tag:blogger.com,1999:blog-31013996330741790672024-03-13T15:49:43.439+01:00Poets & Critics @ Paris Est - 7 - 8OLIVIER BROSSARDhttp://www.blogger.com/profile/01534875617937443192noreply@blogger.comBlogger93125tag:blogger.com,1999:blog-3101399633074179067.post-73268631972773892222015-12-22T23:14:00.001+01:002015-12-22T23:16:50.984+01:00Eileen Myles Symposium Thursday 4 & Friday 5 February 2016 <h3 class="post-title entry-title" itemprop="name" style="background-color: #dddddd; color: #333333; font-stretch: normal; font-weight: normal; margin: 0.75em 0px 0px; position: relative;">
<span style="font-family: inherit; font-size: small; line-height: 1.4;">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). </span></h3>
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<span style="font-family: inherit;">From Eileen Myles's website : <a href="http://www.eileenmyles.com/" target="_blank">http://www.eileenmyles.com/</a></span><br />
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<tr><td style="text-align: center;"><a href="http://www.eileenmyles.com/ims/EileenLewisbw.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-family: inherit;"><img border="0" src="http://www.eileenmyles.com/ims/EileenLewisbw.jpg" height="320" width="252" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit; font-size: small;">Photo by Libby Lewis</span></td></tr>
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<span style="font-family: inherit;">Poet, novelist, performer and art journalist Eileen Myles is the author of nineteen books including <em>I Must Be Living Twice: New & Selected Poems</em> and a re-issue of <em>Chelsea Girls</em>, both out in fall 2015, from Ecco/Harper Collins.</span></div>
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<span style="font-family: inherit;">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.</span></div>
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<span style="font-family: inherit;">From 1977 to 1979 she published <em>dodgems</em>, 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 <em>Ladies Museum</em>, 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 <em>Patriarchy</em> and the spiritual entertainment <em>Joan of Arc</em>.</span></div>
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<span style="font-family: inherit;">Eileen Myles has toured and read all over North America and Europe on and off since the early 1980s. Her solo performances include <em>Leaving New York</em> (1989), <em>Life</em> (1991), and <em>Summer in Russia</em> (1996) at PS 122 in New York. Her plays include <em>Feeling Blue</em> (Parts 1, 2, and 3) at Modern Art, and <em>Our Sor Juana Ines de la Cruz</em>, written for Alina Troyano and produced at PS 122. In 2004, she wrote the libretto for the opera <em>Hell</em>, composed by Michael Webster. In 2010, she created and directed her Dia Center for the Arts performance piece, <em>The Collection of Silence</em>, which involved dancers, poets, children, visual artists, and Buddhists in a collective public act of silence at the Hispanic Society in New York.</span></div>
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<span style="font-family: inherit;">Her other books include <em>Snowflake/different streets</em> (2012), <em>Inferno: A Poet's Novel</em> ( 2010), <em>The Importance of Being Iceland: Travel Essays in Art</em> (2009), <em>Sorry, Tree</em> (2007), <em>Tow</em> (2005, with artists Larry C. Collins), <em>Skies</em> (2001),<em>on my way</em> (2001), <em>Cool for You</em> (novel, 2000), <em>School of Fish</em> (1997), <em>Maxfied Parrish</em> (1995), <em>Not Me</em> (1991), and<em>Chelsea Girls</em> (1994). In 1995, with Liz Kotz, she edited <em>The New Fuck You: Adventures in Lesbian Reading</em>. As a poet and art journalist, she has contributed to a wide number of publications including <em>Art Forum, <em>The New Yorker, Harpers</em>, Parkett, The Believer, Vice, Cabinet, The Nation, TimeOut</em>, <em>Paris Review</em>, and <em>AnOther Magazine</em>. She often contributes essays to catalogs for major exhibitions such as the Whitney and Liverpool Biennials.</span></div>
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<span style="background-color: #dddddd; font-family: inherit;">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.</span><br />
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<span style="font-family: inherit;">Bibliography (click on image below):</span><br />
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OLIVIER BROSSARDhttp://www.blogger.com/profile/01534875617937443192noreply@blogger.com14tag:blogger.com,1999:blog-3101399633074179067.post-33132361464238993772015-11-04T11:05:00.002+01:002015-11-04T11:05:20.189+01:00The Undercommons. Fugitive Planning & Black Study by Stefano Harney & Fred Moten<div style="text-align: center;">
Click on image below to access pdf file of the book.</div>
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<a href="http://www.minorcompositions.info/wp-content/uploads/2013/04/undercommons-web.pdf" target="_blank"><img border="0" height="400" src="http://3.bp.blogspot.com/-B4rXSrKgZKI/VjnXMAge8zI/AAAAAAAAPWM/xu4yM6nKkts/s400/Undercommons.JPG" width="272" /></a></div>
OLIVIER BROSSARDhttp://www.blogger.com/profile/01534875617937443192noreply@blogger.com5tag:blogger.com,1999:blog-3101399633074179067.post-56556087241073265652015-09-11T10:13:00.002+02:002015-11-04T10:14:09.228+01:00Fred Moten Symposium at Université Paris 8 and Paris Diderot, Monday 14 December & Tuesday 15 December 2015<span style="font-family: inherit;">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. </span><br />
<span style="font-family: inherit;"><br /></span><span style="font-family: inherit;"><span style="font-family: inherit;"><b>Monday </b><span style="font-family: inherit;"><b>14 Dec</b><span style="font-family: inherit;"><b>ember</b> </span></span></span></span><br />
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<span style="font-family: inherit;">Université de Paris 8 Vincennes Saint Denis</span><br />
<span style="font-family: inherit;">2 rue de la liberté, </span><br />
<span style="font-family: inherit;">93526 Saint-Denis</span><br />
<b><span style="font-family: inherit;">Room B313</span></b><br />
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<b>Tuesday 15 December</b><br />
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<span style="font-family: inherit;">Université Paris 7 Paris Diderot</span><br />
<span style="font-family: inherit;">Bat. Olympe de Gouges,<br />8 rue Albert Einstein,<br />75013 Paris</span><br />
<span style="font-family: inherit;"><b>Room 829-830</b></span><br />
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<span style="font-family: inherit;">Practical details to follow.</span><br />
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<span style="font-family: inherit;">Fred Moten is author of <i style="box-sizing: border-box;">In the Break: The Aesthetics of the Black Radical Tradition</i> (University of Minnesota Press), <i style="box-sizing: border-box;">Hughson’s Tavern</i>(Leon Works), <i style="box-sizing: border-box;">B. Jenkins</i> (Duke University Press), <i style="box-sizing: border-box;">The Feel Trio </i>(Letter Machine Editions) and co-author, with Stefano Harney, of<i style="box-sizing: border-box;">The Undercommons: Fugitive Planning and Black Study </i>(Minor Compositions/Autonomedia). His current projects include two critical texts, <i style="box-sizing: border-box;">consent not to be a single being </i>(forthcoming from Duke University Press) and <i style="box-sizing: border-box;">Animechanical Flesh</i>, which extend his study of black art and social life, and a new collection of poems, <i style="box-sizing: border-box;">The Little Edges</i>.</span></div>
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<a href="http://www.poetshouse.org/uploads/styles/carousel_event_default_x315/public/media/programs-and-events/events/Moten%20with%20Color.jpg?itok=cljXSbA_" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://www.poetshouse.org/uploads/styles/carousel_event_default_x315/public/media/programs-and-events/events/Moten%20with%20Color.jpg?itok=cljXSbA_" height="213" width="320" /></a></div>
<span style="font-family: inherit;">In 2009 Moten was Critic-in-Residence at <i style="box-sizing: border-box;">In Transit 09: Resistance of the Object</i>, 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.</span></div>
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<span style="font-family: inherit;">Moten served as a member of the Board of Managing Editors of <i style="box-sizing: border-box;">American Quarterly </i>and has been a member of the Editorial Collectives of <i style="box-sizing: border-box;">Social Text </i>and <i style="box-sizing: border-box;">Callaloo</i>, and of the Editorial Board of <i style="box-sizing: border-box;">South Atlantic Quarterly</i>. He is also co-founder and co-publisher (with Joseph Donahue) of a small literary press called Three Count Pour.</span><br />
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<b><span style="line-height: 23.8px; text-indent: -1cm;"><span style="font-family: Hoefler Text;">L</span></span><span style="font-family: 'Times New Roman', serif; line-height: 23.8px; text-indent: -1cm;">ist of publications</span></b></div>
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<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;"><b>Books</b><o:p></o:p></span></div>
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<i><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">consent
not to be a single being: Essays 2002-2016</span></i><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">, Duke
University Press, forthcoming.<o:p></o:p></span></div>
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<i><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">The
Service Porch</span></i><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">, Letter Machine Editions, forthcoming
2016.<o:p></o:p></span></div>
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<i><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">The
Little Edges</span></i><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">, Wesleyan University Press, 2015.<o:p></o:p></span></div>
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<i><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">The
Feel Trio</span></i><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">, Letter Machine Editions, 2014.<o:p></o:p></span></div>
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<i><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">The
Undercommons: Fugitive Planning and Black Study</span></i><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;"> (with
Stefano Harney), Minor <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">Compositions/Autonomedia, 2013.<o:p></o:p></span></div>
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<i><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">B
Jenkins</span></i><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">, Duke University Press, 2010.<o:p></o:p></span></div>
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<i><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">I
ran from it and was </span></i><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">still <i>in it. </i>(with collages by Theodore Harris),<i> </i>Cusp Books, 2007.<o:p></o:p></span></div>
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<i><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">Hughson’s
Tavern</span></i><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">, Leon Works, 2008.<o:p></o:p></span></div>
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<i><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">In
the Break: The Aesthetics of the Black Radical Tradition</span></i><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">,
University of Minnesota Press, 2003.<b><o:p></o:p></b></span></div>
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<i><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">Poems
</span></i><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">(with
Jim Behrle), Pressed Wafer, 2002<o:p></o:p></span></div>
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<i><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">Arkansas</span></i><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">,
Pressed Wafer, 2000.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;"><b>Co-Edited Anthologies and Journal
Issues</b><span style="text-transform: uppercase;"><o:p></o:p></span></span></div>
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<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“911—A Public Emergency?”
(co-edited with Brent Edwards, Stefano Harney, <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">Randy Martin, Timothy Mitchell
and Ella Shohat), <i>Social Text</i> 72,
Fall 2002.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“Staging Sound: Feminism,
Re/Production and Performance,” (co-edited with <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">Jennifer Fink and June Reich)<i>Women and Performance</i> 9:2, 1997.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;"><b>Essays</b><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“Jurisgenerative Grammar,” George
E. Lewis & Benjamin Piekut, ed.<i> The
Oxford <o:p></o:p></i></span></div>
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<i><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">Handbook
of Critical Improvisation Studies</span></i><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">, Oxford University Press,
forthcoming, 2015.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“Ex-Foliation (Reading in the
Flesh),” <i>Small Axe </i>19:1 (46),
forthcoming 2015.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“On Poetry and the Turntable,”
(with Kevin Beasley). Ralph Lemon, ed. <i>On
<o:p></o:p></i></span></div>
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<i><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">Value</span></i><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">,
Triple Canopy, 2015, 123-47.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“Mikey The Rebelator” (co-written
with Stefano Harney), <i>Performance
Research</i> 20:4, Fall 2015, 141-45.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“Michael Brown” (co-written with
Stefano Harney), <i>boundary2 </i>42:4, Fall
2015, 81-87.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“Some Extrasubtitles for <i>Wildness</i>,” Gregor Jansen, et. al., ed. <i>Wu Tsang: Not in My <o:p></o:p></i></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<i><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">Language</span></i><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">,
Köln, Verlag der Buchhandlung Walther König, 2015, 160-62.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“To Feel, To Feel More, To Feel
More Than,” Rose Bouthiller & Megan Lynch <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">Reich, with Elena Harvey Collins,
ed. <i>How to Remain Human</i>, Museum of <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">Contemporary Art, Cleveland,
2015, 59-62.<i><o:p></o:p></i></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“History Does Not Repeat Itself,
but It Does Rhyme,” Annet Busch & Anselm <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">Franke, ed. <i>After Year Zero: Geographies of Collaboration</i>, University of
Chicago <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">Press/Museum of Modern Art,
Warsaw, 2015, 200-04.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“Blackness and Poetry,” <i>Evening Will Come </i>55, July 2015, <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;"><a href="http://www.thevolta.org/ewc55-fmoten-p1.html">http://www.thevolta.org/ewc55-fmoten-p1.html</a>;
reprinted, Arcade: Literature <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">Humanities and the World, July
23, 2015. <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;"><a href="http://arcade.stanford.edu/content/blackness-and-poetry-0">http://arcade.stanford.edu/content/blackness-and-poetry-0</a>.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“Remind,” Stephen Hoban, Yasmil
Raymond & Kelly Kivland, ed. Thomas <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">Hirschhorn, <i>Gramsci Monument</i>. Walther König/Dia Art Foundation, 2015, 326-28.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“The Touring Machine (Flesh
Thought Inside Out), Brenna Bhandar & Jonathan <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">Goldberg-Hiller, ed. <i>Plastic Materialities: Politics, Legality
and Metamorphosis in <o:p></o:p></i></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<i><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">the
Work of Catherine Malabou</span></i><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">, Duke University Press, 2015,
265-86.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span style="font-family: "Times New Roman","serif"; mso-ansi-language: FR; mso-bidi-font-size: 12.0pt;">“Amuse-bouche,”
Claudia La Rocco, ed. </span><i><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">Dancers,
Buildings and People in the Streets:</span></i><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;"> <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<i><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">Danspace
Project Platform 2015</span></i><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">, 86-96; Reprinted, Tracie
Morris, ed. “The Motion of Light: Celebrating Samuel R. Delany,”<i> Jacket2</i>, February 12, 2015, <a href="https://jacket2.org/article/amuse-bouche">https://jacket2.org/article/amuse-bouche</a>.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“Poetics (of Blackness),” Joshua
Marie Wilkinson, ed. <i>The Volta Book of
Poets</i>, Sidebrow Books, 2015, 217.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“Al-Khwāriddim, or Savoir Faire
is Everywhere” (co-written with Stefano Harney),” <i>Really Useful Knowledge</i>, Museo Nacional Centro de Arte Reina Sofia,
2014.185-90. <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“Notes on Passage (The New
International of Sovereign Feelings),” <i>Palimpsest
3.1</i>, 2014, 51-74. <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“</span><span lang="DE" style="font-family: "Times New Roman","serif"; mso-ansi-language: DE; mso-bidi-font-size: 12.0pt;">Die äußere Welt (wenn ein Fremder erscheint)</span><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">,”
Ulrich Baer & Amir Eshel, ed. <i>Hannah
Arendt zwischen den Diziplinen</i>, Wallstein Verlag, 2014, 253-69.</span><span lang="DE" style="font-family: "Times New Roman","serif"; mso-ansi-language: DE; mso-bidi-font-size: 12.0pt;"><o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“The Beauty of José Esteban
Muñoz,” in “José Esteban Muñoz (1967-2013): A Collage,”<i> boundary2.org</i>, March 10, 2014, <a href="http://boundary2.org/2014/03/10/the-beauty-of-jose-esteban-munoz/">http://boundary2.org/2014/03/10/the-beauty-of-jose-esteban-munoz/</a>.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“Nobody, Everybody (Prayer,
Prepare, Repair),” <i>Harold Mendez: but I
sound better since you cut my throat, </i>Three Walls, Chicago, 2014.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“The Sustain,” <i>Bombay Gin </i>40:1, Spring 2014, 66-68.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“An Ecology of (Eloquent)
Things,” <i>A Gathering of the Tribes </i>14,
2013, 57-58.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“Blackness and Nothingness
(Mysticism in the Flesh),” <i>South Atlantic
Quarterly </i>112:4, Fall 2013, 737-80.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“The Subprime and the Beautiful,”
<i>African Identities</i> 11:2, 2013,
237-45. <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“Un respire in affanno: La
fatticità della blackness,” Miguel Angel Mellino, ed. <i>Fanon <o:p></o:p></i></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<i><span style="font-family: "Times New Roman","serif"; mso-ansi-language: FR; mso-bidi-font-size: 12.0pt;">postcoloniale: I dannati della terra oggi</span></i><span style="font-family: "Times New Roman","serif"; mso-ansi-language: FR; mso-bidi-font-size: 12.0pt;">, Ombre Corte, 2013, 135-45.<i><o:p></o:p></i></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“Nowhere, Everywhere,” <i>Theaster Gates: My Labor Is My Protest</i>,
White Cube, 2012, 70-76.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“Liner Notes for <i>Lick Piece</i>,” Valerie Cassel Oliver, ed. <i>Ben Patterson: Born in the State of <o:p></o:p></i></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<i><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">FLUX/us</span></i><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">,
Contemporary Arts Museum Houston, 2012, 212-20.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“Necessity, Immensity and Crisis:
Many Edges/Seeing Things,” <i>Floor</i>,
Issue 1, <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">October 2011, <a href="http://floorjournal.com/2011/10/30/necessity-immensity-and-crisis-many-edgesseeing-things/">http://floorjournal.com/2011/10/30/necessity-immensity-and-crisis-many-edgesseeing-things/</a><o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“Politics Surrounded” (co-written
with Stefano Harney), <i>South Atlantic
Quarterly </i>110:4, Fall 2011, 985-88.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“Blackness and Governance”
(co-written with Stefano Harney), Patricia Ticineto Clough and Craig Willse,
ed. <i>After Foucault: Life, Death, and
Biopolitics</i>, Duke University Press, 2011, 351-61.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“It’s Not That I Want To Say,”
Joshua Marie Wilkinson, ed. <i>Poets on
Teaching: A Sourcebook</i>, University of Iowa Press, 2010, 58.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“Debt and Study” (co-written with
Stefano Harney), <i>e-flux</i> 14, March
2010 <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">(<a href="http://www.e-flux.com/journal/view/119">http://www.e-flux.com/journal/view/119</a>);
abridged and reprinted as “Homeless Economics” in <i>Chronic: Now-Now, A Quarterly Pan-African Gazette</i>, March 2013, 35. <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“Policy and Planning” (co-written
with Stefano Harney), <i>Social Text</i>
100, Fall 2009, 182-187; reprinted in <i>darkmatter</i>,
<a href="http://www.darkmatter101.org/site/2010/04/19/policy-and-planning">http://www.darkmatter101.org/site/2010/04/19/policy-and-planning</a>.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“<i>Sonata Quasi Una Fantasia</i>,” <i>Hambone
</i>19, Fall 2009, 110-133.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“Black Op,” <i>PMLA </i>123:5, October 2008, 1743-47.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“The Case of Blackness,” <i>Criticism </i>50:2, Spring 2008, 177-218;
reprinted in Nicholas Mirzoeff, <i>The
Visual Culture Reader</i>, Third Edition, Routledge, 2012, 466-494.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“The New International of
Rhythmic Feeling/s,” Sylvia Mieszkowski, Joy Smith, and Marijke de Valck, ed. </span><i><span style="font-family: "Times New Roman","serif"; mso-ansi-language: FR; mso-bidi-font-size: 12.0pt;">Aural Cultures</span></i><span style="font-family: "Times New Roman","serif"; mso-ansi-language: FR; mso-bidi-font-size: 12.0pt;">, Rodopi, 2007, 31-56.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“Gestural Critique of Judgment,”
Ulla Haselstein & Klaus Benesch, ed., <i>The
Power and Politics of the Aesthetic in American Culture</i>, Publications of
the Bavarian American Academy, Volume 7, Universitätsverlag Winter, 2007,
91-111.<i><o:p></o:p></i></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“Democracy,” Bruce Burgett &
Glenn Hendler, ed., <i>Keywords for American
Cultural Studies</i>, New York University Press, 2007, 76-79. <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“Taste Dissonance Flavor Escape” <i>Women and Performance: A Journal of Feminist
Theory</i> 17:2, July 2007, 217-246.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“Uplift and Criminality,” Alys
Eve Weinbaum & Susan Gillman, ed., <i>Next
to the Color <o:p></o:p></i></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<i><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">Line:
Gender, Sexuality and W. E. B. Du Bois</span></i><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">,
University of Minnesota Press, 2007, 317-49.“The University and the
Undercommons: Seven Theses” (co-written with Stefano <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">Harney), <i>Social Text</i> 79, Spring 2004, 101-15; Reprinted, Edu-Factory
Collective, ed. <i>Toward A Global
Autonomous University: Cognitive Labor, The Production Of Knowledge And Exodus
From The Education Factory</i>, Autonomedia, 2009; Translated as “A
Universidade E S <i>Undercommons</i>,” <i>E-Misférica 11:1 The Decolonial Gesture</i>,
Spring 2014, <a href="http://hemi.nyu.edu/hemi/en/emisferica-111-the-decolonial-gesture/harney">Http://Hemi.Nyu.Edu/Hemi/En/Emisferica-111-The-Decolonial-Gesture/Harney</a>
and as “L’università E Gli <i>Undercommons</i>”
In Edu-Factory Collective, Ed. <i>L’università
Globale: Il Nuovo Mercato Del Sapere</i>, Manifestolibri, 2008.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;"> “The Phonographic Mise-en-Scéne,” <i>Cambridge Opera Journal</i> 16:3, 2004,
269-81.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“Knowledge of Freedom” in <i>CR: The New Centennial Review</i> 4:2, Fall
2004, 269-310.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<b><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;"> </span></b><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“Not in Between: Lyric Painting,
Visual History and the Postcolonial Future,” <i>The Drama Review</i> 47:1, Spring 2003, 127-48.<i><o:p></o:p></i></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“Magic of Objects,” <i>Callaloo</i> 26:1, Spring 2003, 109-111. <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;"> “The New International of Decent Feelings,” <i>Social Text</i> 72, Fall 2002, 189-99.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“Ensemble and Improvisation,” <i>Hambone</i> 16, Fall 2002, 194-215.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“Black Mo’nin’ in the Sound of
the Photograph,” David Kazanjian and David Eng, ed. <i>Loss</i>, University of California Press, 2002, 59-76.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“Return of the Oppressed”
(co-written with B Jenkins), Lauren Berlant and Lisa Duggan, ed. <i>Our Monica, Ourselves</i>, New York
University Press, 2001, 137-55.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“Voices/Forces: Migration,
Surplus and the Black Avant-garde,” Brandon LaBelle and Christof Migone, eds. <i>Writing Aloud: The Sonics of Language</i>,
Errant Bodies Press, 2001, 47-59. <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“Interpolation and
Interpellation,” Allen Weiss, ed., <i>Experimental
Sound and Radio, </i>The MIT Press, 2001, 116-24.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“The Academic Speed-up”
(co-written with Stefano Harney), <i>Workplace:
the Journal for Academic Labor</i> 2:2, November 1999 (<a href="http://www.workplace-gsc.com/">http://www.workplace-gsc.com</a>).<i><o:p></o:p></i></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“Doing Academic Work” (co-written
with Stefano Harney), Randy Martin, ed. <i>Chalk
Lines: The Politics of Work in the Managed University</i>, Duke University
Press, 1999, 154-80.<b><i><span style="text-transform: uppercase;"><o:p></o:p></span></i></b></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“A(bridge(d: Acting Out with the
Cecil Taylor Unit,” Lawrence Rickels, ed., <i>Acting
Out In Groups</i>, The University of Minnesota Press, 1999, 69-108. <i><o:p></o:p></i></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“Bridge and One,” May Joseph and
Jennifer Fink, eds. <i>Performing Hybridity</i>,
University of Minnesota Press, 1999, 229-46.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“Introduction” and “The Dark Lady
and the Sexual Cut,” <i>Women and
Performance</i> 9: 2, 1997, 9-10, 143-161.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“Sound in Florescence,” Adalaide
Morris, ed. <i>Sound States: Innovative
Poetics and Acoustical Technologies, </i>University of North Carolina Press,
1997, 213-34.<i><o:p></o:p></i></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt; text-transform: uppercase;">“</span><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">Tragedy,
Elegy, Improvisation: Voices of Baraka II,” <i>Semiotics
94</i>: <i>Proceedings of the Semiotic
Society of America Nineteenth Annual Meeting</i>, Peter Lang, 1995, 431-49.<i><o:p></o:p></i></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“Stanza, Record, Frame:
Temporality, Technics and Artifact in Baraka, Eisenstein and Shakespeare,” <i>Semiotics 93: Proceedings of the Semiotic
Society of America Eighteenth Annual Meeting</i>, Peter Lang, 1995, 268-78.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“Nathaniel Mackey Overheard,” <i>Proliferations 2, </i>November 1994, 23-27.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<b><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">Poems<o:p></o:p></span></b></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“Whatnot to the Music,” in Ralph Lemon, ed. <i>Passage
of a Rumor</i>, published in <i>Triple <o:p></o:p></i></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<i><span lang="EN-US" style="font-family: 'Times New Roman', serif;">Canopy</span></i><span lang="EN-US" style="font-family: 'Times New Roman', serif;">, August 11, 2015</span><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">,
<a href="http://canopycanopycanopy.com/series/passage-of-a-rumor/contents/whatnot-to-the-music?utm_source=Triple+Canopy+mailing+list&utm_campaign=836ff33204-August_2015_Digest_08-18-2015&utm_medium=email&utm_term=0_ce9ad24ae0-836ff33204-268716401&mc_cid=836ff33204&mc_eid=912ee459c7">http://canopycanopycanopy.com/series/passage-of-a-rumor/contents/whatnot-to-the
music?utm_source=Triple+Canopy+mailing+list&utm_campaign=836ff33204-August_2015_Digest_08-18-2015&utm_medium=email&utm_term=0_ce9ad24ae0-836ff33204-268716401&mc_cid=836ff33204&mc_eid=912ee459c7</a>.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“william parker,” “Modern
language day," and “we live after a river,” Aldon Lynn<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">Nielsen and Lauri Ramey, ed. <i>What I Say: Innovative Poetry by Black
Writers in America</i>, University of Alabama Press, 2015, 174-77.<i><o:p></o:p></i></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“2.8 [Blackness is Generativity]”
Lucy Clark, et. al., ed. <i>February: An
Anthology</i>, February Press, 2015.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“sweet nancy wilson saved frank
ramsay.” Fred Wah & Amy De’Ath, ed. <i>Toward.
<o:p></o:p></i></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<i><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">Some
Air.</span></i><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;"> Banff Center Press, 2015, 113-14.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">AJ, this is for underneath your
beautiful proof of concept” and “RA, this echo of your gignity,” in Joshua
Marie Wilkinson, ed. <i>The Volta Book of
Poets</i>, Portland: Sidebrow Books, 2015, 219, 221.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“that’s who,” <i>The Broome Street Review </i>6, Summer 2014.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“wait for it” and “celebrate,” <i>American Quarterly </i>66:2, June 2014, 421.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“the derosiers of sevier” and
“hariot + harriot + sound +,” <i>The Enemy, </i><a href="http://theenemyreader.org/two-poems/">http://theenemyreader.org/two-poems/</a>,
19 May 2014<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“The gramsci monument,” <i>Social Text</i> 118, Spring 2014, 117-18;
reprinted in Fred Wah & Amy De’Ath, ed. <i>Toward.
Some Air.</i> Banff Center Press, 2015, 115.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“eve is a texture, dave is
centering.” <i>Finery: An Online Journal
from Birds of Lace,<o:p></o:p></i></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;"><a href="http://finery.tumblr.com/post/62417594795/eve-is-a-texture-dave-is-centering-by-fred-moten">http://finery.tumblr.com/post/62417594795/eve-is-a-texture-dave-is-centering-by-fred-moten</a>,
27 September 2013; reprinted in Joshua Marie Wilkinson, ed. <i>The Volta Book of Poets</i>, Portland:
Sidebrow Books, 2015, 218.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“From ‘Laura made me listen to’”
and “Grad Grind, Gentles, Till the Park is Gone,” <i>PEN America</i>, <a href="http://www.pen.org/poetry/six-poems-fred-moten">http://www.pen.org/poetry/six-poems-fred-moten</a>,
12 June, 2013; <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“Grad Grind…” reprinted in Joshua
Marie Wilkinson, ed. <i>The Volta Book of
Poets</i>, Portland: Sidebrow Books, 2015, 222.<i><o:p></o:p></i></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“I lay with francis in the
margin.” <i>30 x Lace</i>, <a href="http://30xlace.tumblr.com/post/48353180288/fred-moten">http://30xlace.tumblr.com//post/48353180288/fred-moten</a>,
19 April 2013; <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">reprinted in Joshua Marie
Wilkinson, ed. <i>The Volta Book of Poets</i>,
Portland: Sidebrow Books, 2015, 220.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“,” “elizabeth
cotten/nahum chandler,” and “frank ramsay/nancy wilson,” <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">Charles Henry Rowell, ed. <i>Angles of Ascent: A Norton Anthology of
Contemporary African American Poetry</i>, W. W. Norton & Company, 2013,
490-95.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“test,” <i>Ploughshares</i> 39:1, Spring 2013, 95-99.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“Jaki Byard, <i>Blues for Smoke</i>,” Bennett Simpson, ed. <i>Blues for Smoke</i>, Prestel, 2012, 1-5.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“Hard Enough to Enjoy,” (with
images by Ralph Lemon), Museum of Modern Art <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;"> Collectible, 2012.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“From ‘block chapel,’” <i>Callaloo</i> 35:3, Fall 2012, 567-77.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“From ‘block chapel,’” <i>Hambone</i> 20, Fall 2012, 250-60.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“From ‘fortrd.fortrn,’” <i>Denver Quarterly</i>, 46:4, July 2012,
79-81.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“come on, get it 9.2-11,” <i>With + Stand </i>5, 2011, 40-45.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“come on, get it 6-9.1,” <i>Amerarcana</i> 2, Winter 2011, 28-34.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“come on, get it 1-5,” <i>The Recluse</i> 6, Spring 2010, 21-25.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“From ‘block chapel,’” <i>A Public Space</i> 11, Spring 2010, 99.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“arthur jafa & greg tate” <i>Rabbit Light Movies: A Journal of Poemfilms,
</i><a href="http://www.rabbitlightmovies.com/moten.html">http://www.rabbitlightmovies.com/moten.html</a><o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“Rock the party, fuck the
smackdown.”, “what y’all need,” “the madness of the <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">worker,” “the salve trade” and
“walter benjamin/julian boyd,” <i>Hambone </i>18,
Fall 2006, 142-48.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“tony oxley,” “steve harney’s
early uncollected city,” “the club” and “njeeri wa <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">thiong’o,” <i>Masthead </i>10 (<a href="http://masthead.net.au/">http://masthead.net.au</a>),
Summer 2006<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“bessie smith,” “other dimensions
in music, <i>ghostcatching</i>,” “offtime +
qualify,” “six <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">four or trades,” and johnny
cash/rosetta tharpe,” <i>Callaloo</i> 27: 4,
Fall 2004, 967-74; “johnny cash/rosetta tharpe,” reprinted Charles Henry
Rowell, ed. <i>Angles of Ascent: A Norton
Anthology of Contemporary African American Poetry</i>, W. W. Norton &
Company, 2013, 489-90; “bessie smith,” reprinted Aldon Lynn Nielsen and Lauri
Ramey, ed. <i>What I Say: Innovative Poetry
by Black Writers in America</i>, University of Alabama Press, 2015, 171. <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“something to say,” maroons,”
pre-black (jazz,” “shock” and “where the blues began,” <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<i><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">Blue/Print
</span></i><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">(a
cd presented by <i>nocturnes (re)view</i>
and the MFA Writing Program at California Institute of the Arts), Spring 2004.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“Elegy for Performances,” <i>Matrix </i>3, Spring 2003, 4-7.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“curtis mayfield,” <i>Shuffleboil</i> 3, Winter 2003, 40-41.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“pam grier,” <i>Small PressTraffic</i> (<a href="http://www.sptraffic.org/html/new_writing/moten.html">http://www.sptraffic.org/html/new_writing/moten.html</a>)<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“henry dumas,” “adrian piper,”
“sleater-kinney,” and “murray jackson,” <i>nocturnes
</i>2, <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">2002, 196-99 “henry dumas” and
“murray jackson,”” reprinted Aldon Lynn <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">Nielsen and Lauri Ramey, ed. <i>What I Say: Innovative Poetry by Black
Writers in <o:p></o:p></i></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<i><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">America</span></i><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">,
University of Alabama Press, 2015, 172-73.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“gary fisher,” “graphaphone
remember,” and “robert farris thompson,” <i>The
World</i> 58, <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">2002, 36-43.<i><o:p></o:p></i></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“piet mondrian,” <i>The Poetry Project Newsletter</i> 189,
April/May 2002, 4-5.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“jazz,” “miles davis,” and “gayl
jones,” <i>Callaloo</i> 25: 1, Winter 2002,
94-96; “gayl jones,” <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">reprinted, Charles Henry Rowell,
ed. <i>Angles of Ascent: A Norton Anthology
of Contemporary African American Poetry</i>, W. W. Norton & Company, 2013,
488-89.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“james baldwin,” “alice key,” and
“cecil taylor,” <i>PO-EP <o:p></o:p></i></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">(<a href="http://www.rattapallax.com/poep.htm">http://www.rattapallax.com/poep.htm</a>).<i><o:p></o:p></i></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“9 11,” <i>Can We Have Our Ball Back? </i>8.1, October, 2001. <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">(<a href="http://www.canwehaveourballback.com/">http://www.canwehaveourballback.com</a>).<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“15 (billie holiday),” “101,” “1.
‘the stylistics erupt boplicity’: Lawrence D. ‘Butch’ <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">Morris, cond.,” and “on grappa,
over shoulder, acknowledgements,” <i>Five <o:p></o:p></i></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<i><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">Fingers
Review</span></i><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">, 2001, 87-92. <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“bogard + icon,” “general baker,”
“eric dolphy,” “fred hopkins” and “b jenkins,” <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<i><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">Callaloo</span></i><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">
23: 4, Fall 2000, 1177-82.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“here go that hole in the
street,” <i>Can We Have Our Ball Back? </i>2,
October 2000 <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">(<a href="http://www.canwehaveourballback.com/">http://www.canwehaveourballback.com</a>).<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“Arkansas,” <i>Grand Street </i>61, Summer 1997, 136-37.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“william corbett,” <i>Lift</i> 15 & 16, 1994, 90.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;"> “Wave,” “Building, Song and Flower,” “Me With
You,” “Same Change Autumn <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">Leaves,” “The Petals,” and
“Steve,” <i>Lift</i> 12, May 1993, 17-19.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<b><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">Interviews
& Roundtables<o:p></o:p></span></b></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: 'Times New Roman', serif;">“On Poetry and the
Turntable” (with Kevin Beasley) in Ralph Lemon, ed. <i>Passage of a <o:p></o:p></i></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<i><span lang="EN-US" style="font-family: 'Times New Roman', serif;">Rumor</span></i><span lang="EN-US" style="font-family: 'Times New Roman', serif;">, published in <i>Triple Canopy</i>, August 18, 2015, </span><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;"><a href="http://canopycanopycanopy.com/series/passage-of-a-rumor/contents/on-poetry-and-the%20turntable?utm_source=Triple+Canopy+mailing+list&utm_campaign=836ff33204-August_2015_Digest_08-18-2015&utm_medium=email&utm_term=0_ce9ad24ae0-836ff33204-268716401&mc_cid=836ff33204&mc_eid=912ee459c7">http://canopycanopycanopy.com/series/passage-of-a-rumor/contents/on-poetry-and-the
turntable?utm_source=Triple+Canopy+mailing+list&utm_campaign=836ff33204-August_2015_Digest_08-18-2015&utm_medium=email&utm_term=0_ce9ad24ae0-836ff33204-268716401&mc_cid=836ff33204&mc_eid=912ee459c7</a>. <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: 'Times New Roman', serif;">“An Interview with
Fred Moten, Parts I & II,” <i>Literary
Hub</i>, August 5 & 6, 2015, <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;"><a href="http://lithub.com/an-interview-with-fred-moten-pt-i/">http://lithub.com/an-interview-with-fred-moten-pt-i/</a>, <a href="http://lithub.com/an-interview-with-fred-moten-pt-ii/">http://lithub.com/an-interview-with-fred-moten-pt-ii/</a>.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: 'Times New Roman', serif;">“’Poetry begins with
the willingness to subordinate whatever the hell it is that you <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: 'Times New Roman', serif;">have to say,’” (with
Housten Donham), <i>Open House</i>, July 20,
2015,<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;"><a href="http://openhousepoetry.com/2015/07/20/poetry-begins-with-the-willingness-to-subordinate-whatever-the-hell-it-is-that-you-have-to-say-an-interview-w-fred-moten/">http://openhousepoetry.com/2015/07/20/poetry-begins-with-the-willingness-to-subordinate-whatever-the-hell-it-is-that-you-have-to-say-an-interview-w-fred-moten/</a>.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: 'Times New Roman', serif;">“National Book Award,
Finalist Interview,” (with Sandra Lim), November 13, 2014,<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;"><a href="http://www.nationalbook.org/nba2014_p_moten_interv.html#.VbbL47ftTvQ">http://www.nationalbook.org/nba2014_p_moten_interv.html#.VbbL47ftTvQ</a> <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: 'Times New Roman', serif;">“The Alternative is
at Hand,” (with Stefano Harney) <i>Chronic/Chimurenga</i>,
August <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: 'Times New Roman', serif;">2013, 18-21.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: 'Times New Roman', serif;">“Studying Through the
Undercommons: Stefano Harney & Fred Moten—<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: 'Times New Roman', serif;">Interviewed by
Stevphen Shukaitis,” <i>Class War University</i>
</span><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;"><a href="http://classwaru.org/2012/11/12/studying-through-the-undercommons-stefano-harney-fred-moten-interviewed-by-stevphen-shukaitis/">http://classwaru.org/2012/11/12/studying-through-the-undercommons-stefano-harney-fred-moten-interviewed-by-stevphen-shukaitis/</a>, November, 2012.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: 'Times New Roman', serif;">“Queer Studies,
Materialism and Crisis: A Roundtable Discussion” (with Christina <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: 'Times New Roman', serif;">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), <i>GLQ</i> 18:1, Winter 2012,
127-47.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: 'Times New Roman', serif;">“Interview” (with
Matthew Frye Jacobson), <i>Historian’s Eye</i>,
March 6, 2012, <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;"><a href="http://historianseye.commons.yale.edu/fred-moten-full-interview/">http://historianseye.commons.yale.edu/fred-moten-full-interview/</a><o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: 'Times New Roman', serif;">“Intervju sa Fredom Motenom (with Branislav </span><span class="st"><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">Jakovljevic)</span></span><span lang="EN-US" style="font-family: 'Times New Roman', serif;">,” trans. Slobadanka Glisic <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: 'Times New Roman', serif;">in Peter Klepec &
Petat Bojanic, ed. </span><i><span style="font-family: 'Times New Roman', serif;">Sta Je, U Stvari,
Radikalno?</span></i><span style="font-family: 'Times New Roman', serif;">, Narodna <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: 'Times New Roman', serif;">Biblioteka Srbjije,
2009, 333-355. <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“African American Experimental
Poetry Forum,” (with Renee Gladman, Douglas <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">Kearney, John Keene, Dawn Lundy
Martin, Mendi Lewis Obadike, Rowan Ricardo Phillips and Tyrone Williams), <i>Jubilat </i>16, Summer 2009, 115-54.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“On Study: A Roundtable” (with
Marc Bousquet and Stefano Harney), <i>Polygraph
</i>21, <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">2009, 169-85.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“The Insurgency of Objects”: A
Conversation with Fred Moten (with James Leo <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">Cahill and Rachel Leah Thompson),
<i>Octopus</i>, Volume 1, Fall 2005, 45-66.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“’Words Don’t Go There’: An
Interview” (with Charles Rowell), <i>Callaloo</i>,
Volume 27: <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">4, Fall 2004, 953-66.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“Interview” (with Ange Mlinko), <i>Poetry Project Newsletter</i> 181,
October/November <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">2000, 8-10.<o:p></o:p></span></div>
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<b><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">Reviews<o:p></o:p></span></b></div>
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<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“<i>X: The Problem of the Negro as a Problem for Thought </i>by Nahum
Dimitri Chandler,” <i>Artforum</i> 52:4,
December 2013, 96.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“<i>Rough Americana</i> by DJ Mutamassik + Morgan Craft,” <i>Journal of the Society for American Music</i>
2:2, May 2008, 283-87.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“<i>tripwire </i>5: Expanding the Repertoire: Continuity & Change in
African-American Writing,” <i>The Poetry
Project Newsletter</i> 188, February/March 2002, 21-2.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“<i>Electric Animal </i>by Akira Mizuta Lippit,” <i>Modern Language Notes</i> 115: 5, December 2000, 1171-78.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“<i>Scenes of Subjection </i>by Saidiya V. Hartman & <i>Soul: Black Power, Politics and Pleasure</i>,
ed. by Monique Guillory and Richard C. Green,” <i>The Drama Review</i> 43: 4, Winter 1999, 169-74.<o:p></o:p></span></div>
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<b><span lang="EN-US" style="font-family: 'Times New Roman', serif;">Blogs<o:p></o:p></span></b></div>
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<span lang="EN-US" style="font-family: 'Times New Roman', serif;">Harriet The Blog: The
Poetry Foundation, January-February, 2010.<o:p></o:p></span></div>
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<span lang="EN-US" style="color: blue; font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">http://www.poetryfoundation.org/harriet/author/fmoten/</span><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;"><o:p></o:p></span></div>
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<b><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">Performances,
Performance Texts & Screenwriting<o:p></o:p></span></b></div>
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<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“<i>Miss Communication and Mister Re: </i>(Performance Notes),”<i> </i>(with Wu Tsang), <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">Greene Exhibitions, Culver City,
CA., June 12, 2014; a film version directed by Wu Tsang was included in the
exhibition <i>Double Life</i> at the
Contemporary Arts Museum, Houston, December 13, 2014-March 13, 2015;
performance notes published in Gerald Maa, ed. <i>Invito/ Spectatore</i>, Greene Exhibitions, 2015; excerpts from
performance text publiushed in Gregor Jansen, et. al., ed. <i>Wu Tsang: Not in My Language</i>, Köln, Verlag der Buchhandlung Walther
König, 2015, 160-62.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“Hand Up to Your Ear” in
Ultra-red, ed. <i>Protocols for the the
Sound of <o:p></o:p></i></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">Freedom/Arika<i> A survey is a process of </i>listening, 2012 Whitney Biennial, 22-25.<i><o:p></o:p></i></span></div>
<div class="MsoNoSpacing" style="margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;">“Voiceover: DeShotten 1:0” dir.
Arthur Jafa, 2007, <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-bidi-font-size: 12.0pt;"><a href="http://vids.myspace.com/index.cfm?fuseaction=vids.individual&videoid=23955009">http://vids.myspace.com/index.cfm?fuseaction=vids.individual&videoid=23955009</a>
<o:p></o:p></span></div>
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OLIVIER BROSSARDhttp://www.blogger.com/profile/01534875617937443192noreply@blogger.com5tag:blogger.com,1999:blog-3101399633074179067.post-28860265019291609282014-09-22T09:40:00.003+02:002014-12-08T15:31:40.275+01:00Ann Lauterbach Symposium at Université Paris Est Marne-La-Vallée, Monday 15 December & Tuesday 16 December<div class="separator" style="clear: both; text-align: left;">
<a href="http://www.poetryfoundation.org/uploads/authors/ann-lauterbach/448x/ann-lauterbach.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" src="http://www.poetryfoundation.org/uploads/authors/ann-lauterbach/448x/ann-lauterbach.jpg" height="261" width="400" /></span></a></div>
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<span lang="EN-US" style="background: rgb(221, 221, 221); color: #333333; font-family: inherit;">On <b>Monday
15 December and Tuesday 16 December</b>, we will be hosting a 2 day symposium
on <b>Ann Lauterbach</b>’s work at Université Paris Est Marne-La-Vallée,
bâtiment Copernic, 2nd floor, room 2B055-057 (Monday) and room 2B047-049 (Tuesday). </span><br />
<span lang="EN-US" style="background: rgb(221, 221, 221); color: #333333; font-family: inherit;"><br /></span>
<a href="http://1.bp.blogspot.com/-m4w70xDaoeE/VGCcEI8ovGI/AAAAAAAANwU/DM9slKHZ5fk/s1600/main.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-m4w70xDaoeE/VGCcEI8ovGI/AAAAAAAANwU/DM9slKHZ5fk/s1600/main.jpg" /></a><span lang="EN-US" style="background: rgb(221, 221, 221); color: #333333; font-family: inherit;">How to get there? </span><a href="http://poetscriticsparisest.blogspot.fr/2011/05/how-to-get-there-universite-paris-est.html" target="_blank"><span lang="EN-US" style="background: #DDDDDD; color: #660000; mso-ansi-language: EN-US; text-decoration: none; text-underline: none;">See here</span><span lang="EN-US" style="background: rgb(221, 221, 221); color: #333333;">.</span></a><br />
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<span style="font-family: inherit;"><span lang="EN-US" style="background: rgb(221, 221, 221); color: #333333;"></span><span style="text-align: justify;">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.</span><span lang="EN-US" style="color: #333333;"><b><br /></b></span><span lang="EN-US" style="color: #333333;"><b><br /></b></span></span><br />
<span style="font-family: inherit;"><span lang="EN-US" style="color: #333333;"><b>Bio, bibliography & links from <a href="http://www.poetryfoundation.org/bio/ann-lauterbach" target="_blank">National Poetry Foundation website</a></b> : </span><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #505050;"><br /></span></span><br />
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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.</span><span lang="EN-US" style="color: #333333;"><br />
</span></span><br />
<span lang="EN-US" style="color: #333333; font-family: inherit;">On <b>Monday 15 December at 8pm</b>, Ann Lauterbach will give a <b>poetry
reading</b> in Paris.</span><br />
<span style="color: #333333; font-family: inherit;"><br /></span>
<span lang="EN-US" style="color: #333333; font-family: inherit;"><b>Poems and essays available from the following websites:</b></span><br />
<span style="color: #333333; font-family: inherit;"><b>- The <a href="http://www.poetryfoundation.org/bio/ann-lauterbach#about" target="_blank">Poetry Foundation</a></b></span><br />
<span style="color: #333333; font-family: inherit;">- <b>Poets.org<a href="http://www.poets.org/poetsorg/poems/46011" target="_blank">http://www.poets.org/poetsorg/poems/46011</a></b></span><br />
<span style="color: #333333; font-family: inherit;">Excerpts from books are also linked to on this website. </span><br />
<span lang="EN-US" style="color: #333333; font-family: inherit;"><b><br /></b></span>
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<span style="font-family: inherit;"><span style="color: #333333;">Lauterbach was born in New York City, the daughter of a war correspondent or </span><i style="color: #333333;">Life </i><span style="color: #333333;">and </span><i style="color: #333333;">Time</i><span style="color: #333333;"> magazines in Moscow who was also the head of the Moscow Bureau of </span><i style="color: #333333;">Time </i><span style="color: #333333;">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.</span></span></div>
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<span style="font-family: inherit;"><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #505050; font-family: inherit;">Poet Ann Lauterbach's work has been compared to the poetry of </span><span style="color: #333333;"><a href="http://www.poetryfoundation.org/archive/poet.html?id=233"><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #045482; text-decoration: none;">John Ashbery</span></a></span><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #505050; font-family: inherit;"> and </span><span style="color: #333333;"><a href="http://www.poetryfoundation.org/archive/poet.html?id=2781"><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #045482; text-decoration: none;">Barbara Guest</span></a></span><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #505050; font-family: inherit;">. She has
published several volumes of poetry, including <i>Many Times, but Then</i> (1979),
<i>Before Recollection </i>(1987),<i>Clamor </i>(1991), <i>And
for Example </i>(1994), <i>On a Stair</i>(1997), <i>If in
Time </i>(2001),<i>Hum </i>(2005) and <i>Or to Begin Again </i>(2009),
which was a finalist for the National Book Award. <i>If in Time</i>, a
volume of her selected poetry, demonstrates the transformation of her style
over three decades, an evolution described by Thomas Fink in the <i>Boston
Review</i>: “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.” </span></span></div>
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<span style="font-family: inherit;"><span lang="EN-US" style="color: #333333;">Lauterbach's linguistically complex, senstive work has been compared to the
poetry of </span><span style="color: #333333;"><a href="http://www.poetryfoundation.org/archive/poet.html?id=233"><span lang="EN-US" style="color: #045482; mso-ansi-language: EN-US; text-decoration: none; text-underline: none;">John Ashbery</span></a></span><span lang="EN-US" style="color: #333333;"> and </span><span style="color: #333333;"><a href="http://www.poetryfoundation.org/archive/poet.html?id=2781"><span lang="EN-US" style="color: #045482; mso-ansi-language: EN-US; text-decoration: none; text-underline: none;">Barbara Guest</span></a></span><span lang="EN-US" style="color: #333333;">.“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 <i>On
a Stair</i>. Lauterbach seems to concur with this assessment. In a <i>Rain
Taxi</i> 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 <i>Or to Begin
Again </i>Lauterbach<i> </i>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 </span><span style="color: #333333;"><a href="http://www.poetryfoundation.org/bio/lewis-carroll"><span lang="EN-US" style="color: #045482; mso-ansi-language: EN-US; text-decoration: none; text-underline: none;">Lewis Carroll</span></a></span><span lang="EN-US" style="color: #333333;"> and </span><span style="color: #333333;"><a href="http://www.poetryfoundation.org/bio/t-s-eliot"><span lang="EN-US" style="color: #045482; mso-ansi-language: EN-US; text-decoration: none; text-underline: none;">T.S. Eliot</span></a></span><span lang="EN-US" style="color: #333333;"> to explore language, reading, and consciousness.</span></span></div>
<div style="text-align: justify;">
<span style="font-family: inherit;"><span style="color: #333333;">In addition to poetry, Lauterbach has published a book of essays, </span><i style="color: #333333;">The
Night Sky: Writings on the Poetics of Experience </i><span style="color: #333333;">(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.</span></span></div>
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<b><span style="color: #333333;">BIBLIOGRAPHY </span></b><span lang="EN-US"><br /></span></span><br />
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<span style="font-family: inherit;"><span style="letter-spacing: 1.2pt; text-transform: uppercase;">POETRY</span><span style="color: #333333;"><o:p></o:p></span></span></div>
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<!--[if !supportLists]--><span style="font-family: inherit;"><span lang="EN-US">o<span style="font-stretch: normal;">
</span></span><!--[endif]--><i><span lang="EN-US">Vertical, Horizontal,</span></i><span lang="EN-US"> Seafront Press (Dublin,
Ireland), 1971.</span><span lang="EN-US"><o:p></o:p></span></span></div>
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<!--[if !supportLists]--><span style="font-family: inherit;"><span lang="EN-US">o<span style="font-stretch: normal;">
</span></span><!--[endif]--><i><span lang="EN-US">Book One,</span></i><span lang="EN-US"> Spring Street Press (New York, NY), 1975.</span><span lang="EN-US"><o:p></o:p></span></span></div>
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<!--[if !supportLists]--><span style="font-family: inherit;"><span lang="EN-US">o<span style="font-stretch: normal;">
</span></span><!--[endif]--><i><span lang="EN-US">Many Times, but Then,</span></i><span lang="EN-US"> University of Texas
Press (Austin, TX), 1979.</span><span lang="EN-US"><o:p></o:p></span></span></div>
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<!--[if !supportLists]--><span style="font-family: inherit;"><span lang="EN-US">o<span style="font-stretch: normal;">
</span></span><!--[endif]--><i><span lang="EN-US">Later That Evening,</span></i><span lang="EN-US"> Jordan Davies (Brooklyn,
NY), 1981.</span><span lang="EN-US"><o:p></o:p></span></span></div>
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<!--[if !supportLists]--><span style="font-family: inherit;"><span lang="EN-US">o<span style="font-stretch: normal;">
</span></span><!--[endif]--><i><span lang="EN-US">Closing Hours,</span></i><span lang="EN-US"> Red Ozier Press
(Madison, WI), 1983.</span><span lang="EN-US"><o:p></o:p></span></span></div>
<div class="MsoNormalCxSpMiddle" style="margin: 2.25pt 0cm 6pt; text-align: justify; text-indent: -18pt;">
<!--[if !supportLists]--><span style="font-family: inherit;"><span lang="EN-US">o<span style="font-stretch: normal;">
</span></span><!--[endif]--><i><span lang="EN-US">Sacred Weather,</span></i><span lang="EN-US"> with a drawing by Louisa
Chase, Grenfell Press (New York, NY), 1984.</span><span lang="EN-US"><o:p></o:p></span></span></div>
<div class="MsoNormalCxSpMiddle" style="margin: 2.25pt 0cm 6pt; text-align: justify; text-indent: -18pt;">
<!--[if !supportLists]--><span style="font-family: inherit;"><span lang="EN-US">o<span style="font-stretch: normal;">
</span></span><!--[endif]--><span lang="EN-US">(With Bruce Boice) <i>Greeks,</i> photographs
by Jan Groover, Hollow Press (Baltimore, MD), 1985.</span><span lang="EN-US"><o:p></o:p></span></span></div>
<div class="MsoNormalCxSpMiddle" style="margin: 2.25pt 0cm 6pt; text-align: justify; text-indent: -18pt;">
<!--[if !supportLists]--><span style="font-family: inherit;"><span lang="EN-US">o<span style="font-stretch: normal;">
</span></span><!--[endif]--><i><span lang="EN-US">Before Recollection,</span></i><span lang="EN-US"> Princeton University Press
(Princeton, NJ), 1987.</span><span lang="EN-US"><o:p></o:p></span></span></div>
<div class="MsoNormalCxSpMiddle" style="margin: 2.25pt 0cm 6pt; text-align: justify; text-indent: -18pt;">
<!--[if !supportLists]--><span style="font-family: inherit;"><span lang="EN-US">o<span style="font-stretch: normal;">
</span></span><!--[endif]--><i><span lang="EN-US">How Things Bear Their Telling,</span></i><span lang="EN-US"> with drawings by Lucio
Pozzi, Collectif Generation (Colombes, France), 1990.</span><span lang="EN-US"><o:p></o:p></span></span></div>
<div class="MsoNormalCxSpMiddle" style="margin: 2.25pt 0cm 6pt; text-align: justify; text-indent: -18pt;">
<!--[if !supportLists]--><span style="font-family: inherit;"><span lang="EN-US">o<span style="font-stretch: normal;">
</span></span><!--[endif]--><i><span lang="EN-US">Clamor,</span></i><span lang="EN-US"> Viking (New York, NY), 1991.</span><span lang="EN-US"><o:p></o:p></span></span></div>
<div class="MsoNormalCxSpMiddle" style="margin: 2.25pt 0cm 6pt; text-align: justify; text-indent: -18pt;">
<!--[if !supportLists]--><span style="font-family: inherit;"><span lang="EN-US">o<span style="font-stretch: normal;">
</span></span><!--[endif]--><i><span lang="EN-US">And for Example,</span></i><span lang="EN-US"> Viking (New York, NY),
1994.</span><span lang="EN-US"><o:p></o:p></span></span></div>
<div class="MsoNormalCxSpMiddle" style="margin: 2.25pt 0cm 6pt; text-align: justify; text-indent: -18pt;">
<!--[if !supportLists]--><span style="font-family: inherit;"><span lang="EN-US">o<span style="font-stretch: normal;">
</span></span><!--[endif]--><i><span lang="EN-US">A Clown, Some Colors, a Doll, Her Stories,a Song, a
Moonlit Cove,</span></i><span lang="EN-US"> with photogravures by Ellen Phelan, Whitney Museum (New York, NY),
1996.</span><span lang="EN-US"><o:p></o:p></span></span></div>
<div class="MsoNormalCxSpMiddle" style="margin: 2.25pt 0cm 6pt; text-align: justify; text-indent: -18pt;">
<!--[if !supportLists]--><span style="font-family: inherit;"><span lang="EN-US">o<span style="font-stretch: normal;">
</span></span><!--[endif]--><i><span lang="EN-US">On a Stair,</span></i><span lang="EN-US"> Penguin Poets (New York,
NY), 1997.</span><span lang="EN-US"><o:p></o:p></span></span></div>
<div class="MsoNormalCxSpMiddle" style="margin: 2.25pt 0cm 6pt; text-align: justify; text-indent: -18pt;">
<!--[if !supportLists]--><span style="font-family: inherit;"><span lang="EN-US">o<span style="font-stretch: normal;">
</span></span><!--[endif]--><i><span lang="EN-US">If in Time: Selected Poems 1975-2000, </span></i><span lang="EN-US">Penguin Poets, 2001.</span><span lang="EN-US"><o:p></o:p></span></span></div>
<div class="MsoNormalCxSpMiddle" style="margin: 2.25pt 0cm 6pt; text-align: justify; text-indent: -18pt;">
<!--[if !supportLists]--><span style="font-family: inherit;">o<span style="font-stretch: normal;">
</span><!--[endif]--><i>Hum, </i>Penguin Poets, 2005.<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle" style="margin: 2.25pt 0cm 6pt; text-align: justify; text-indent: -18pt;">
<!--[if !supportLists]--><span style="font-family: inherit;"><span lang="EN-US">o<span style="font-stretch: normal;">
</span></span><!--[endif]--><i><span lang="EN-US">Or to Begin Again, </span></i><span lang="EN-US">Penguin Poets, 2009.</span><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: inherit;"><br /></span></div>
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<span style="font-family: inherit;"><span style="letter-spacing: 1.2pt; text-transform: uppercase;">ESSAYS</span><o:p></o:p></span></div>
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<!--[if !supportLists]--><span style="font-family: inherit;"><span lang="EN-US">o<span style="font-stretch: normal;">
</span></span><!--[endif]--><i><span lang="EN-US">The Night Sky: Writings on the Poetics of
Experience, </span></i><span lang="EN-US">Viking, 2005.</span><span lang="EN-US"><o:p></o:p></span></span></div>
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<span lang="EN-US" style="font-family: inherit;"><br /></span></div>
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<span style="font-family: inherit;"><br /></span></div>
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<span style="font-family: inherit;"><span style="letter-spacing: 1.2pt; text-transform: uppercase;">BOOKS</span><o:p></o:p></span></div>
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<!--[if !supportLists]--><span style="font-family: inherit;"><span lang="EN-US">o<span style="font-stretch: normal;">
</span></span><!--[endif]--><i><span lang="EN-US">Contemporary Women Poets,</span></i><span lang="EN-US"> St. James Press
(Detroit, MI), 1998.</span><span lang="EN-US"><o:p></o:p></span></span></div>
<div class="MsoNormalCxSpMiddle" style="margin: 2.25pt 0cm 6pt; text-align: justify; text-indent: -18pt;">
<!--[if !supportLists]--><span style="font-family: inherit;"><span lang="EN-US">o<span style="font-stretch: normal;">
</span></span><!--[endif]--><i><span lang="EN-US">Dictionary of Literary Biography,</span></i><span lang="EN-US"> Volume 193: <i>American
Poets since World War II,</i> Gale (Detroit, MI), 1998.</span><span lang="EN-US"><o:p></o:p></span></span></div>
<div class="MsoNormalCxSpMiddle" style="margin: 2.25pt 0cm 6pt; text-align: justify; text-indent: -18pt;">
<!--[if !supportLists]--><span style="font-family: inherit;"><span lang="EN-US">o<span style="font-stretch: normal;">
</span></span><!--[endif]--><i><span lang="EN-US">The Tribe of John: Ashbery and Contemporary Poetry,</span></i><span lang="EN-US"> University of Alabama
Press (Tuscaloosa, AL), 1995.</span><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNormalCxSpMiddle" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: inherit;"><span style="letter-spacing: 1.2pt; text-transform: uppercase;">PERIODICALS</span><o:p></o:p></span></div>
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<!--[if !supportLists]--><span style="font-family: inherit;"><span lang="EN-US">o<span style="font-stretch: normal;">
</span></span><!--[endif]--><i><span lang="EN-US">American Poetry Review,</span></i><span lang="EN-US"> January-February 1988;
May-June 1992.</span><span lang="EN-US"><o:p></o:p></span></span></div>
<div class="MsoNormalCxSpMiddle" style="margin: 2.25pt 0cm 6pt; text-align: justify; text-indent: -18pt;">
<!--[if !supportLists]--><span style="font-family: inherit;"><span lang="EN-US">o<span style="font-stretch: normal;">
</span></span><!--[endif]--><i><span lang="EN-US">Booklist,</span></i><span lang="EN-US"> November 15, 1994, Elizabteh Gunderson, review
of <i>And for Example,</i> p. 574.</span><span lang="EN-US"><o:p></o:p></span></span></div>
<div class="MsoNormalCxSpMiddle" style="margin: 2.25pt 0cm 6pt; text-align: justify; text-indent: -18pt;">
<!--[if !supportLists]--><span style="font-family: inherit;"><span lang="EN-US">o<span style="font-stretch: normal;">
</span></span><!--[endif]--><i><span lang="EN-US">Choice,</span></i><span lang="EN-US"> March, 1980, review of <i>Many Times, but
Then,</i> p. 74; December, 1987, M. Gillian, review of <i>Before
Recollection,</i> p. 622.</span><span lang="EN-US"><o:p></o:p></span></span></div>
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<!--[if !supportLists]--><span style="font-family: inherit;">o<span style="font-stretch: normal;">
</span><!--[endif]--><i>Cream City Review,</i> summer, 1988.<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle" style="margin: 2.25pt 0cm 6pt; text-align: justify; text-indent: -18pt;">
<!--[if !supportLists]--><span style="font-family: inherit;">o<span style="font-stretch: normal;">
</span><!--[endif]--><i>Denver Quarterly,</i> spring, 1995.<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle" style="margin: 2.25pt 0cm 6pt; text-align: justify; text-indent: -18pt;">
<!--[if !supportLists]--><span style="font-family: inherit;">o<span style="font-stretch: normal;"> </span><!--[endif]--><i>Diacritics,</i> fall-winter,
1996.<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle" style="margin: 2.25pt 0cm 6pt; text-align: justify; text-indent: -18pt;">
<!--[if !supportLists]--><span style="font-family: inherit;"><span lang="EN-US">o<span style="font-stretch: normal;">
</span></span><!--[endif]--><i><span lang="EN-US">Hudson Review,</span></i><span lang="EN-US"> spring, 1992, Andrew
Hudgins, review of <i>Clamor,</i> p. 162; summer, 1995, Thomas M.
Disch, review of <i>And for Example,</i> p. 345.</span><span lang="EN-US"><o:p></o:p></span></span></div>
<div class="MsoNormalCxSpMiddle" style="margin: 2.25pt 0cm 6pt; text-align: justify; text-indent: -18pt;">
<!--[if !supportLists]--><span style="font-family: inherit;">o<span style="font-stretch: normal;"> </span><!--[endif]--><i>Ohio Review,</i> no.
48, 1990.<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle" style="margin: 2.25pt 0cm 6pt; text-align: justify; text-indent: -18pt;">
<!--[if !supportLists]--><span style="font-family: inherit;"><span lang="EN-US">o<span style="font-stretch: normal;">
</span></span><!--[endif]--><i><span lang="EN-US">Parnassus,</span></i><span lang="EN-US"> spring-summer, 1981,
Bonnie Costello, "Four Ways to Break the Silence," pp. 111-124.</span><span lang="EN-US"><o:p></o:p></span></span></div>
<div class="MsoNormalCxSpMiddle" style="margin: 2.25pt 0cm 6pt; text-align: justify; text-indent: -18pt;">
<!--[if !supportLists]--><span style="font-family: inherit;">o<span style="font-stretch: normal;"> </span><!--[endif]--><i>Partisan Review,</i> spring
1994.<o:p></o:p></span></div>
<div style="margin: 2.25pt 0cm 6pt; text-align: justify; text-indent: -18pt;">
<span style="font-family: inherit;"><span lang="EN-US">o<span style="font-stretch: normal;"> </span><span style="font-stretch: normal;"> </span></span><span style="background-color: #dddddd; color: #333333; text-indent: -18pt;">o</span><span style="background-color: #dddddd; color: #333333; font-stretch: normal; text-indent: -18pt;"> </span><i style="background-color: #dddddd; text-indent: -18pt;"><span lang="EN-US" style="color: #333333;">Publishers Weekly,</span></i><span lang="EN-US" style="background-color: #dddddd; color: #333333; text-indent: -18pt;"> October 31, 1994, review of <i>And for
Example,</i> p. 54.</span></span><br />
<div class="MsoNormalCxSpMiddle" style="background: rgb(221, 221, 221); margin: 2.25pt 0cm 6pt; text-indent: -18pt;">
<!--[if !supportLists]--><span style="font-family: inherit;"><span lang="EN-US" style="color: #333333;">o<span style="font-stretch: normal;">
</span></span><!--[endif]--><i><span lang="EN-US" style="color: #333333;">Queen's Quarterly,</span></i><span lang="EN-US" style="color: #333333;"> spring, 1989, Myra
Junyk, review of <i>Before Recollection,</i> pp. 159-162.</span><span lang="EN-US" style="color: #333333;"><o:p></o:p></span></span></div>
<div class="MsoNormalCxSpMiddle" style="background: rgb(221, 221, 221); margin: 2.25pt 0cm 6pt; text-indent: -18pt;">
<!--[if !supportLists]--><span style="font-family: inherit;"><span style="color: #333333;">o<span style="font-stretch: normal;"> </span></span><!--[endif]--><i><span style="color: #333333;">Talisman,</span></i><span style="color: #333333;"> fall,
1994; winter, 1995.</span><span style="color: #333333;"><o:p></o:p></span></span></div>
<div class="MsoNormalCxSpMiddle" style="background: rgb(221, 221, 221); margin: 2.25pt 0cm 6pt; text-indent: -18pt;">
<!--[if !supportLists]--><span style="font-family: inherit;"><span lang="EN-US" style="color: #333333;">o<span style="font-stretch: normal;">
</span></span><!--[endif]--><i><span lang="EN-US" style="color: #333333;">Times Literary Supplement,</span></i><span lang="EN-US" style="color: #333333;"> January 18, 1980, John
Fuller, "The Americans," p. 65.</span><span lang="EN-US" style="color: #333333;"><o:p></o:p></span></span></div>
<div class="MsoNormalCxSpMiddle" style="background: rgb(221, 221, 221); margin: 2.25pt 0cm 6pt; text-indent: -18pt;">
<!--[if !supportLists]--><span style="font-family: inherit;"><span lang="EN-US" style="color: #333333;">o<span style="font-stretch: normal;">
</span></span><!--[endif]--><i><span lang="EN-US" style="color: #333333;">Virginia Quarterly Review,</span></i><span lang="EN-US" style="color: #333333;"> spring, 1991; winter,
1998, p. 28.</span><span lang="EN-US" style="color: #333333;"><o:p></o:p></span></span></div>
<div class="MsoNormalCxSpMiddle" style="background: rgb(221, 221, 221); margin: 2.25pt 0cm 6pt; text-indent: -18pt;">
<!--[if !supportLists]--><span style="font-family: inherit;"><span style="color: #333333;">o<span style="font-stretch: normal;"> </span></span><!--[endif]--><i><span style="color: #333333;">Wallace Stevens Review,</span></i><span style="color: #333333;"> fall, 1995.</span><span style="color: #333333;"><o:p></o:p></span></span></div>
<div class="MsoNormalCxSpMiddle" style="background: rgb(221, 221, 221); margin: 2.25pt 0cm 6pt; text-indent: -18pt;">
<!--[if !supportLists]--><span style="font-family: inherit;"><span lang="EN-US" style="color: #333333;">o<span style="font-stretch: normal;">
</span></span><!--[endif]--><i><span lang="EN-US" style="color: #333333;">Washington Post Book World,</span></i><span lang="EN-US" style="color: #333333;"> February 16, 1992,
Harriet Zinnes, "Sound and Sense," p. 11.</span><span lang="EN-US" style="color: #333333;"><o:p></o:p></span></span></div>
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<a href="https://www.blogger.com/null" name="furtherreading" style="background-color: #dddddd; color: #045482; font-size: 12px; outline: none;"></a><span style="background-color: #dddddd; color: #333333; line-height: 18.4799995422363px;"></span>
OLIVIER BROSSARDhttp://www.blogger.com/profile/01534875617937443192noreply@blogger.com5tag:blogger.com,1999:blog-3101399633074179067.post-56353727817342547402014-09-21T11:00:00.000+02:002014-11-10T11:26:37.463+01:00Ann Lauterbach Interview by Brainard Carey from Yale radio WYBC<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-fTqjIbE095k/VGCSlcp7QNI/AAAAAAAANvY/1szprGjBXe8/s1600/5064955038_dd73672e10_m.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-fTqjIbE095k/VGCSlcp7QNI/AAAAAAAANvY/1szprGjBXe8/s1600/5064955038_dd73672e10_m.jpg" height="133" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">(c) Steve Evans</td></tr>
</tbody></table>
<br />
<br />
Listen to Ann Lauterbach interview by Brainard Carey from Yale Radio WYBC at <a href="http://museumofnonvisibleart.com/interviews/ann-lauterbach/">http://museumofnonvisibleart.com/interviews/ann-lauterbach/</a> or by pressing play below:<br />
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<source src="http://yourartmentor.com/interview/annlauterbach.mp3" type="audio/mpeg"></source>
<embed height="80px" width="100px"></embed>
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source: <a href="http://museumofnonvisibleart.com/interviews/ann-lauterbach/">Yale Radio WYBC</a>OLIVIER BROSSARDhttp://www.blogger.com/profile/01534875617937443192noreply@blogger.com5tag:blogger.com,1999:blog-3101399633074179067.post-50443524572603860712014-09-21T10:59:00.000+02:002014-11-10T12:28:07.501+01:00Ann Lauterbach's Essay "The Given and the Chosen"<a href="http://www.omnidawn.com/products-page/chapbooks/the-given-the-chosen-ann-lauterbach/" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;" target="_blank"><img border="0" src="http://4.bp.blogspot.com/-M5V5Zx_1fkw/VGCgk-6D4EI/AAAAAAAANwg/v7QcKqQtBfQ/s1600/Given%2BChosen.jpg" /></a> Ann Lauterbach wrote "The Given and the Chosen" at the invitation of David Levi Strauss, Chair of Art Criticism and Writing at the School of Visual Arts in Manhattan, where Ann Lauterbach gave her talk as part of D. L. Straus's lecture series on the 11th of February 2010.<br />
<br />
Ann Lauterbach subsequently published her essay with Omnidawn (2011; click on image for more information) and gave her lecture in the Sherry Poet-In-Residence Series of the University of Chicago (full length video below).<br />
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<div style="text-align: right;">
<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/qMaBCN2JikU" width="560"></iframe></div>
OLIVIER BROSSARDhttp://www.blogger.com/profile/01534875617937443192noreply@blogger.com4tag:blogger.com,1999:blog-3101399633074179067.post-5457740442968841332014-09-21T10:57:00.000+02:002014-11-10T12:38:04.562+01:00Ann Lauterbach's Pennsound PageGo to:<br />
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<div class="separator" style="clear: both; text-align: center;">
<a href="http://writing.upenn.edu/pennsound/x/Lauterbach.php" target="_blank"><img border="0" src="http://3.bp.blogspot.com/-rEk-QsqgsL0/VGCjaKcn3GI/AAAAAAAANws/VF4Ib4SLu8k/s1600/Penn%2Bsound.JPG" height="196" width="640" /></a></div>
<br />OLIVIER BROSSARDhttp://www.blogger.com/profile/01534875617937443192noreply@blogger.com5tag:blogger.com,1999:blog-3101399633074179067.post-38052768012420118912014-09-21T10:56:00.000+02:002014-11-10T11:02:19.083+01:00Ann Lauterbach's Under the SignClick on book cover for excerpts from the book.<br />
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<a href="http://books.google.fr/books?id=8QoGaAjEHJIC&lpg=PP1&dq=ann%20lauterbach&pg=PP1#v=onepage&q&f=false"><img border="0" src="http://3.bp.blogspot.com/-DcI5LC7DQ5I/VGCLJHRJeLI/AAAAAAAANuY/7MfREAS9sIE/s320/Under%2Bthe%2Bsign.jpg" height="400" width="266" /></a>OLIVIER BROSSARDhttp://www.blogger.com/profile/01534875617937443192noreply@blogger.com0tag:blogger.com,1999:blog-3101399633074179067.post-65729262022463823122014-09-21T10:55:00.002+02:002014-11-10T11:47:12.883+01:00Ann Lauterbach's The Night Sky: Writings on the Poetics of Experience<br />
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Click on book cover for excerpts from the book.OLIVIER BROSSARDhttp://www.blogger.com/profile/01534875617937443192noreply@blogger.com0tag:blogger.com,1999:blog-3101399633074179067.post-62805944066174678162014-09-21T10:55:00.001+02:002014-11-10T11:01:33.866+01:00Ann Lauterbach's Or to Begin Again<br />
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OLIVIER BROSSARDhttp://www.blogger.com/profile/01534875617937443192noreply@blogger.com0tag:blogger.com,1999:blog-3101399633074179067.post-88763075463445020672014-09-21T10:54:00.000+02:002014-11-10T11:06:26.412+01:00Ann Lauterbach's Hum<div class="separator" style="clear: both; text-align: center;">
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<a href="http://1.bp.blogspot.com/-qfNh9so_D84/VGCNoKNR8GI/AAAAAAAANuw/56QSdZNMw8c/s1600/Hum.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><br /></a><a href="http://books.google.fr/books?id=yYVSAAAAQBAJ&lpg=PP1&dq=ann%20lauterbach%20or%20to%20begin%20again&pg=PP1#v=onepage&q&f=false"><img border="0" src="http://1.bp.blogspot.com/-qfNh9so_D84/VGCNoKNR8GI/AAAAAAAANuw/56QSdZNMw8c/s1600/Hum.jpg" height="400" width="266" /></a>OLIVIER BROSSARDhttp://www.blogger.com/profile/01534875617937443192noreply@blogger.com0tag:blogger.com,1999:blog-3101399633074179067.post-43435868946397230882014-09-21T10:53:00.000+02:002014-11-10T11:46:09.587+01:00Ann Lauterbach's If in Time: Selected Poems 1975-2000Click on book cover for excerpts from the book.<br />
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<br />OLIVIER BROSSARDhttp://www.blogger.com/profile/01534875617937443192noreply@blogger.com0tag:blogger.com,1999:blog-3101399633074179067.post-10992424051076103372014-09-21T10:52:00.000+02:002014-11-10T11:21:08.912+01:00Ann Lauterbach's On a StairClick on book cover for excerpts from the book.<br />
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<br />OLIVIER BROSSARDhttp://www.blogger.com/profile/01534875617937443192noreply@blogger.com0tag:blogger.com,1999:blog-3101399633074179067.post-83246678861984674402014-09-21T10:51:00.000+02:002014-11-10T11:40:30.887+01:00Ann Lauterbach's Before Recollection<br />
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Click on book cover for excerpts from the book.<br />
<br />OLIVIER BROSSARDhttp://www.blogger.com/profile/01534875617937443192noreply@blogger.com4tag:blogger.com,1999:blog-3101399633074179067.post-45019912186394640652014-09-21T10:50:00.000+02:002014-11-10T11:34:36.262+01:00Ann Lauterbach's Many Times but then<br />
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OLIVIER BROSSARDhttp://www.blogger.com/profile/01534875617937443192noreply@blogger.com0tag:blogger.com,1999:blog-3101399633074179067.post-26992398488515789612014-04-08T16:56:00.003+02:002014-04-11T16:43:06.584+02:00Anne Waldman Symposium at Université Paris Est Créteil, May 12-13<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
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<span style="font-family: inherit;"><span style="background-color: #dddddd; color: #333333; line-height: 18.479999542236328px;">On Monday 12 and Tuesday 13 May, we will be hosting a 2 day symposium on Anne Waldman’s work at Université Paris Est Créteil, salle 117, Maison des Langues. How to get there? See </span><a href="http://poetscriticsparisest.blogspot.fr/2012/01/how-to-get-there-maison-des-langues.html" style="color: #660000; line-height: 18.479999542236328px; text-decoration: none;" target="_blank">here</a><span style="background-color: #dddddd; color: #333333; line-height: 18.479999542236328px;">.</span></span></div>
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<a href="http://www.jocaseria.fr/Catalogue/Livres/Fiche%20livre/waldman_files/stacks_image_11693.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;" target="_blank"><span style="font-family: inherit;"><img border="0" src="http://www.jocaseria.fr/Catalogue/Livres/Fiche%20livre/waldman_files/stacks_image_11693.jpg" /></span></a><span style="background-color: #dddddd; color: #333333; font-family: inherit; line-height: 18.479999542236328px;">We will be meeting in the morning of May 12 at 10 am to prepare our sessions with Anne Waldman. Anne Waldman will be joining us at 2 pm on the 12th. She will also be with us all day on the 13th.</span></div>
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<span style="background-color: #dddddd; color: #333333; font-family: inherit; line-height: 18.479999542236328px;">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. </span><br />
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<span style="font-family: inherit;"><span style="color: #333333;"><span style="line-height: 18.479999542236328px;">We will work primarily on Anne's last books: <i>Gossamurmur</i> and <i>Manatee/Humanity</i>. </span></span><span style="color: #333333; line-height: 18.479999542236328px;">And will also concentrate on some of her essays contained in <i>Vow to Poetry</i>. </span></span><br />
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<span style="color: #333333; line-height: 18.479999542236328px;"><span style="font-family: inherit;">We will of course discuss a broad range of topics from criticism, pedagogy, poetic institutions such as Naropa, which Anne founded with Allen Ginsberg and others. And of course, matters of poeticity as well as literary history (her crucial position in the poetic field) will be central. </span></span><br />
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<span style="background-color: #dddddd; color: #333333; line-height: 18.479999542236328px;">On the occasion of the publication of her book <i><a href="http://www.jocaseria.fr/Catalogue/Livres/Fiche%20livre/waldman.html" target="_blank"><b>Archives, pour un monde menacé</b></a></i>, translated by Vincent Broqua (<a href="http://www.jocaseria.fr/Catalogue/Collection/collectionamericaine.html" target="_blank">collection américaine, joca seria</a>, May 2014), Anne Waldman will give a <b>reading at the Maison de la Poésie de Paris on May 12 at 8pm, with Patrick Beurard-Valdoye</b>. </span></span></div>
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<span style="background-color: #dddddd; line-height: 24px; text-align: justify;"><b>Anne Waldman's bio, from her <a href="http://www.annewaldman.org/" target="_blank">website</a>:</b> </span></span><br />
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<span style="background-color: #dddddd; font-family: inherit; line-height: 24px; text-align: justify;"><span style="color: #333333; line-height: 18.479999542236328px;">Internationally recognized and acclaimed poet Anne Waldman has been an active member of the “Outrider” experimental poetry community, a culture she has helped create and nurture for over four decades as writer, editor, teacher, performer, magpie scholar, infra-structure curator, and cultural/political activist. Her poetry is recognized in the lineage of Whitman and Ginsberg, and in the Beat, New York School, and Black Mountain trajectories of the New American Poetry. Yet she remains a highly original “open field investigator” of consciousness, committed to the possibilities of radical shifts of language and states of mind to create new modal structures and montages of attention. Her work is energetic, passionate, panoramic, fierce at times. She is the author of more than 40 books, including the mini-classic </span><em style="background-color: transparent; border: none; box-sizing: border-box; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Fast Speaking Woman</em>, a collection of essays entitled <em style="background-color: transparent; border: none; box-sizing: border-box; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Vow to Poetry</em> and several selected poems editions including <em style="background-color: transparent; border: none; box-sizing: border-box; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Helping the Dreamer, Kill or Cure </em>and<em style="background-color: transparent; border: none; box-sizing: border-box; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"> In the Room of Never Grieve</em>. She has concentrated on the long poem as a cultural intervention with such projects as <em style="background-color: transparent; border: none; box-sizing: border-box; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Marriage: A Sentence, Structure of The World Compared to a Bubble, </em>and <em style="background-color: transparent; border: none; box-sizing: border-box; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Manatee/Humanity</em>, which is a book-length rhizomic meditation on evolution and endangered species, and the monumental anti-war feminist epic <em style="background-color: transparent; border: none; box-sizing: border-box; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">The Iovis Trilogy: Colors in the Mechanism of Concealment</em>, a 25 year project.</span></div>
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<span style="font-family: inherit;">She was one of the founders and directors of <a href="http://poetryproject.org/" style="-webkit-transition: all 0.2s ease-in-out; border: none; box-sizing: border-box; color: #b20a0a; font-style: inherit; font-variant: inherit; font-weight: inherit; margin: 0px; padding: 0px; text-decoration: none; transition: all 0.2s ease-in-out; vertical-align: baseline;" target="_blank">The Poetry Project</a> at St. Marks’s Church In-the-Bowery, working there for twelve years. She also co-founded with Allen Ginsberg the celebrated <a href="http://www.naropa.edu/swp/index.cfm" style="-webkit-transition: all 0.2s ease-in-out; border: none; box-sizing: border-box; color: #b20a0a; font-style: inherit; font-variant: inherit; font-weight: inherit; margin: 0px; padding: 0px; text-decoration: none; transition: all 0.2s ease-in-out; vertical-align: baseline;" target="_blank">Jack Kerouac School of Disembodied Poetics at Naropa University</a>, the first Buddhist inspired University in the western hemisphere, in 1974. Ginsberg has called Waldman his “spiritual wife.” She is a Distinguished Professor of Poetics at Naropa and continues to work to preserve the school’s substantial literary/oral archive. She has edited and co-edited many collections based on the holdings of the Kerouac School including <em style="border: none; box-sizing: border-box; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Civil Disobediences</em> and<em style="border: none; box-sizing: border-box; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Beats at Naropa</em>. She is also the editor of <em style="border: none; box-sizing: border-box; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Nice to See You</em>, an homage to poet Ted Berrigan, <em style="border: none; box-sizing: border-box; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">The Beat Book</em>, and co-editor of <em style="border: none; box-sizing: border-box; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">The Angel Hair Anthology</em>.</span></div>
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<span style="font-family: inherit;">She has been a fellow at the Rockefeller Foundation’s Bellagio Center, a fellow at the Civitella Ranieri Foundation in Umbria, and has held the Emily Harvey residency in Venice. She has worked at the Institute of American Indian Arts in Santa Fe and at the Women’s Christian College in Tokyo, She has presented her work at conferences and festivals around the world, most recently in Wuhan, Beijing, Berlin, Nicaragua, Prague, Kerala, Mumbai, Calcutta, Marrakech, and Madrid. Her work has been translated into numerous languages.</span></div>
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<span style="font-family: inherit;">Waldman works with the anti-nuclear Guardianship Project in Boulder and was arrested in the 1970s with Allen Ginsberg and activist Daniel Ellsberg at Rocky Flats, which led to a commitment to the accountability for nuclear waste to future generations, a vow that according to Waldman is “a nearly quarter of a million year project.”</span></div>
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<span style="font-family: inherit;">“Waldman’s work is the antithesis of stasis. . . . She is a flame,” as one reviewer has noted.</span></div>
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<span style="font-family: inherit;">She has also collaborated extensively with a number of artists, musicians, and dancers, including George Schneeman, Elizabeth Murray, Richard Tuttle, Donna Dennis, and Pat Steir, and the theatre director Judith Malina. Her play “Red Noir” was produced by the Living Theatre and ran for nearly three months in New York City in 2010. She has also been working most recently with other media including audio, film and video, with her husband, writer and video/film director Ed Bowes, and with her son, musician and composer Ambrose Bye. <em style="border: none; box-sizing: border-box; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Publishers Weekly</em> recently referred to Waldman as “a counter-cultural giant.”</span></div>
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<span style="font-family: inherit;">“Cyborg on the Zattere,” with music by composer Steven Taylor and 12 performers, including cellist Ha-Yang Kim and reed instrumentalist Marty Erlich and a Renaissance trio, premiered at the Douglas Dunn Salon in Spring of 2011. This “Poundatorio” takes on the “knot” of Ezra Pound, his poetics and politics. It includes settings for parts of the Pisan Cantos.</span></div>
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<span style="font-family: inherit;">She was active in Occupy Art, an offshoot of Occupy Wall Street in NYC, and has recently been involved in projects around the theme of Symbiosis, which studies the interaction between two or more different biological species. “The living together of unlike organisms,” a challenge for our times. How to include the cyborg? How to insure / take better care of the “human” in relation. Fight the pipelines and induced hydraulic fracturing. More arts in education!</span></div>
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<span style="font-family: inherit;">Waldman is a recipient of 2013 Guggenheim Fellowship, the Poetry Society of America’s Shelley Memorial Award, and has recently been appointed a Chancellor of The Academy of American Poets. The<a href="http://www.huffingtonpost.com/seth-abramson/the-top-200-advocates-for_b_3750440.html" style="-webkit-transition: all 0.2s ease-in-out; border: none; box-sizing: border-box; color: #b20a0a; font-style: inherit; font-variant: inherit; font-weight: inherit; margin: 0px; padding: 0px; text-decoration: none; transition: all 0.2s ease-in-out; vertical-align: baseline;" target="_blank">Huffington Post</a> named her one of the top advocates for American poetry.</span></div>
<span style="font-family: inherit;"><span style="background-color: #dddddd; line-height: 24px; text-align: justify;">Waldman divides her time between New York City and Boulder, Colorado. </span><span style="background-color: #dddddd; line-height: 18.479999542236328px; text-align: justify;"><span style="color: #333333;"> </span></span></span>OLIVIER BROSSARDhttp://www.blogger.com/profile/01534875617937443192noreply@blogger.com2tag:blogger.com,1999:blog-3101399633074179067.post-48849655053523370092014-04-08T13:49:00.000+02:002014-05-06T10:17:44.237+02:00Anne Waldman's first full length book in France: *Archives, pour un monde menacé* edited and translated by Vincent Broqua, collection américaine, joca seria<div class="separator" style="clear: both; text-align: center;">
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<b style="background-color: #dddddd; color: #333333; line-height: 20.799999237060547px;"><span style="font-family: inherit;"><span style="line-height: normal;"><em><a href="http://www.jocaseria.fr/Catalogue/Livres/Fiche%20livre/waldman.html" target="_blank">Archives, pour un monde menacé</a></em> d'</span></span></b><b style="background-color: #dddddd; color: #333333; line-height: 20.799999237060547px;"><span style="font-family: inherit;"><span style="line-height: normal;">Anne Waldman</span></span></b></div>
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<b style="background-color: #dddddd; color: #333333; line-height: 20.799999237060547px;"><span style="font-family: inherit;"><span style="line-height: normal;">textes rassemblés et traduits par Vincent Broqua</span></span></b></div>
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<b style="background-color: #dddddd; color: #333333; line-height: 20.799999237060547px;"><span style="font-family: inherit;"><span style="line-height: normal;">couverture Kiki Smith</span></span></b></div>
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<b style="background-color: #dddddd; color: #333333; line-height: 20.799999237060547px;"><span style="font-family: inherit;"><span style="line-height: normal;"><a href="http://www.jocaseria.fr/Catalogue/Collection/collectionamericaine.html" target="_blank">Collection américaine</a> des éditions joca seria</span></span></b></div>
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<b style="background-color: #dddddd; color: #333333; line-height: 20.799999237060547px;"><span style="font-family: inherit;"><span style="line-height: normal;">160 pages</span></span></b></div>
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<b style="background-color: #dddddd; color: #333333; line-height: 20.799999237060547px;"><span style="font-family: inherit;"><span style="line-height: normal;">mai 2014</span></span></b></div>
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<span style="font-family: inherit;"><span style="color: #1a1a1a; line-height: normal;"><em>Archives, pour un monde menacé</em></span><span style="color: #1a1a1a; line-height: normal;"> est le premier livre de la grande poète, écrivain et artiste Anne Waldman publié en France. Venant compléter les quelques titres édités par le collectif Maelstrom en Belgique, le livre, préparé et traduit par Vincent Broqua, traducteur et spécialiste de poésie américaine, est un choix de textes couvrant les treize dernières années de l’œuvre d’Anne Waldman. </span><span style="color: #1a1a1a; line-height: normal;"><em>Archives, pour un monde menacé </em></span><span style="color: #1a1a1a; line-height: normal;">donne donc à lire l’évolution d’une pensée et d’une pratique poétique, mais aussi philosophique et politique, au début du 21</span><span style="color: #1a1a1a; line-height: normal;">ème</span><span style="color: #1a1a1a; line-height: normal;"> siècle. Ce choix éditorial de textes récents est d’autant plus significatif qu’il s’appuie aussi sur les leçons tirées du passé, qu’il tienne de la mémoire collective ou bien, plus précisément, de la mémoire littéraire. En effet, ces cinquante dernières années, Anne Waldman, en fréquentant et rassemblant un très grand nombre d’écrivains autour de divers projets, comme </span><span style="color: #222222; line-height: normal;">The Jack Kerouac School of Disembodied Poetics qu’elle a fondée avec Allen Ginsberg ou plusieurs aventures éditoriales, est devenue l’infatigable animatrice de la poésie américaine, une mémoire à elle seule de la seconde moitié du 20</span><span style="color: #222222; line-height: normal;">ème</span><span style="color: #222222; line-height: normal;"> siècle américain en art et littérature. </span><span style="color: #222222; line-height: normal;"><em>Archives, pour un monde menacé</em></span><span style="color: #222222; line-height: normal;">, apporte un double démenti à la critique parfois adressée à l’encontre de l’école de New York : que ce groupe d’écrivains était apolitique et que les femmes y étaient absentes. La voix puissante, féminine et féministe d’Anne Waldman donne vie à ces </span><span style="color: #222222; line-height: normal;"><em>Archives</em></span><span style="color: #222222; line-height: normal;">. C’est une voix « pour », une voix affirmative qui, au lieu de renoncer, propose.</span><span style="line-height: normal;"><br /></span></span></div>
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<span style="color: #1a1a1a; font-family: inherit;">« L’écriture d’Anne Waldman est singulière dans la poésie américaine contemporaine. Elle effectue en effet un lien entre la poésie la plus expérimentale, celle qui prend le langage comme lieu d’expérience formelle, et la poésie post-romantique des Beat Poets, où la voix lyrique a une part importante. En effet, parce qu’elle écrit pour la performance en reprenant ou en créant des formes multiples (épopée, élégie, collage, poème-partition, document poétique…), son travail et sa voix ont, comme chez les Beat Poets, un poids politique évident, qui, comme chez les L=A=N=G=U=A=G=E, n’est pas dénué d’un humour poétique parfois volontiers loufoque. Ainsi, dans </span><span style="color: #1a1a1a; font-family: inherit;"><em>Tullamurmur</em></span><span style="color: #1a1a1a; font-family: inherit;">, elle se dédouble et crée deux « Anne », dont l’une est un miroir déformé de l’autre, les deux « Anne » se pillant l’une l’autre. </span></div>
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<span style="color: #1a1a1a; font-family: inherit; line-height: normal;"><span style="font-family: inherit;"><em>Archives, pour un monde menacé</em></span><span style="font-family: inherit;">, dont le titre a été donné en accord avec Anne Waldman, est une lecture de ses quatre derniers livres publiés dans la collection Penguin Poets. En effet, </span><span style="font-family: inherit;"><em>Marriage : A Sentence</em></span><span style="font-family: inherit;"> (2000), puis </span><span style="font-family: inherit;"><em>Structure of the World Compared to a Bubble </em></span><span style="font-family: inherit;">(2004), puis </span><span style="font-family: inherit;"><em>Manatee/Humanity</em></span><span style="font-family: inherit;"> (2009), et enfin </span><span style="font-family: inherit;"><em>Gossamurmur</em></span><span style="font-family: inherit;"> (2013) constituent un ensemble poétique, politique et éthique. </span></span></div>
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<span style="color: #1a1a1a; font-family: inherit;">Possédant tous une forme différente, issue directement du sujet qu’ils traitent, ils plongent le lecteur dans un questionnement voire un acte méditatif qui est une expérimentation langagière de la relation entre les mots et le monde. </span><span style="color: #1a1a1a; font-family: inherit;"><em>Marriage : a Sentence </em></span><span style="color: #1a1a1a; font-family: inherit;">joue sur le double, la répétition, la paire, pour donner à entendre les formes et les contradictions du mariage et de la place des femmes au sein de pratiques rituelles contestées. Chaque page est double : l’une, en prose, archive et met en crise des rituels et des formes de cérémonies ou des équivoques (comme avec la reprise de</span><span style="color: #1a1a1a; font-family: inherit;"><em>Figaro</em></span><span style="color: #1a1a1a; font-family: inherit;">), l’autre partie en vers opère un contrepoint, souvent sous la forme de la liste. Dans </span><span style="color: #1a1a1a; font-family: inherit;"><em>Structure of the World Compared to a Bubble</em></span><span style="color: #1a1a1a; font-family: inherit;">, le texte d’introduction présente la série de poèmes du livre comme un ensemble qui vise d’une part à mettre en texte la conservation d’un lieu qui était menacé (l’immense Stupa de Borobudur), en lien aux pratiques du bouddhisme, telles que la Mudra, traduite dans ce volume. Il faut y voir une manière de répertorier, cartographier, des gestes (images du Bouddha), des architectures (images de Borobudur), des pratiques de méditation. Enfin, les deux livres les plus récents, qui ouvrent et ferment le volume que nous publions, s’interrogent sur le rapport entre animalité et humanité, comme l’indique très clairement le titre de </span><span style="color: #1a1a1a; font-family: inherit;"><em>Manatee/Humanity</em></span><span style="color: #1a1a1a; font-family: inherit;"> (Lamantin/L’humanité). </span></div>
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<span style="color: #1a1a1a; font-family: inherit;">Dans ces quatre livres, l’archive devient donc une forme poétique (utilisation de documents poétiques, utilisation d’images, collage au fil du texte de citations de poètes ayant lu à Naropa dans </span><span style="color: #1a1a1a; font-family: inherit;"><em>Gossamurmur</em></span><span style="color: #1a1a1a; font-family: inherit;">) pour donner à lire la fragilité du langage et la fragilité de la lettre dans un monde en déséquilibre, qui, avec </span><span style="color: #1a1a1a; font-family: inherit;"><em>Gossamurmur</em></span><span style="color: #1a1a1a; font-family: inherit;">, prend la forme d’une fable où le capitalisme menace la poésie même. D’où aussi les efforts faits à Naropa depuis des décennies pour créer un lieu entièrement dévolu à la poésie et aux différentes formes de poésies. </span></div>
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<span style="color: #1a1a1a; font-family: inherit; line-height: normal;"><span style="font-family: inherit;">Ainsi, sans jamais tomber dans un formalisme apolitique ou dans un engagement sans forme, ou encore dans une poésie New Age, qu’elle moque de temps à autre, Anne Waldman met en œuvre une éthique poétique, une poéthique de l’archive, dont nous souhaitions donner à lire des moments singuliers à travers ces larges extraits. »</span><span style="font-family: inherit;"> </span></span></div>
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<span style="color: #1a1a1a; font-family: inherit; font-weight: bold; line-height: normal;"><span style="font-family: inherit;">Vincent Broqua</span></span></div>
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OLIVIER BROSSARDhttp://www.blogger.com/profile/01534875617937443192noreply@blogger.com0tag:blogger.com,1999:blog-3101399633074179067.post-74343812963728012832014-04-07T23:20:00.000+02:002014-04-08T23:23:05.320+02:00Anne Waldman: *Outrider*, a documentary in progress by Alystyre Julian<div style="text-align: justify;">
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<a href="http://vimeo.com/85102161">OU T R I D E R: Fundraising trailer: extended version</a> from <a href="http://vimeo.com/alystyre">Alystyre Julian</a> on <a href="https://vimeo.com/">Vimeo</a>.</div>
OLIVIER BROSSARDhttp://www.blogger.com/profile/01534875617937443192noreply@blogger.com0tag:blogger.com,1999:blog-3101399633074179067.post-80051176278589153642014-04-06T23:39:00.000+02:002014-04-08T23:53:22.153+02:00Anne Waldman on Pennsound<div class="separator" style="clear: both; text-align: center;">
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<br />OLIVIER BROSSARDhttp://www.blogger.com/profile/01534875617937443192noreply@blogger.com0tag:blogger.com,1999:blog-3101399633074179067.post-31187074447097553402014-04-01T16:48:00.000+02:002014-04-11T16:49:37.335+02:00AW on Anne Waldman's Vow to Poetry<div class="separator" style="clear: both; text-align: center;">
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Anne Waldman, <i>Vow to Poetry</i>, Minneapolis, Coffee House Press, 2001.</div>
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Anne Waldman interviewed on the book <a href="http://paulenelson.com/2013/01/12/anne-waldman-vow-to-poetry/">HERE.</a></div>
<br />OLIVIER BROSSARDhttp://www.blogger.com/profile/01534875617937443192noreply@blogger.com0tag:blogger.com,1999:blog-3101399633074179067.post-5558805490767566552014-01-28T17:06:00.000+01:002014-01-28T09:08:10.354+01:00Cole Swensen, Nicolas et Maïtreyi Pesquès reading at Maison de la Poésie de Paris, 11 Dec. 2013<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/qjsPpueSiew" width="560"></iframe>
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<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/ZAn6dolktS8" width="560"></iframe>OLIVIER BROSSARDhttp://www.blogger.com/profile/01534875617937443192noreply@blogger.com0tag:blogger.com,1999:blog-3101399633074179067.post-78133709878224573682014-01-02T11:49:00.000+01:002014-01-02T11:49:06.985+01:00"Formes Critiques Contemporaines," co-edited by Vincent Broqua and Jean-Jacques Poucel available online"Formes Critiques Contemporaines," co-edited by Vincent Broqua (UPEC) and Jean-Jacques Poucel (U. Calgary) is now available online (click on the image below for full access to the issue).<br />
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<a href="http://doublechange.org/wp-content/uploads/2013/02/FPC9-2012.pdf" target="_blank"><img border="0" height="400" src="http://2.bp.blogspot.com/-Y3l4r4BacgA/UsVDbKAAVdI/AAAAAAAAK_0/GVkpvsjzHY4/s400/fpc-jacket-front.jpg" width="282" /></a></div>
<br />OLIVIER BROSSARDhttp://www.blogger.com/profile/01534875617937443192noreply@blogger.com0tag:blogger.com,1999:blog-3101399633074179067.post-71066872344384024742013-11-08T00:03:00.000+01:002013-12-02T01:22:41.171+01:00Cole Swensen Symposium at Université Paris Est Marne-La-Vallée, Wednesday 11 December & Thursday 12 December<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: inherit;">On Wednesday 11 December and
Thursday 12 December, we will be hosting a 2 day symposium on Cole Swensen’s
work at Université Paris Est Marne-La-Vallée, bâtiment Copernic, 2nd floor,
room 88. How to get there? </span><a href="http://poetscriticsparisest.blogspot.fr/2013/11/how-to-get-to-batiment-copernic.html" style="font-family: inherit;" target="_blank">See here</a><span style="font-family: inherit;">.</span><br />
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<span lang="EN-US"><span style="font-family: inherit;">We will be meeting in the morning of
December 11th at 10 am to prepare our sessions with Cole Swensen. Cole Swensen
will be joining us at 2 pm on the 11th. She will also be with us all day on the
12th.<o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: inherit;">On Wednesday 11 December at 8pm,
Cole Swensen, Nicolas and Maitreyi Pesquès will give a reading at the Maison de
la poésie de Paris. <o:p></o:p></span></span></div>
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<span lang="EN-US" style="line-height: 115%;"><span style="font-family: inherit;">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.</span></span><br />
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<span style="font-family: inherit;">Bio, bibliography & links: <o:p></o:p></span></div>
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<b><span style="font-family: inherit;">I.
Biographies and bibliography<o:p></o:p></span></b></div>
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<span lang="EN-US" style="font-family: inherit;">> Bio from the Academy of American poets<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: inherit;">http://www.poets.org/poet.php/prmPID/704<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: inherit;">> Bio (from wikipedia) : <o:p></o:p></span></div>
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<span style="font-family: inherit;"><b><span lang="EN-US">Cole
Swensen</span></b><span lang="EN-US">
(b. </span><a href="http://en.wikipedia.org/wiki/1955_in_poetry"><span style="color: #083b9a; text-decoration: none; text-underline: none;">1955</span></a>, in <a href="http://en.wikipedia.org/wiki/Kentfield,_California"><span style="color: #083b9a; text-decoration: none; text-underline: none;">Kentfield,
California</span></a>) is an <a href="http://en.wikipedia.org/wiki/American_poet"><span style="color: #083b9a; text-decoration: none; text-underline: none;">American poet</span></a>, translator,
editor, copywriter, and professor. <span lang="EN-US">Swensen was awarded a 2006 </span><a href="http://en.wikipedia.org/wiki/Guggenheim_Fellowship"><span lang="EN-US" style="color: #083b9a; mso-ansi-language: EN-US; text-decoration: none; text-underline: none;">Guggenheim Fellowship</span></a><span lang="EN-US"> and is the author of more than ten poetry collections
and as many translations of works from the French. She received her B.A. and
M.A. from </span><a href="http://en.wikipedia.org/wiki/San_Francisco_State_University"><span lang="EN-US" style="color: #083b9a; mso-ansi-language: EN-US; text-decoration: none; text-underline: none;">San Francisco State University</span></a><span lang="EN-US"> and a Ph.D. in </span><a href="http://en.wikipedia.org/wiki/Comparative_Literature"><span lang="EN-US" style="color: #083b9a; mso-ansi-language: EN-US; text-decoration: none; text-underline: none;">Comparative Literature</span></a><span lang="EN-US"> from the </span><a href="http://en.wikipedia.org/wiki/University_of_California,_Santa_Cruz"><span lang="EN-US" style="color: #083b9a; mso-ansi-language: EN-US; text-decoration: none; text-underline: none;">University of California, Santa Cruz</span></a><span lang="EN-US"> before going on to become the
now-Previous Director of the Creative Writing Program at the </span><a href="http://en.wikipedia.org/wiki/University_of_Denver"><span lang="EN-US" style="color: #083b9a; mso-ansi-language: EN-US; text-decoration: none; text-underline: none;">University of Denver</span></a><span lang="EN-US">. She taught at the </span><a href="http://en.wikipedia.org/wiki/Iowa_Writers%27_Workshop"><span lang="EN-US" style="color: #083b9a; mso-ansi-language: EN-US; text-decoration: none; text-underline: none;">Iowa Writers' Workshop</span></a><span lang="EN-US"> at the </span><a href="http://en.wikipedia.org/wiki/University_of_Iowa"><span lang="EN-US" style="color: #083b9a; mso-ansi-language: EN-US; text-decoration: none; text-underline: none;">University of Iowa</span></a><span lang="EN-US"> until 2012 when she joined the faculty of </span><a href="http://en.wikipedia.org/wiki/Brown_University"><span lang="EN-US" style="color: #083b9a; mso-ansi-language: EN-US; text-decoration: none; text-underline: none;">Brown University</span></a><span lang="EN-US">'s </span><a href="http://en.wikipedia.org/w/index.php?title=Literary_Arts_Program&action=edit&redlink=1"><span lang="EN-US" style="color: #981b1b; mso-ansi-language: EN-US; text-decoration: none; text-underline: none;">Literary Arts Program</span></a><span lang="EN-US">.<o:p></o:p></span></span></div>
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<span style="font-family: inherit;"><span lang="EN-US">Her
work is considered Postmodern and post-</span><a href="http://en.wikipedia.org/wiki/Language_poetry"><span lang="EN-US" style="color: #083b9a; mso-ansi-language: EN-US; text-decoration: none; text-underline: none;">Language</span></a><span lang="EN-US">
school, though she maintains close ties with many of the original authors from
that group (such as </span><a href="http://en.wikipedia.org/wiki/Lyn_Hejinian"><span lang="EN-US" style="color: #083b9a; mso-ansi-language: EN-US; text-decoration: none; text-underline: none;">Lyn Hejinian</span></a><span lang="EN-US">, </span><a href="http://en.wikipedia.org/wiki/Carla_Harryman"><span lang="EN-US" style="color: #083b9a; mso-ansi-language: EN-US; text-decoration: none; text-underline: none;">Carla Harryman</span></a><span lang="EN-US">, </span><a href="http://en.wikipedia.org/wiki/Barrett_Watten"><span lang="EN-US" style="color: #083b9a; mso-ansi-language: EN-US; text-decoration: none; text-underline: none;">Barrett Watten</span></a><span lang="EN-US">, </span><a href="http://en.wikipedia.org/wiki/Charles_Bernstein"><span lang="EN-US" style="color: #083b9a; mso-ansi-language: EN-US; text-decoration: none; text-underline: none;">Charles Bernstein</span></a><span lang="EN-US">,) as well as poets from all over the US and Europe. In
fact, her work is hybrid in nature, sometimes called <i>lyric-Language poetry</i>
emerging from a strong background in the poetic and visual art traditions of
both the USA and France and adding to them her own vision.<o:p></o:p></span></span></div>
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<span style="font-family: inherit;"><span lang="EN-US">In
the USA, Cole Swensen’s ninth collection of poetry, <i>Goest</i> (Alice James
Books, 2004) was a finalist for the </span><a href="http://en.wikipedia.org/wiki/National_Book_Award"><span lang="EN-US" style="color: #083b9a; mso-ansi-language: EN-US; text-decoration: none; text-underline: none;">National Book Award</span></a><span lang="EN-US">.<span style="color: #083b9a;">[1]</span> Earlier works
have been awarded a </span><a href="http://en.wikipedia.org/wiki/National_Poetry_Series"><span lang="EN-US" style="color: #083b9a; mso-ansi-language: EN-US; text-decoration: none; text-underline: none;">National Poetry Series</span></a><span lang="EN-US"> selection, Sun & Moon’s <i>New American
Writing Award</i>, the Iowa Poetry Prize via </span><a href="http://en.wikipedia.org/wiki/University_of_Iowa_Press"><span lang="EN-US" style="color: #083b9a; mso-ansi-language: EN-US; text-decoration: none; text-underline: none;">University of Iowa Press</span></a><span lang="EN-US">, the San Francisco State Poetry Center Book Award,
and two </span><a href="http://en.wikipedia.org/wiki/Pushcart_Prize"><span lang="EN-US" style="color: #083b9a; mso-ansi-language: EN-US; text-decoration: none; text-underline: none;">Pushcart</span></a><span lang="EN-US">
Prizes. Her translation of Jean Frémon’s The <i>Island of the Dead</i> won the
2004 </span><a href="http://en.wikipedia.org/wiki/International_PEN"><span lang="EN-US" style="color: #083b9a; mso-ansi-language: EN-US; text-decoration: none; text-underline: none;">PEN</span></a><span lang="EN-US">
USA Literary Award for Translation. She has also received grants from the
Association Beaumarchais and the French Bureau du Livre.<o:p></o:p></span></span></div>
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<span style="font-family: inherit;"><span lang="EN-US">In
France, Swensen has participated in readings and collaborative translation
projects with such organizations as the Royaumont Foundation at the beautiful
L'abbaye de Royaumont, </span><a href="http://en.wikipedia.org/wiki/Columbia_University"><span lang="EN-US" style="color: #083b9a; mso-ansi-language: EN-US; text-decoration: none; text-underline: none;">Columbia University</span></a><span lang="EN-US">’s Reed Hall, the maison des écrivains et de la
littérature <span style="color: #083b9a;">[2]</span> in Paris, Double Change <span style="color: #083b9a;">[3][4]</span> and Ivy Writers Paris.<span style="color: #083b9a;">[5]</span> Her life-long commitment to translation is a
testament to her belief in the international exchange of words and language,
and in the importance of radical and traditional poetries for contemporary
society.<o:p></o:p></span></span></div>
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<span style="font-family: inherit;"><span lang="EN-US">She
is member of the </span><a href="http://en.wikipedia.org/wiki/Academy_of_American_Poets"><span lang="EN-US" style="color: #083b9a; mso-ansi-language: EN-US; text-decoration: none; text-underline: none;">Academy of American Poets</span></a><span lang="EN-US">, and a contributing editor for the periodicals <i>American
Letters & Commentary</i> and for <i>Shiny,</i> and for many years was the
translation editor for the online contemporary poetry and poetics review <i>How2</i>.<span style="color: #083b9a;">[6]</span><o:p></o:p></span></span></div>
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<span style="font-family: inherit;"><span lang="EN-US">She
divides her time between Paris, Washington DC and Providence, where she is on
the permanent faculty of </span><a href="http://en.wikipedia.org/wiki/Brown_University"><span lang="EN-US" style="color: #083b9a; mso-ansi-language: EN-US; text-decoration: none; text-underline: none;">Brown University</span></a><span lang="EN-US">'s </span><a href="http://en.wikipedia.org/w/index.php?title=Literary_Arts_Program&action=edit&redlink=1"><span lang="EN-US" style="color: #981b1b; mso-ansi-language: EN-US; text-decoration: none; text-underline: none;">Literary Arts Program</span></a><span lang="EN-US">. She is also the founder and editor of La Presse,
a small press dedicated to the translation and publication in English of
contemporary French poetry (such as by </span><a href="http://en.wikipedia.org/wiki/Claude_Royet-Journoud"><span lang="EN-US" style="color: #083b9a; mso-ansi-language: EN-US; text-decoration: none; text-underline: none;">Claude Royet-Journoud</span></a><span lang="EN-US"> or Marie Borel).<o:p></o:p></span></span></div>
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<span style="font-family: inherit;"><i><span lang="EN-US">Gravesend</span></i><span lang="EN-US">, (University of California
Press, 2012)--Finalist for the </span><a href="http://en.wikipedia.org/wiki/Los_Angeles_Times_Book_Prize"><span lang="EN-US" style="color: #083b9a; mso-ansi-language: EN-US; text-decoration: none; text-underline: none;">Los Angeles Times Book Prize</span></a><span lang="EN-US"> in Poetry, 2012.<o:p></o:p></span></span></div>
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<span style="font-family: inherit;"><i><span lang="EN-US">Ours:
poems on the gardens of Andre Le Notre</span></i><span lang="EN-US"> (University of California Press, 2008)<span style="color: #083b9a;">[7]</span> --excerpt at POOL <span style="color: #083b9a;">[8]</span><o:p></o:p></span></span></div>
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<span style="font-family: inherit;"><i><span lang="EN-US">The
Glass Age</span></i><span lang="EN-US">,
(Alice James Books , 2007)<span style="color: #083b9a;">[9][10]</span><o:p></o:p></span></span></div>
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<span style="font-family: inherit;"><i><span lang="EN-US">The
Book of a Hundred Hands</span></i><span lang="EN-US"> (</span><a href="http://en.wikipedia.org/wiki/University_of_Iowa_Press"><span lang="EN-US" style="color: #083b9a; mso-ansi-language: EN-US; text-decoration: none; text-underline: none;">University of Iowa Press</span></a><span lang="EN-US">, Iowa City, 2005)<span style="color: #083b9a;">[11]</span><o:p></o:p></span></span></div>
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<span style="font-family: inherit;"><i>NEF</i>, a translation by Rémi Bouthonnier of <i>Noon</i>
(Les Petits Matins, Paris, 2005)<o:p></o:p></span></div>
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<span style="font-family: inherit;"><i><span lang="EN-US">Goest</span></i><span lang="EN-US">, (Alice James Books, 2004)<span style="color: #083b9a;">[12]</span>--Finalist for the </span><a href="http://en.wikipedia.org/wiki/National_Book_Award"><span lang="EN-US" style="color: #083b9a; mso-ansi-language: EN-US; text-decoration: none; text-underline: none;">National Book Award</span></a><span lang="EN-US">, 2004, and One of 12 books honored as the
"Best Poetry of 2004" by Library Journal.<span style="color: #083b9a;">[13]</span><o:p></o:p></span></span></div>
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<span style="font-family: inherit;"><i><span lang="EN-US">Such
Rich Hour</span></i><span lang="EN-US">,
(</span><a href="http://en.wikipedia.org/wiki/University_of_Iowa_Press"><span lang="EN-US" style="color: #083b9a; mso-ansi-language: EN-US; text-decoration: none; text-underline: none;">University of Iowa Press</span></a><span lang="EN-US">, Iowa City, 2001)<span style="color: #083b9a;">[14]</span><o:p></o:p></span></span></div>
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<span style="font-family: inherit;"><i><span lang="EN-US">Oh</span></i><span lang="EN-US">, (Apogee Press, Berkeley, CA,
2000)--Finalist for the </span><a href="http://en.wikipedia.org/wiki/National_Poetry_Series"><span lang="EN-US" style="color: #083b9a; mso-ansi-language: EN-US; text-decoration: none; text-underline: none;">National Poetry Series</span></a><span lang="EN-US">, 1998.<span style="color: #083b9a;">[15][16]</span><o:p></o:p></span></span></div>
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<span style="font-family: inherit;"><i><span lang="EN-US">And
Hand</span></i><span lang="EN-US">
chapbook (a+bend Press series, San Francisco, CA, 2000)<span style="color: #083b9a;">[17]</span><o:p></o:p></span></span></div>
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<span style="font-family: inherit;"><i><span lang="EN-US">Try</span></i><span lang="EN-US">, (</span><a href="http://en.wikipedia.org/wiki/University_of_Iowa_Press"><span lang="EN-US" style="color: #083b9a; mso-ansi-language: EN-US; text-decoration: none; text-underline: none;">University of Iowa Press</span></a><span lang="EN-US">, Iowa City, Iowa, 1999)--Winner of the Iowa Poetry
Prize, 1998, and Winner of the San Francisco State Poetry Center Book Award,
2000.<span style="color: #083b9a;">[18]</span><o:p></o:p></span></span></div>
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<span style="font-family: inherit;"><i><span lang="EN-US">Noon</span></i><span lang="EN-US"> (Sun & Moon Press, Los Angeles, CA.,
1997)--Winner of the New American Writing Award. </span>Re-published
with Green Integer <span style="color: #083b9a;">[19]</span><o:p></o:p></span></div>
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<span style="font-family: inherit;"><i><span lang="EN-US">Numen</span></i><span lang="EN-US">, (</span><a href="http://en.wikipedia.org/wiki/Burning_Deck_Press"><span lang="EN-US" style="color: #083b9a; mso-ansi-language: EN-US; text-decoration: none; text-underline: none;">Burning Deck Press</span></a><span lang="EN-US">, Providence, RI, 1995) -- Named an “International Book
of the Year,” </span><a href="http://en.wikipedia.org/wiki/Times_Literary_Supplement"><span lang="EN-US" style="color: #083b9a; mso-ansi-language: EN-US; text-decoration: none; text-underline: none;">Times Literary Supplement</span></a><span lang="EN-US">, and Finalist for the </span><a href="http://en.wikipedia.org/wiki/International_PEN"><span lang="EN-US" style="color: #083b9a; mso-ansi-language: EN-US; text-decoration: none; text-underline: none;">PEN</span></a><span lang="EN-US">
West Award in Poetry, 1996. It also appeared in French translation as <i>Numen</i>,
(Fondation Royaumont, 1994) <span style="color: #083b9a;">[20]</span><o:p></o:p></span></span></div>
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<span style="font-family: inherit;"><i><span lang="EN-US">Parc</span></i><span lang="EN-US">, a translation by Pierre Alferi
of <i>Park</i> (Format Américan France, 1995)<span style="color: #083b9a;">[21]</span><o:p></o:p></span></span></div>
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<span style="font-family: inherit;"><i><span lang="EN-US">Park</span></i><span lang="EN-US"> (Floating Island Press, Inverness,
CA. 1991)<o:p></o:p></span></span></div>
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<span style="font-family: inherit;"><i><span lang="EN-US">New
Math</span></i><span lang="EN-US">
(William Morrow & Co., New York, 1988) -- Winner of the </span><a href="http://en.wikipedia.org/wiki/National_Poetry_Series"><span lang="EN-US" style="color: #083b9a; mso-ansi-language: EN-US; text-decoration: none; text-underline: none;">National Poetry Series</span></a><span lang="EN-US">, 1987<o:p></o:p></span></span></div>
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<span style="font-family: inherit;"><i><span lang="EN-US">It's
Alive She Says</span></i><span lang="EN-US">,
(Floating Island Press, CA, 1984)<o:p></o:p></span></span></div>
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<b><span lang="EN-US" style="font-family: inherit;"><br /></span></b></div>
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<b><span lang="EN-US" style="font-family: inherit;">Swensen's
translations from the French</span></b></div>
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<span lang="EN-US" style="font-family: inherit;">"La
Vraie nature des ombres"by Jean Frémon : "The Real Life of
Shadows", The Post Apollo Press, 2009<o:p></o:p></span></div>
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<span style="font-family: inherit;"><i><span lang="EN-US">Physis</span></i><span lang="EN-US"> by Nicolas Pesquès (Parlor Press
/ Free Verse Editions, 2007)<span style="color: #083b9a;">[22]</span><o:p></o:p></span></span></div>
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<span style="font-family: inherit;"><i><span lang="EN-US">Futur,
ancien, fugitif</span></i><span lang="EN-US">
by Olivier Cadiot, as <i>Future, Former, Fugitive</i>(Roof Books, 2004) <span style="color: #083b9a;">[23]</span><o:p></o:p></span></span></div>
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<span style="font-family: inherit;"><i><span lang="EN-US">Kub
or</span></i><span lang="EN-US"> by Pierre Alferi, as<i>Oxo</i>
(Burning Deck, 2004)<span style="color: #083b9a;">[24]</span><o:p></o:p></span></span></div>
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<span style="font-family: inherit;"><i><span lang="EN-US">Ile
des Morts</span></i><span lang="EN-US">
by Jean Frémon, as: <i>Island of the Dead</i> (Green Integer, 2002)--awarded
the 2004 </span><a href="http://en.wikipedia.org/wiki/International_PEN"><span lang="EN-US" style="color: #083b9a; mso-ansi-language: EN-US; text-decoration: none; text-underline: none;">PEN</span></a><span lang="EN-US">
USA Award for Literary Translation <span style="color: #083b9a;">[25]</span><o:p></o:p></span></span></div>
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<span style="font-family: inherit;"><i><span lang="EN-US">Bayart</span></i><span lang="EN-US"> by Pascalle Monnier (Black
Square Editions, 2001)<o:p></o:p></span></span></div>
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<span style="font-family: inherit;"><i><span lang="EN-US">Natural
Gaits</span></i><span lang="EN-US">
by Pierre Alferi (Sun & Moon, 1995)<o:p></o:p></span></span></div>
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<span style="font-family: inherit;"><i><span lang="EN-US">Past
Travels</span></i><span lang="EN-US">
by Olivier Cadiot (1994)<o:p></o:p></span></span></div>
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<span style="font-family: inherit;"><i>Interrmittances II</i> by Jean Tortel (1994)<o:p></o:p></span></div>
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<b><span style="font-family: inherit;"><br /></span></b></div>
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<b><span style="font-family: inherit;">Other publications</span></b></div>
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<span style="font-family: inherit;"><span lang="EN-US">Swensen
has written critical articles on poets such as </span><a href="http://en.wikipedia.org/wiki/Susan_Howe"><span lang="EN-US" style="color: #083b9a; mso-ansi-language: EN-US; text-decoration: none; text-underline: none;">Susan Howe</span></a><span lang="EN-US">, </span><a href="http://en.wikipedia.org/wiki/Anne-Marie_Albiach"><span lang="EN-US" style="color: #083b9a; mso-ansi-language: EN-US; text-decoration: none; text-underline: none;">Anne-Marie Albiach</span></a><span lang="EN-US"> or </span><a href="http://en.wikipedia.org/wiki/Claude_Royet-Journoud"><span lang="EN-US" style="color: #083b9a; mso-ansi-language: EN-US; text-decoration: none; text-underline: none;">Claude Royet-Journoud</span></a><span lang="EN-US">, as well as reviews of poetry for such periodicals and
books as:<o:p></o:p></span></span></div>
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<span style="font-family: inherit;">“<a href="http://en.wikipedia.org/wiki/The_Boston_Review"><span style="color: #083b9a; text-decoration: none; text-underline: none;">The Boston
Review</span></a>”<o:p></o:p></span></div>
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<span style="font-family: inherit;">“<a href="http://en.wikipedia.org/wiki/The_Bloomsbury_Review"><span style="color: #083b9a; text-decoration: none; text-underline: none;">The Bloomsbury
Review</span></a>”<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: inherit;">anthologies
<i>Moving Borders: Three Decades of Innovative Writing By Women</i> edited by
Mary Margaret Sloan, (Talisman Editions, New Jersey, 1998) and<o:p></o:p></span></div>
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<span style="font-family: inherit;"><i><span lang="EN-US">Civil
Disobediences</span></i><span lang="EN-US">
(Coffee House Press, 2004)<o:p></o:p></span></span></div>
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<span style="font-family: inherit;"><i><span lang="EN-US">American
Hybrid: A Norton Anthology of Contemporary Poetry</span></i><span lang="EN-US">, (</span><a href="http://en.wikipedia.org/wiki/W.W._Norton_%26_Company"><span lang="EN-US" style="color: #083b9a; mso-ansi-language: EN-US; text-decoration: none; text-underline: none;">W.W. Norton & Company</span></a><span lang="EN-US">, 2008). Swensen co-edited (with </span><a href="http://en.wikipedia.org/wiki/David_St._John"><span lang="EN-US" style="color: #083b9a; mso-ansi-language: EN-US; text-decoration: none; text-underline: none;">David St. John</span></a><span lang="EN-US">)
this anthology that includes 70 poets seen as creating cross-genre works,
mixing traditional or </span><a href="http://en.wikipedia.org/wiki/Modernist"><span lang="EN-US" style="color: #083b9a; mso-ansi-language: EN-US; text-decoration: none; text-underline: none;">modernist</span></a><span lang="EN-US">
poetry techniques with experimental and </span><a href="http://en.wikipedia.org/wiki/Postmodern"><span lang="EN-US" style="color: #083b9a; mso-ansi-language: EN-US; text-decoration: none; text-underline: none;">postmodern</span></a><span lang="EN-US">
writings<o:p></o:p></span></span></div>
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<b><span style="font-family: inherit;"><br /></span></b></div>
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<b><span style="font-family: inherit;">Contributions to
periodicals</span></b></div>
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<span style="font-family: inherit;"><span lang="EN-US">Contributor
to periodicals in English: including <i>Chicago Review, </i></span><i><a href="http://en.wikipedia.org/wiki/American_Poetry_Review"><span lang="EN-US" style="color: #083b9a; mso-ansi-language: EN-US; text-decoration: none; text-underline: none;">American Poetry Review</span></a></i><i><span lang="EN-US">, Boston Book Review, Common
Knowledge, </span></i><i><a href="http://en.wikipedia.org/wiki/Conjunctions"><span lang="EN-US" style="color: #083b9a; mso-ansi-language: EN-US; text-decoration: none; text-underline: none;">Conjunctions</span></a></i><i><span lang="EN-US">, Upstairs at Duroc, Grand Street, </span></i><i><a href="http://en.wikipedia.org/wiki/New_American_Writing"><span lang="EN-US" style="color: #083b9a; mso-ansi-language: EN-US; text-decoration: none; text-underline: none;">New American Writing</span></a></i><i><span lang="EN-US">,</span></i><span lang="EN-US"> and <i>ZYZZYVA</i>.<span style="color: #083b9a;">[26]</span>
She has also translated individual poems for print and online periodicals such
as <i>Verse, The Germ, 1913</i>. Online at the extensive Chicago Modern Poetry
website,<span style="color: #083b9a;">[27]</span> one can discover other poets
Swensen has translated including Caroline Dubois <span style="color: #083b9a;">[28]</span>
or Sabine Macher,<span style="color: #083b9a;">[29]</span> and </span><a href="http://en.wikipedia.org/wiki/Oulipo"><span lang="EN-US" style="color: #083b9a; mso-ansi-language: EN-US; text-decoration: none; text-underline: none;">Oulipo</span></a><span lang="EN-US">
poet Michel Gringaud at the <i>drunkenboat</i> publication website <span style="color: #083b9a;">[30]</span> or at <i>Free Verse</i>.<span style="color: #083b9a;">[31]</span><o:p></o:p></span></span></div>
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<span lang="EN-US" style="font-family: inherit;"><br /></span></div>
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<span style="font-family: inherit;"><span lang="EN-US">Individual
poems by Swensen have appeared in French translation: in the reviews “Action Poétique,”
"Java," "Vacarme," "Nioques," "Action
Poétique," and “Hors-Bords.”</span><span lang="EN-US"><o:p></o:p></span></span></div>
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<b><span lang="EN-US" style="font-family: inherit;">II. Websites<o:p></o:p></span></b></div>
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<span style="font-family: inherit;"><br /></span></div>
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<span lang="EN-US" style="font-family: inherit;">> Swensen’s page on Pennsound<o:p></o:p></span></div>
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<span style="font-family: inherit;"><a href="http://writing.upenn.edu/pennsound/x/Swensen.php"><span lang="EN-US">http://writing.upenn.edu/pennsound/x/Swensen.php</span></a><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: inherit;"><br /></span></div>
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<span lang="EN-US" style="font-family: inherit;">In particular, her reading and discussion :
the Cross-Cultural Poetics Series (2010)<o:p></o:p></span></div>
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<span style="font-family: inherit;"><br /></span></div>
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<span lang="EN-US" style="font-family: inherit;">> Find more about Cole Swensen’s small press La
presse dedicated to poetry in translation : <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: inherit;">http://www.lapressepoetry.com/about.htm<o:p></o:p></span></div>
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<span style="font-family: inherit;"><br /></span></div>
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<b><span lang="EN-US" style="font-family: inherit;">III. Interviews<o:p></o:p></span></b></div>
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<span style="font-family: inherit;"><br /></span></div>
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<span lang="EN-US" style="font-family: inherit;">> Christopher Nelson’s interview about <i>Gravesend</i><o:p></o:p></span></div>
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<span style="font-family: inherit;"><a href="http://nelsonpoetry.blogspot.fr/2013/03/interview-with-cole-swensen-on-gravesend.html"><span lang="EN-US">http://nelsonpoetry.blogspot.fr/2013/03/interview-with-cole-swensen-on-gravesend.html</span></a><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: inherit;"><br /></span></div>
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<span lang="EN-US" style="font-family: inherit;">> Audio itw about <i>Gravesend</i><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: inherit;">http://www.litshow.com/archive/season-06/cole-swensen-interview/<o:p></o:p></span></div>
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<span style="font-family: inherit;"><br /></span></div>
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<span lang="EN-US" style="font-family: inherit;">> Questions to Cole Swensen : <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: inherit;">http://12or20questions.blogspot.fr/2007/11/12-or-20-questions-with-cole-swensen.html<o:p></o:p></span></div>
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<span style="font-family: inherit;"><br /></span></div>
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<span lang="EN-US" style="font-family: inherit;">> Cole Swensen : a video about Iwoa<o:p></o:p></span></div>
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<span style="font-family: inherit;"><a href="http://www.youtube.com/watch?v=yJMvErGPTHE"><span lang="EN-US">http://www.youtube.com/watch?v=yJMvErGPTHE</span></a><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: inherit; text-indent: -18pt;"><br /></span></div>
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<span style="font-family: inherit;"><span style="text-indent: -18pt;">> Talk about « If a Garden of numbers » (from </span><i style="text-indent: -18pt;">Ours</i><span style="text-indent: -18pt;">)</span></span></div>
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<span lang="EN-US" style="font-family: inherit;">https://jacket2.org/podcasts/where-real-exceeds-ideal-poemtalk-52<o:p></o:p></span></div>
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<span style="font-family: inherit;"><br /></span></div>
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<span lang="EN-US" style="font-family: inherit;">And Cole’s response to that talk :
https://jacket2.org/commentary/cole-swensen-responds<o:p></o:p></span></div>
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<span style="font-family: inherit;"><br /></span></div>
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<span style="font-family: inherit;"><br /></span></div>
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<span style="font-family: inherit;"><b><span lang="EN-US">IV. Reviews and
Articles : </span></b><span lang="EN-US"><o:p></o:p></span></span></div>
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<span lang="EN-US" style="font-family: inherit;">> presentation of <i>Noise that Stays Noise </i>: http://www.press.umich.edu/1903627/noise_that_stays_noise<o:p></o:p></span></div>
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<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: inherit;">> Donna Stonecipher’s review of <i>Ours</i> in <i>Jacket</i><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: inherit;">http://jacketmagazine.com/36/r-swensen-rb-stonecipher.shtml<o:p></o:p></span></div>
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<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: inherit;">> A review of <i>Ours</i>
in <i>Bookforum<o:p></o:p></i></span></div>
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<span lang="EN-US" style="font-family: inherit;">http://www.bookforum.com/inprint/015_01/2263<o:p></o:p></span></div>
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<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: inherit;">> Article through Project Muse : <o:p></o:p></span></div>
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<a href="http://muse.jhu.edu/login?auth=0&type=summary&url=/journals/contemporary_literature/v053/53.1.kinch.pdf" target="_blank"><span style="font-family: inherit;"><span lang="EN-US" style="color: #392e14;">Ashby Kinch, "</span><span style="color: #392e14;">Re-Visioning History in Cole Swensen’s </span><i style="color: #392e14;">Such Rich Hour,</i><span style="color: #392e14;">" <i>Contemporary Literature </i>53.1 (2012)</span></span></a></div>
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OLIVIER BROSSARDhttp://www.blogger.com/profile/01534875617937443192noreply@blogger.com26tag:blogger.com,1999:blog-3101399633074179067.post-2079036570578707242013-11-07T13:14:00.000+01:002013-12-02T01:19:55.111+01:00How to get to Bâtiment Copernic, Université Paris Est Marne-la-Vallée > 2nd floor, room 88<a href="http://2.bp.blogspot.com/-nfurRC3Kutc/TdGmrJ86uQI/AAAAAAAAFeM/9t6TWdDBr0A/s1600/kowalski%2Bcase.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5607446271388989698" src="http://2.bp.blogspot.com/-nfurRC3Kutc/TdGmrJ86uQI/AAAAAAAAFeM/9t6TWdDBr0A/s320/kowalski%2Bcase.jpg" style="cursor: pointer; float: right; height: 240px; margin: 0pt 0pt 10px 10px; width: 320px;" /></a><br />
<div>
Short instructions below. Long instructions “RER 101” <a href="https://docs.google.com/viewer?a=v&pid=explorer&chrome=true&srcid=0B3QlH3klqgaEMzFhMDYxZDUtMGRjNi00ZWY3LWIyNjMtZjg4OGNmM2QwZGM4&hl=en">here</a>.</div>
<div>
<div class="MsoNormalCxSpMiddle">
<span lang="EN-US">To come to the Université Paris Est Marne-La-Vallée, take the <b>RER A4 line</b> to the station <b>“<a href="http://fr.wikipedia.org/wiki/Gare_de_Noisy_-_Champs">Noisy Champs</a>.”</b> You will have to <b>purchase a <a href="http://www.ratp.fr/en/ratp/r_28173/description-of-the-network/">special ticket</a></b> <b>Paris – Noisy Champs</b> (you can do so in any metro station). In Paris you can board the RER A at the following train stations: Charles de Gaulle Etoile, Auber, Châtelet Les Halles, Gare de Lyon, Nation. See map of the line <a href="http://www.paintball75.com/images/rer_a.gif">here</a>.</span></div>
<div class="MsoNormalCxSpMiddle">
<span lang="EN-US" style="color: #bf9000;">*Châtelet Les Halles - Noisy Champs : approx. 25'.</span><br />
<span lang="EN-US" style="color: #bf9000;">*Gare de Lyon - Noisy Champs : approx 20'.</span><br />
<span class="Apple-style-span" style="color: #bf9000;">*Nation - Noisy Champs : approx 18'</span></div>
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<span lang="EN-US"><b><br />
</b></span><br />
<span lang="EN-US"><b>Please board one of the front cars of the train</b>: when you get off at Noisy Champs, you will be close to the exit leading to the University. Walk to the escalators. As you go up the escalators from the platform, take the exit located <b><a href="http://dl.dropbox.com/u/33369835/ToCopernic/ToCopernic%20004.jpg">on your right</a></b>. You want exit #3 "bd Newton" (see pic.) <a href="http://www.univ-mlv.fr/index.php?eID=tx_nawsecuredl&u=0&file=fileadmin/fichiers/UPEMLV/Presentation/plans/Cite_DESCARTES.pdf&t=1305672080&hash=e146de7d13055b33acd628543c6dd9be">Here’s</a> a map of the campus.</span><br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="http://dl.dropbox.com/u/33369835/ToCopernic/ToCopernic%20001.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="133" src="http://dl.dropbox.com/u/33369835/ToCopernic/ToCopernic%20001.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Take Exit 3 turn right at top of elevators</td></tr>
</tbody></table>
<br />
<br />
<a href="http://dl.dropbox.com/u/33369835/ToCopernic/ToCopernic%20005.jpg">As you leave the RER station</a>, turn left, go straight. You will see the <a href="http://dl.dropbox.com/u/33369835/ToCopernic/ToCopernic%20006.jpg">La Poste building</a>. At the <a href="http://dl.dropbox.com/u/33369835/ToCopernic/ToCopernic%20008.jpg">crossroads, turn right</a> onto the <a href="http://dl.dropbox.com/u/33369835/ToCopernic/ToCopernic%20009.jpg">avenue Ampère</a>. </div>
<div class="MsoNormalCxSpMiddle">
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="http://dl.dropbox.com/u/33369835/ToCopernic/ToCopernic%20008.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="133" src="http://dl.dropbox.com/u/33369835/ToCopernic/ToCopernic%20008.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Crossroads & beg. of Av. Ampère</td></tr>
</tbody></table>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="http://dl.dropbox.com/u/33369835/ToCopernic/ToCopernic%20014.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="133" src="http://dl.dropbox.com/u/33369835/ToCopernic/ToCopernic%20014.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Copernic bldg. / U.Paris Est MLV</td></tr>
</tbody></table>
<span lang="EN-US"><br />
</span><br />
<span lang="EN-US"><br />
</span><br />
<span lang="EN-US"><br />
</span><br />
<span lang="EN-US"><br />
</span><br />
<br />
<span lang="EN-US">Once on the avenue Ampère, you will see Piotr Kowalski's large metallic sculpture a.k.a. <a href="http://www.epa-marnelavallee.fr/uploads/tx_contenustructure/3860-001_Cit__Descartes-Axe_de_la_Terre_01.jpg">“the axis of the earth”.</a> Walk to <a href="http://dl.dropbox.com/u/33369835/ToCopernic/ToCopernic%20010.jpg">the roundabout</a> where the structure is erected. Then <a href="http://dl.dropbox.com/u/33369835/ToCopernic/ToCopernic%20011.jpg">make a left</a> <a href="http://dl.dropbox.com/u/33369835/ToCopernic/ToCopernic%20012.jpg">on boulevard Descartes</a>. The <a href="http://www.univ-mlv.fr/index.php?id=3479#5041">Copernic building</a> will be on your right. </span><br />
<span lang="EN-US"><b><br />
</b></span><br />
<span lang="EN-US"><b>With Google Street View:</b></span><br />
<span lang="EN-US">1. From RER Station to crossroads</span><br />
<iframe frameborder="0" height="350" marginheight="0" marginwidth="0" scrolling="no" src="http://maps.google.com/maps?ll=48.842629,2.581942&spn=0.000002,0.000862&t=h&z=20&vpsrc=6&layer=c&cbll=48.842629,2.581942&panoid=Ek6diZklLvB8r2WaOcVTwQ&cbp=12,47.02,,0,4.06&msa=0&msid=207627143984607160897.0004aded0ef28513a7c3d&source=embed&output=svembed" width="425"></iframe><br />
<small>View <a href="http://maps.google.com/maps?ll=48.842629,2.581942&spn=0.000002,0.000862&t=h&z=20&vpsrc=6&layer=c&cbll=48.842629,2.581942&panoid=Ek6diZklLvB8r2WaOcVTwQ&cbp=12,47.02,,0,4.06&msa=0&msid=207627143984607160897.0004aded0ef28513a7c3d&source=embed" style="color: blue; text-align: left;">Noisy Champs RER A Station, Bd Ampère</a> in a larger map</small><br />
<small><br />
</small><br />
<small><span class="Apple-style-span" style="font-size: small;">2. Walk past La Poste to crossroads</span></small><br />
<iframe frameborder="0" height="350" marginheight="0" marginwidth="0" scrolling="no" src="http://maps.google.com/maps?ll=48.842676,2.582872&spn=0.000002,0.000862&t=h&z=20&vpsrc=6&layer=c&cbll=48.842676,2.582872&panoid=tsEXYPgPLVdHahFy1FGYcA&cbp=12,81.03,,0,7.56&msa=0&msid=207627143984607160897.0004aded0ef28513a7c3d&source=embed&output=svembed" width="425"></iframe><br />
<small>View <a href="http://maps.google.com/maps?ll=48.842676,2.582872&spn=0.000002,0.000862&t=h&z=20&vpsrc=6&layer=c&cbll=48.842676,2.582872&panoid=tsEXYPgPLVdHahFy1FGYcA&cbp=12,81.03,,0,7.56&msa=0&msid=207627143984607160897.0004aded0ef28513a7c3d&source=embed" style="color: blue; text-align: left;">Noisy Champs RER A Station, Bd Ampère</a> in a larger map</small><br />
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<small><span class="Apple-style-span" style="font-size: small;">3. At crossroads make a right</span></small><br />
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<small><span class="Apple-style-span" style="font-size: small;">4. Go straight</span></small><br />
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5. Make a left at "axe de la terre" roundabout<br />
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<small>6. Take</small> second street on your left<br />
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<small>View <a href="http://maps.google.com/maps?ll=48.840411,2.58484&spn=0.000002,0.000862&t=h&z=20&vpsrc=6&layer=c&cbll=48.840411,2.58484&panoid=HfgOPeb4lV7xRVB3WU53dw&cbp=12,131.14,,0,-0.98&msa=0&msid=207627143984607160897.0004aded0ef28513a7c3d&source=embed" style="color: blue; text-align: left;">Noisy Champs RER A Station, Bd Ampère</a> in a larger map</small><br />
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<small><span class="Apple-style-span" style="font-size: small;">7. The Copernic building of the Université will be on your right.</span></small><br />
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<small>View <a href="http://maps.google.com/maps?ll=48.840139,2.586026&spn=0.000002,0.000862&t=h&z=20&vpsrc=6&layer=c&cbll=48.840139,2.586026&panoid=ESkwUswEDl3oawR7OGFIeQ&cbp=12,144.71,,0,-0.84&msa=0&msid=207627143984607160897.0004aded0ef28513a7c3d&source=embed" style="color: blue; text-align: left;">Noisy Champs RER A Station, Bd Ampère</a> in a larger map</small><br />
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<span lang="EN-US"><b><br />
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<span lang="EN-US"><b>Inside Copernic...</b></span><br />
Enter the bldg. <a href="http://dl.dropbox.com/u/33369835/ToCopernic/ToCopernic%20015.jpg">Make a left and walk past the "Accueil"</a>.<br />
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="http://dl.dropbox.com/u/33369835/ToCopernic/ToCopernic%20016.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="http://dl.dropbox.com/u/33369835/ToCopernic/ToCopernic%20016.jpg" width="133" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Walk to left rear end of bldg</td></tr>
</tbody></table>
Walk to <a href="http://dl.dropbox.com/u/33369835/ToCopernic/ToCopernic%20017.jpg">the rear end of the bldg, past the auditorium Maurice Gross and make a left</a>. Walk down the corridor (see pic.) to the elevators.<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="http://dl.dropbox.com/u/33369835/ToCopernic/ToCopernic%20018.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="133" src="http://dl.dropbox.com/u/33369835/ToCopernic/ToCopernic%20018.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Hallway leading to elevators</td></tr>
</tbody></table>
<span lang="EN-US">There are several elevators which will take you to the 2nd floor. Congratulations, you've made it! Once you exit the elevator, make a left. Room 88 will be down the hall, signs will be posted.</span><br />
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OLIVIER BROSSARDhttp://www.blogger.com/profile/01534875617937443192noreply@blogger.com0tag:blogger.com,1999:blog-3101399633074179067.post-72035445361857431312013-11-06T11:48:00.000+01:002013-11-08T11:49:54.629+01:00Cole Swensen's Book of Essays *Noise that Stays Noise*More information by clicking on cover below<br />
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<a href="http://www.press.umich.edu/1903627/noise_that_stays_noise/?s=description" target="_blank"><img border="0" src="http://3.bp.blogspot.com/-fEHPOu_IYRU/UnzBXRRsMvI/AAAAAAAAK6Y/dq2r1htzZmk/s1600/noise+that+stays+noise+cover.jpg" /></a></div>
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Below, table of contents of Cole Swensen's book of essays<br />
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<br />OLIVIER BROSSARDhttp://www.blogger.com/profile/01534875617937443192noreply@blogger.com0