Poets and Critics 2015

Poets and Critics 2015

2011-2014 CALENDAR


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

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,

Monday, September 22, 2014

Ann Lauterbach Symposium at Université Paris Est Marne-La-Vallée, Monday 15 December & Tuesday 16 December

On Monday 15 December and Tuesday 16 December, we will be hosting a 2 day symposium on Ann Lauterbach’s work at Université Paris Est Marne-La-Vallée, bâtiment Copernic, 2nd floor, room 2B055-057 (Monday) and room 2B047-049 (Tuesday). 

How to get there? See here.

So far, we’ve tried to focus on the writer’s own (creative and critical) work on the first day of the P&C symposia and on broader issues of poetics and practice-based criticism with the writer 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.

Bio, bibliography & links from National Poetry Foundation website : 

We will be meeting in the morning of December 15th at 10 am to prepare our sessions with Ann Lauterbach. Ann Lauterbach will be joining us at 2 pm on the 15th. She will also be with us all day on the 16th.

On Monday 15 December at 8pm, Ann Lauterbach will give a poetry reading in Paris.

Poems and essays available from the following websites:
- The Poetry Foundation
- Poets.orghttp://www.poets.org/poetsorg/poems/46011
Excerpts from books are also linked to on this website. 

Lauterbach was born in New York City, the daughter of a war correspondent or Life and Time magazines in Moscow who was also the head of the Moscow Bureau of Time during World War II. Lauterbach’s father died in 1950, when Ann was still a child; this absence and his absences while traveling would later feature in her poetry. As a child, Lauterbach studied painting and became especially interested in abstract expressionism. After receiving a BA in English at the University of Wisconsin-Madison in 1964, she attended Columbia University for one year on a Woodrow Wilson graduate fellowship. At the completion of her studies, Lauterbach moved to London, England, where she edited books and taught literature. In 1974 she returned to the United States and immersed herself in the art world, working as an art consultant and an assistant director to various art galleries.

Poet Ann Lauterbach's work has been compared to the poetry of John Ashbery and Barbara Guest. She has published several volumes of poetry, including Many Times, but Then (1979), Before Recollection (1987),Clamor (1991), And for Example (1994), On a Stair(1997), If in Time (2001),Hum (2005) and Or to Begin Again (2009), which was a finalist for the National Book Award. If in Time, a volume of her selected poetry, demonstrates the transformation of her style over three decades, an evolution described by Thomas Fink in the Boston Review: “Lauterbach has found new forms for expressing the continuousness of change: its ways of summoning and disrupting intimacy, of evoking and subverting the position of perceptions and the framing and decentering play of language itself.” 

Lauterbach's linguistically complex, senstive work has been compared to the poetry of John Ashbery and Barbara Guest.“Suffice it to say that she evidently wants us to experience her work form-first, to sense its shapes before shaping a sense,” noted critic Andrew Osborn of the poems in On a Stair. Lauterbach seems to concur with this assessment. In a Rain Taxi interview, she declared, “I’m much more interested in a more difficult kind of sense-making, and I mean difficult in the sense of complexity, and obscurity, but not willful obscurity, just the fact that there are certain things we cannot penetrate and do not know, we can’t know, we may never know.” In an essay for the Poetry Society of America, she further discussed the disjunctions in her work: “I began to give up the use of classical syntax, the logic of cause and effect, of an assumed relation between subject and object, after my sister died. The narrative as story had been ruptured once and for all; I wanted the gaps to show.” In Or to Begin Again Lauterbach continues to investigate the potential of narrative and rupture, as well as the differences between spoken and written language; taking its title from a sixteen-poem elegy, the book also contains the long poem “Alice in the Wasteland,” which uses the work of both Lewis Carroll and T.S. Eliot to explore language, reading, and consciousness.
In addition to poetry, Lauterbach has published a book of essays, The Night Sky: Writings on the Poetics of Experience (2005). She has received fellowships from the Guggenheim Foundation, the Ingram Merrill Foundation, and the MacArthur Foundation. For over 15 years, she has taught at Bard College and co-directed the Writing Division of the MFA program. She has also taught at the Graduate Center of the City University of New York, Columbia University, Princeton University, and the University of Iowa.


o    Vertical, Horizontal, Seafront Press (Dublin, Ireland), 1971.
o    Book One, Spring Street Press (New York, NY), 1975.
o    Many Times, but Then, University of Texas Press (Austin, TX), 1979.
o    Later That Evening, Jordan Davies (Brooklyn, NY), 1981.
o    Closing Hours, Red Ozier Press (Madison, WI), 1983.
o    Sacred Weather, with a drawing by Louisa Chase, Grenfell Press (New York, NY), 1984.
o    (With Bruce Boice) Greeks, photographs by Jan Groover, Hollow Press (Baltimore, MD), 1985.
o    Before Recollection, Princeton University Press (Princeton, NJ), 1987.
o    How Things Bear Their Telling, with drawings by Lucio Pozzi, Collectif Generation (Colombes, France), 1990.
o    Clamor, Viking (New York, NY), 1991.
o    And for Example, Viking (New York, NY), 1994.
o    A Clown, Some Colors, a Doll, Her Stories,a Song, a Moonlit Cove, with photogravures by Ellen Phelan, Whitney Museum (New York, NY), 1996.
o    On a Stair, Penguin Poets (New York, NY), 1997.
o    If in Time: Selected Poems 1975-2000, Penguin Poets, 2001.
o    Hum, Penguin Poets, 2005.
o    Or to Begin Again, Penguin Poets, 2009.

o    The Night Sky: Writings on the Poetics of Experience, Viking, 2005.

o    Contemporary Women Poets, St. James Press (Detroit, MI), 1998.
o    Dictionary of Literary Biography, Volume 193: American Poets since World War II, Gale (Detroit, MI), 1998.
o    The Tribe of John: Ashbery and Contemporary Poetry, University of Alabama Press (Tuscaloosa, AL), 1995.

o    American Poetry Review, January-February 1988; May-June 1992.
o    Booklist, November 15, 1994, Elizabteh Gunderson, review of And for Example, p. 574.
o    Choice, March, 1980, review of Many Times, but Then, p. 74; December, 1987, M. Gillian, review of Before Recollection, p. 622.
o    Cream City Review, summer, 1988.
o    Denver Quarterly, spring, 1995.
o    Diacritics, fall-winter, 1996.
o    Hudson Review, spring, 1992, Andrew Hudgins, review of Clamor, p. 162; summer, 1995, Thomas M. Disch, review of And for Example, p. 345.
o    Ohio Review, no. 48, 1990.
o    Parnassus, spring-summer, 1981, Bonnie Costello, "Four Ways to Break the Silence," pp. 111-124.
o    Partisan Review, spring 1994.
o    o    Publishers Weekly, October 31, 1994, review of And for Example, p. 54.
o    Queen's Quarterly, spring, 1989, Myra Junyk, review of Before Recollection, pp. 159-162.
o    Talisman, fall, 1994; winter, 1995.
o    Times Literary Supplement, January 18, 1980, John Fuller, "The Americans," p. 65.
o    Virginia Quarterly Review, spring, 1991; winter, 1998, p. 28.
o    Wallace Stevens Review, fall, 1995.
o    Washington Post Book World, February 16, 1992, Harriet Zinnes, "Sound and Sense," p. 11.