of Poets, Portland: Sidebrow Books, 2015, 218.
“From ‘Laura made me listen to’” and “Grad Grind, Gentles, Till the Park is Gone,” PEN America, http://www.pen.org/poetry/six-poems-fred-moten, 12 June, 2013;
“Grad Grind…” reprinted in Joshua Marie Wilkinson, ed. The Volta Book of Poets, Portland: Sidebrow Books, 2015, 222.
“I lay with francis in the margin.” 30 x Lace, http://30xlace.tumblr.com//post/48353180288/fred-moten, 19 April 2013;
reprinted in Joshua Marie Wilkinson, ed. The Volta Book of Poets, Portland: Sidebrow Books, 2015, 220.
“,” “elizabeth cotten/nahum chandler,” and “frank ramsay/nancy wilson,”
Charles Henry Rowell, ed. Angles of Ascent: A Norton Anthology of Contemporary African American Poetry, W. W. Norton & Company, 2013, 490-95.
“test,” Ploughshares 39:1, Spring 2013, 95-99.
“Jaki Byard, Blues for Smoke,” Bennett Simpson, ed. Blues for Smoke, Prestel, 2012, 1-5.
“Hard Enough to Enjoy,” (with images by Ralph Lemon), Museum of Modern Art
 Collectible, 2012.
“From ‘block chapel,’” Callaloo 35:3, Fall 2012, 567-77.
“From ‘block chapel,’” Hambone 20, Fall 2012, 250-60.
“From ‘fortrd.fortrn,’” Denver Quarterly, 46:4, July 2012, 79-81.
“come on, get it 9.2-11,” With + Stand 5, 2011, 40-45.
“come on, get it 6-9.1,” Amerarcana 2, Winter 2011, 28-34.
“come on, get it 1-5,” The Recluse 6, Spring 2010, 21-25.
“From ‘block chapel,’” A Public Space 11, Spring 2010, 99.
“arthur jafa & greg tate” Rabbit Light Movies: A Journal of Poemfilms, http://www.rabbitlightmovies.com/moten.html
“Rock the party, fuck the smackdown.”, “what y’all need,” “the madness of the
worker,” “the salve trade” and “walter benjamin/julian boyd,” Hambone 18, Fall 2006, 142-48.
“tony oxley,” “steve harney’s early uncollected city,” “the club” and “njeeri wa
thiong’o,” Masthead 10 (http://masthead.net.au), Summer 2006
“bessie smith,” “other dimensions in music, ghostcatching,” “offtime + qualify,” “six
four or trades,” and johnny cash/rosetta tharpe,” Callaloo 27: 4, Fall 2004, 967-74; “johnny cash/rosetta tharpe,” reprinted Charles Henry Rowell, ed. Angles of Ascent: A Norton Anthology of Contemporary African American Poetry, W. W. Norton & Company, 2013, 489-90; “bessie smith,” reprinted Aldon Lynn Nielsen and Lauri Ramey, ed. What I Say: Innovative Poetry by Black Writers in America, University of Alabama Press, 2015, 171.
“something to say,” maroons,” pre-black (jazz,” “shock” and “where the blues began,”
Blue/Print (a cd presented by nocturnes (re)view and the MFA Writing Program at California Institute of the Arts), Spring 2004.
“Elegy for Performances,” Matrix 3, Spring 2003, 4-7.
“curtis mayfield,” Shuffleboil 3, Winter 2003, 40-41.
“pam grier,” Small PressTraffic (http://www.sptraffic.org/html/new_writing/moten.html)
“henry dumas,” “adrian piper,” “sleater-kinney,” and “murray jackson,” nocturnes 2,
2002, 196-99 “henry dumas” and “murray jackson,”” reprinted Aldon Lynn
Nielsen and Lauri Ramey, ed. What I Say: Innovative Poetry by Black Writers in
America, University of Alabama Press, 2015, 172-73.
“gary fisher,” “graphaphone remember,” and “robert farris thompson,” The World 58,
2002, 36-43.
“piet mondrian,” The Poetry Project Newsletter 189, April/May 2002, 4-5.
“jazz,” “miles davis,” and “gayl jones,” Callaloo 25: 1, Winter 2002, 94-96; “gayl jones,”
reprinted, Charles Henry Rowell, ed. Angles of Ascent: A Norton Anthology of Contemporary African American Poetry, W. W. Norton & Company, 2013, 488-89.
“james baldwin,” “alice key,” and “cecil taylor,” PO-EP
“9 11,” Can We Have Our Ball Back? 8.1, October, 2001.
“15 (billie holiday),” “101,” “1. ‘the stylistics erupt boplicity’: Lawrence D. ‘Butch’
Morris, cond.,” and “on grappa, over shoulder, acknowledgements,” Five
Fingers Review, 2001, 87-92.
“bogard + icon,” “general baker,” “eric dolphy,” “fred hopkins” and “b jenkins,”
Callaloo 23: 4, Fall 2000, 1177-82.
“here go that hole in the street,” Can We Have Our Ball Back? 2, October 2000
“Arkansas,” Grand Street 61, Summer 1997, 136-37.
“william corbett,” Lift 15 & 16, 1994, 90.
 “Wave,” “Building, Song and Flower,” “Me With You,” “Same Change Autumn
Leaves,” “The Petals,” and “Steve,” Lift 12, May 1993, 17-19.

Interviews & Roundtables

“On Poetry and the Turntable” (with Kevin Beasley) in Ralph Lemon, ed. Passage of a
“An Interview with Fred Moten, Parts I & II,” Literary Hub, August 5 & 6, 2015,
“’Poetry begins with the willingness to subordinate whatever the hell it is that you
have to say,’” (with Housten Donham), Open House, July 20, 2015,
“National Book Award, Finalist Interview,” (with Sandra Lim), November 13, 2014,
“The Alternative is at Hand,” (with Stefano Harney) Chronic/Chimurenga, August
2013, 18-21.
“Studying Through the Undercommons: Stefano Harney & Fred Moten—
“Queer Studies, Materialism and Crisis: A Roundtable Discussion” (with Christina
Crosby, Lisa Duggan, Roderick Ferguson, Kevin Floyd, Miranda Joseph, Heather Love, Robert McRuer, Tavia Nyong’o, Lisa Rofel, Jordana Rosenberg, Gayle Salamon, Dean Spade and Amy Villarejo), GLQ 18:1, Winter 2012, 127-47.
“Interview” (with Matthew Frye Jacobson), Historian’s Eye, March 6, 2012,
“Intervju sa Fredom Motenom (with Branislav Jakovljevic),” trans. Slobadanka Glisic
in Peter Klepec & Petat Bojanic, ed. Sta Je, U Stvari, Radikalno?, Narodna
Biblioteka Srbjije, 2009, 333-355.
“African American Experimental Poetry Forum,” (with Renee Gladman, Douglas
Kearney, John Keene, Dawn Lundy Martin, Mendi Lewis Obadike, Rowan Ricardo Phillips and Tyrone Williams), Jubilat 16, Summer 2009, 115-54.
“On Study: A Roundtable” (with Marc Bousquet and Stefano Harney), Polygraph 21,
2009, 169-85.
“The Insurgency of Objects”: A Conversation with Fred Moten (with James Leo
Cahill and Rachel Leah Thompson), Octopus, Volume 1, Fall 2005, 45-66.
“’Words Don’t Go There’: An Interview” (with Charles Rowell), Callaloo, Volume 27:
4, Fall 2004, 953-66.
“Interview” (with Ange Mlinko), Poetry Project Newsletter 181, October/November
2000, 8-10.


X: The Problem of the Negro as a Problem for Thought by Nahum Dimitri Chandler,” Artforum 52:4, December 2013, 96.
Rough Americana by DJ Mutamassik + Morgan Craft,” Journal of the Society for American Music 2:2, May 2008, 283-87.
tripwire 5: Expanding the Repertoire: Continuity & Change in African-American Writing,” The Poetry Project Newsletter 188, February/March 2002, 21-2.
Electric Animal by Akira Mizuta Lippit,” Modern Language Notes 115: 5, December 2000, 1171-78.
Scenes of Subjection by Saidiya V. Hartman & Soul: Black Power, Politics and Pleasure, ed. by Monique Guillory and Richard C. Green,” The Drama Review 43: 4, Winter 1999, 169-74.


Harriet The Blog: The Poetry Foundation, January-February, 2010.

Performances, Performance Texts & Screenwriting

Miss Communication and Mister Re: (Performance Notes),” (with Wu Tsang),
Greene Exhibitions, Culver City, CA., June 12, 2014; a film version directed by Wu Tsang was included in the exhibition Double Life at the Contemporary Arts Museum, Houston, December 13, 2014-March 13, 2015; performance notes published in Gerald Maa, ed. Invito/ Spectatore, Greene Exhibitions, 2015; excerpts from performance text publiushed in Gregor Jansen, et. al., ed. Wu Tsang: Not in My Language, Köln, Verlag der Buchhandlung Walther König, 2015, 160-62.
“Hand Up to Your Ear” in Ultra-red, ed. Protocols for the the Sound of
Freedom/Arika A survey is a process of listening, 2012 Whitney Biennial, 22-25.
“Voiceover: DeShotten 1:0” dir. Arthur Jafa, 2007,